When a movie’s on-screen explanation about what happens to the characters after it ends contains a typo (“aide” instead of “aid”), we get some idea of why it seems that so little attention was paid to other details like story and character.

The sad thing is that somewhere inside this mess of a movie are a couple of characters we like. “American Pie” alums Jason Biggs and Mena Suvari play Paul and Dora, freshmen at NYU. We see right away what a sweetheart Paul is, at his family’s party celebrating his scholarship. Paul dances with his little sister and slips the money his grandfather urges on him back into his grandfather’s own pocket. And we see right away how nice Dora is, putting ice on Paul’s knee when he falls down the classroom steps. Biggs and Suvari are very appealing and make a great couple. We settle back, waiting for them to find out what we already know, that they’re perfect for each other.

Unfortunately, it’s a frustrating and annoying hour and a half until we get there. The other characters are all tedious and the plot developments are either lame “but I thought”-type misunderstandings or lamer lifts from better movies. Paul has three interchangable and odious roommates who think of college as a four-year party. Dora is desperate for money, so she takes a job as a waitress in a strip club, sleeps in Grand Central Station (after paying a homeless woman to tell her mother that she is sleeping in a dorm). And she’s having an affair with a selfish and egotistical professor (Greg Kinnear).

As the typo indicates, the movie has an unfinished quality, as though someone was trying to create structure through editing that was not there in the script. There are several unnecessary cameos (David Spade, Andy Dick, Everclear) that seem to have been thrown in as an effort to pick things up. A lot of the plot twists and details are so dumb or unbelievable, even within the context of romantic comedy, that they are just distracting. Why would Paul agree to a second party when the first one was such a disaster? Why would he and Dora believe what people they know to be unreliable tell them about each other? Characters do things for the sake of the plot that are completely inconsistent with the rest of their behavior. Some things just make no sense at all. If the whole movie is supposed to take place in the first semester (at the end of the movie they are making plans for Thanksgiving) then Paul wears that thick wool hat when it isn’t even cold out? When did Dora have time to meet and start an affair with the professor? It seems to be well underway when school starts.

Parents should know that the movie has a casual attitude toward drinking and drug use. Paul’s roommates spike girls’ drinks with the “date rape drug,” which is treated as little more than a regrettable prank. Despite the fact that integrity is a key aspect of Paul’s character, Paul and Dora casually steal bread, coffee, and theater seats, and this is portayed as clever and charming. Students also blackmail a professor into giving them good grades.

Families who see this movie should talk about how Paul and Dora evaluate their choices. Why does Paul go along with his ex-roommates’ party plan? Why does he care what they think of him? Why is Dora so wrong about the professor? How do people make friends in college? Paul’s father (Dan Ackroyd) gives him some very good advice, and another of the movie’s many frustrations is waiting for that to be important later in the movie.

People who want to see a better movie about this stage of life should see “Breaking Away” or the syrupy blockbuster “Love Story.”

About eighty percent love and twenty percent basketball, this is a romance about two basketball-loving kids who go one-on-one in both games for almost twenty years before they get it right.

The movie is divided into quarters, like a basketball game. Monica moves next door to Quincy when they are both 11. He is so affronted by her skill at making baskets that he knocks her to the ground — and so impressed that he asks her to be his girl. They kiss for an agreed-upon five seconds, and then break up when they argue over whether he gets to be the boss.

Seven years later, they are seniors in high school, and both star players. Monica (Sanaa Lathan) and Quincy (Omar Epps) are friends, very aware of each other, but awkward at expressing their feelings. He is heavily recruited, but opportunities for girl players are more limited. At the last minute, she gets recruited, too. On the night of the prom, they acknowledge how they feel about each other and become intimate.

At USC, they each face challenges. Quincy learns that the father he respects has not been honest. Monica must deal with a demanding coach and with competition from teammates. They part, and Quincy drops out of school to play professional basketball. In the last quarter, they meet again, for one last chance at love and basketball.

Writer/director Gina Prince-Blythewood has crafted a nice, old-fashioned story. There are a few modern touches, like Monica’s independence in addressing the conflicts between her love for Quincy and her love for basketball, but it is surprisingly traditional in structure and outcome. For example, Quincy is permitted to have had many romantic encounters, but Monica, our heroine, is as hopelessly devoted to her one love as Olivia Newton-John was in “Grease.” And when she sees Quincy again, years after their college break-up, she apologizes to him for leaving him when he was upset so that she could get back to the dorm before her curfew. She says, “I should have been there for you. But I didn’t know how to do that and be all about ball.” There is also a “Star is Born” element as Monica becomes successful as Quincy is having difficulty.

Monica and Quincy must also resolve standard-issue family conflicts. Monica feels unappreciated by her mother (a criminally underused Alfre Woodard), who is happy to be a very traditional housewife and subordinate her life to her family. It turns out that Monica’s mother feels unappreciated too. Quincy’s father, a professional basketball player, turns out to be less than the hero Quincy thought he was. Quincy says to him, “How come you couldn’t be the man you kept trying to make me?” Both must learn to forgive their parents for not being perfect before they can truly become adults.

It is especially nice to see a movie with a primarily black cast that has a genuine feel for the culture but avoids the usual clichés. Monica and Quincy live in an upper middle class neighborhood and each has two loving parents.

Parents should know that the movie has strong sexuality for a PG-13, including descriptions of some sexually aggressive women, a strip basketball game and a scene of Monica and Quincy having sex that has no nudity but is fairly explicit. (It also includes the use of a condom.) A character is accused of fathering a child out of wedlock. Quincy’s father admits that he married Quincy’s mother because she was pregnant. A character gets drunk when she finds out that her husband has been unfaithful. A mother slaps a grown child.

Families who see this movie should talk about how people reconcile the demands of love, family, and career, and why it is that Monica and Quincy had so much trouble telling each other how they felt. Teenagers may also want to talk about the different views Monica and Quincy had of their relationship at different ages, and how the key element linking them through all of them was not basketball but friendship.

Families who enjoy this movie will also enjoy a very different basketball movie, “Hoosiers,” about a 1950’s championship high school team, and a very different romantic movie, “Claudine.”

A message to those of you who might be considering larceny, fraud, or murder — it’s much, much more complicated than it seems. Unfortunately, the people who are not smart enough to figure that out are the people who think that it might make sense to, for example, inject paint into the number balls that they use to select the winning lottery ticket, so that only certain numbers will come up. It turns out that the people in this movie use whatever intelligence they have to think up this idea, leaving none left over for small details like what to do with the people who discover what they’ve done and want a piece of the action.

Inspired by a true story, this is the tale of a Harrisburg, PA television weatherman who conspires with the girl who selects the winning numbers for the state lottery to make sure they will have the winning ticket.

John Travolta plays Russ Richards, a popular local figure with a permanent parking space and roped-off table at his favorite local bistro, Denny’s. He has ambitiously but unwisely invested in a snowmobile franchise. Despite his professional expertise, he did not anticipate that Harrisburg’s uncharacteristically balmy winter would leave him on the brink of bankruptcy. He consults his friend, Gig (Tim Roth), who owns a strip joint. Gig arranges a robbery of the snowmobile showroom, but that goes wrong. So he suggests to Russ that perhaps Russ’s girlfriend Crystal (Lisa Kudrow), who goes on camera in a ball gown each week to select the winning lottery numbers, might just be persuaded to help make sure that the numbers she picks are the ones they pick. It turns out that Crystal is delighted.

Russ and Crystal behave like people who know for sure that they were meant to be rich, and are getting increasingly annoyed that somehow the message never got across. But Russ is a sweet guy at heart, if cowardly and self-centered. What he really loves are the fans. Crystal turns out to be completely ruthless. What she really loves is stuff — as she models her new Italian leather coat she happily announces that she will never again have to wear anything that didn’t come over on a boat. Crystal brings in her weird, hulking, snuffling, fun-doll fan of a cousin (Michael Moore) to be the ostenstible purchaser of the lottery ticket. But when he tells her he wants more of the money, she dispatches him with less interest than she would show in a broken nail.

Director Nora Ephron, best known for writing and directing sparkly romantic comedies like “Sleepless in Seattle,” goes for a darker kind of comedy here. She gets terrific performances from a first-rate cast, especially Bill Pullman as a lazy police officer. But Ephron is a long way from the Coen brothers. She has some sharp insights about the ambitions and strategies of her characters and there are some very funny moments, a sort of “Maltese Falcon” on acid, but ultimately it does not work.

Parents should know that the movie has very strong language, nudity, sexual references and situations, assault, murder, shooting, drinking, smoking, and drug use, in addition to the overall theme of larceny and fraud. Some characters are punished, but some are not.

Families who see this movie should talk about why the money is important to the characters and how they calculate their risks. Movies about crime are always in some sense movies about problem-solving, and it is worth pointing out the way that the characters respond to the initial challenge of figuring out a way to sabotage the lottery and to the subsequent problems that they did not anticipate. Families may also want to talk about why people do and do not obey the law and what the consequences are for themselves and society if they don’t.

Families who enjoy this movie will also enjoy “Fargo,” a darker but more successful comedy about larceny and murder.

Plot: Major Barbara (Wendy Hiller) is a member of a mission devoted to saving souls, and she promotes temperance, non-violence, and socialism. Adolphus Cusins (Rex Harrison), a classics professor, falls in love with her, but before she accepts his proposal, she insists that he must meet her family. He is surprised to find out that she is the daughter of a wealthy industrialist.

Her father, Andrew Undershaft (Robert Morley), a munitions manufacturer, returns to the family after an absence of many years. He tries to convert Barbara to his views by presenting her with an ethical dilemma. Will she accept large contributions to her mission from the makers of munitions and liquor, the very things she opposes? She cannot, and is disillusioned but understanding when her superior accepts the funds, reasoning that despite their source, the money will do some good.

Barbara visits the munitions factory and sees that her father is right about capitalism. It does not mean much when someone accepts her views in order to get food and shelter. But if she can persuade people simply by the force of her ideas, those are converts worth having. Furthermore, she can aid the poor by providing good jobs, good wages, and good benefits. Her father says that being a millionaire is his religion. Christianity is Barbara’s religion, but she will pursue it through capitalism.

Discussion: More directly political than “Pygmalion,” this provides a good opportunity for a discussion of what is now termed “corporate social responsibility,” and the role of the government, the church, and the corporation in meeting society’s needs.

Questions for Kids:

· How socially responsible should corporations be? How should they balance the interests of employees, customers, shareholders, suppliers, and the community?

· Who is in a better position to help society, government, religion, or business? Which kinds of help are each uniquely able to provide?

Connections: Robert Morley, age 32 when this movie was made, was only four years older than the actress who played his daughter. A very young Deborah Kerr appears as Jenny Hill, and Emelyn Williams, author of the autobiographical “The Corn is Green,” appears as Snobby Price. Wendy Hiller, picked by Shaw himself to appear in this movie and “Pygmalion,” also appears in “A Man for All Seasons” and “Murder on the Orient Express.”

Playwright and co-screenwriter Shaw was one of the twentieth century’s most brilliant writers, well known as a dramatist, essayist, critic, and social reformer. He was awarded the Nobel Prize for Literature in 1925. His play, “Pygmalion” (also filmed with Wendy Hiller) became the musical “My Fair Lady.” Among the many pleasures of his work are the superb female characters — strong, intelligent, and principled.

Activities: Teenagers may want to read or even act out some of Shaw’s other plays, including “The Man of Destiny,” “Misalliance,” “Caesar and Cleopatra,” and “Arms and the Man,” and will also enjoy his essays and criticism.

Plot: This is based on the true story of Rocky Dennis (Eric Stoltz), a teenager with a genetic defect that turned his face into a huge “mask” of bone. As the movie begins, Rocky and his mother Rusty (Cher) go to his new school, where the principal tells them Rocky cannot enroll. Rusty pulls out a file of paperwork and the name of her “lawyer”; she has been through this many times before. Rocky is enrolled. Then he is examined by a new doctor, who advises him sympathetically that he cannot expect to live more than three to six months. Rocky and Rusty have heard that before, too; they tell the doctor he has already outlived all previous predictions.

Rocky does very well in school, and the principal suggests that he become a counselor’s aide at a summer camp for the blind. There he meets Diana (Laura Dern) and has his first romance. They have a lovely time together, but her parents disapprove of the relationship.

Back at home, Rocky is getting impatient with Rusty. He is disappointed when she is not able to maintain a relationship with former boyfriend Gar (Sam Elliott), and loses patience with her alcohol and drug abuse. For him, she cleans up. Maybe it is because she knows at some level that he is nearing the end, and she wants him to die knowing that she will be all right.

Discussion: This is not a typical “disease of the week” movie about someone triumphing over adversity. It is a far more complex and moving story about two people who love and care for and about each other. Rusty does not work, lives on the fringes of society, uses drugs and abuses alcohol, and is sexually indiscriminate. Though in other aspects of her life she is completely irresponsible, even dissolute, with Rocky she is the ideal of maternal strength and commitment. And Rocky is a source of strength for her, too, acting almost as her parent, trying to help her do better and (mostly) forgiving her when she fails.

The movie has several exceptionally touching moments. Rocky tries to teach Diana about colors by using her other senses, giving her a frozen rock to touch to feel “blue.” Rocky peers into a funhouse mirror, and gets a glimpse of his features, distorted into what they might have been had he been “normal.” And, moved by Rocky’s academic triumph, a tough-looking biker named “Dozer” (for Bulldozer) reveals the real reason for his silence when he stutters so thickly he can barely get out the words of congratulation. The movie shows us over and over again that it is not about an “abnormal” boy in a normal world, but about a real boy in a world where everyone is different. As he says, “I look weird, but otherwise I’m real normal.”

Rocky has some interesting ways of coping with his problems. He has his version of Pollyanna’s “Glad Game,” using happy memories to help him through hard times. And his mother, who herself uses drugs, helps him manage his headaches without drugs by “talking them away.”

Questions for Kids:

· What do you think of the way that Rocky tries to show Diana what colors look like? If you were going to try to explain colors to a blind person, what would you do? What tastes, smells, touches and sounds would you use to give a blind person the feelings of red, yellow, blue, pink, green?

· Why don’t Diana’s parents want her to see Rocky? Does that surprise you? How do Rocky and Rusty take care of each other? Give some examples. Why is Rusty better at taking care of Rocky than she is at taking care of herself?

· Were you surprised by the tenderness of the bikers? In what way were they like a family?

· In what ways is it harder for Rocky to resolve his feelings of teenage rebellion than it would be for you?

· What do you think will happen to Rusty after the movie ends?

Connections: Families might also like to see actor Eric Stoltz without his “mask,” as John Brooke in “Little Women.” And mature high schoolers may appreciate “The Elephant Man,” another true story of a man with a facial disfigurement who enlarges the understanding and compassion of those who get to know him.

Activities: Teenagers who see this movie might like to try helping out in a facility for the handicapped, as Rocky did at the summer camp.