The latest film by writer/director/actor Albert Brooks has him portraying Steven Phillips, a Hollywood screenwriter who is let go by the studio when a young, arrogant executive tells him he has lost his “edge.” On the advice of a friend, he seeks inspiration from a muse (Sharon Stone), the daughter of Zeus, who now lives in Los Angeles under the name “Sarah.”

Sarah does indeed work miracles for Steven, inspiring him to write a successful script. But Sarah is demanding. She insists on lavish gifts and constant attention. And she is frustrating. Steven wants her full- time dedication, but she is busy inspiring his wife to start a cookie business and “Titanic” writer/director James Cameron to make something other than a sequel.

The satire and Hollywood in-jokes will have little appeal to kids, but Stone’s performance as the ravishing, maddening, and truly inspiring muse is wildly funny and can lead to family discussions about art and about relationships. Kids may also want to look up the mythological muses and talk about the costs and benefits of being inspired. Parents should note that there is some suggestion that Sarah is mentally ill, but this is intentionally left vague enough so that each viewer can decide if she really is a muse after all.

This movie is what I call a “soft R,” the rating based on limited bad language and violence, but not really unsuitable for younger kids. Will Smith stars as Bobby Dean, a successful Washington lawyer, who in true thriller fashion is inadvertantly drawn into a paranoid nightmare. An old acquaintence on the run from the CIA drops a computer disk into Dean’s Christmas packages just before he is killed. Dean does not know that he has the disk, much less that the disk proves that CIA operatives killed a senator (an unbilled Jason Robards) because he opposed their plans to expand surveillance. The head of a rogue operation within the CIA (current default bad guy Jon Voight) goes after Dean, who quickly loses his job and his wife, who leaves him after she learns that he has been seeing an old girlfriend. Every aspect of Dean’s life is scrutinized by the CIA and the chase scenes are very exciting, showing their ability to track every move he makes with the use of technology from satillites to to phone logs to tiny tracers in his clothes. Parents should know that there are four-letter words, references to infidelity, and bloody scenes, but fewer than in most R movies. Families may want to talk about the issues raised by balancing the right to privacy with the need for protection.

A heist film is one of Hollywood’s most reliable plots. “Entrapment” has caught the look and feel but not the heart of classics like “Topkapi” and “To Catch a Thief.” Sean Connery plays “Mac” MacDougal, a dashing (if somewhat creaky) thief who cannot help responding to a challenge. Catherine Zeta Jones plays insurance investigator Virginia “Gin” Baker, who is out to trap him – or is she? Connery, who also co-produced, delivers the goods in true movie star fashion, making wooden dialogue seem deliciously roguish, and Zeta Jones has appealing grace and spirit as well as breathtaking beauty. Three separate heist scenes are fresh and stylish. There are some cool gadgets. But the plot has holes that leave you walking out of the theater saying, “Hey, wait a minute.” The characters never create any real chemistry with each other, in part because he is decades older than she is. Worse, they never create any chemistry with us. There is something a little chilling about characters who steal without any consideration whatsoever for the impact on others. In some heist films, the characters gain our sympathy by stealing from someone who stole the money in the first place (“The Sting,” “$,”) or in order to protect someone (“How to Steal a Million”). But in “Entrapment,” they seem to be doing it for no particular reason other than a sort of Everest-like “because it’s there.”

Parents should know that there is some relatively discreet nudity, the usual swear words, and brief drug use. Families may enjoy talking about the challenge of making the audience root for a thief. And they may want to watch some of the classics listed above that inspired this one. Heist movies are terrific examples of problem solving, as they lay out exactly what the obstacles are, come up with strategies to address each one, and then, as Mac points out, come up with back-up strategies for the inevitable problems and mistakes.

The poster says, “She brought a small town to its feet and a huge company to its knees.” So we know where it’s all going, and just settle back to enjoy the ride. And an enjoyable ride it is, too.

The guy who deserves next year’s best acting Oscar is the actor who has the impossible job of playing a doctor who is interviewing single mother Erin Brockovich (Julia Roberts) for a job and is not utterly charmed by her. The audience has no such obligation, and we lose our hearts immediately.

Erin leaves that interview, climbs into her crummy car, and gets slammed into by another doctor. When she loses her lawsuit against him, she forces the lawyer who represented her to give her a job (Albert Finney as Ed Masry). No one wants her there, and no one likes her because she has a big mouth and wears trashy clothes. But she is curious and tenacious. She gets interested in a real estate file that includes medical records, and she goes off to investigate.

It turns out that the community of Hinkley has been poisoned by hexavent chromium, leaching into the drinking water from a PG&E plant. Erin is able to gain the trust of the community and help Ed put together a case that would win the largest direct claim settlement in American history.

Julia Roberts keeps getting better and better, more luminous, and at the same time more vulnerable and more in control. She plays Erin as a woman who never stopped believing in herself and yet is deeply touched when others believe in her, too. She understands the way the people in Hinkley feel, mistrustful of lawyers and overwhelmed by the odds. She understands that “people want to tell their stories.” And she has enough confidence in herself to know that, while she might not have been able to keep her beauty queen promise of ending world hunger, this is a promise she can keep.

She understands, too, that there will be costs. A romance with a loving biker/nanny (George, played by Aaron Eckhart, who makes that combination endearingly believable) and her relationships with her children are threatened by her devotion to the case. In a heartbreaking scene, she is driving back home after a hard day and George tells her that her baby spoke her first word. Erin is overjoyed at the news and devastated to have missed it. The look in her eyes as George tells her all about it is complex, rich, perfect.

And there are many “Rocky”/”Norma Rae”-style feel-good moments, like when PG&E’s first lawyer, looking like a high school debate club president, tries to bully Erin and Ed, and when Erin uses everything from her cleavage to her baby to get access to the records she needs.

Parents should know that the movie’s R rating comes from very strong language and some sexual references (Erin jokes that she got the cooperation of the town’s residents by performing sexual favors). And no matter how high the settlement, the fact remains that children and their families were made terribly ill, and no amount of money will make up for that.

Families who watch this movie should talk about why it is that Erin is able to connect with the residents of Hinkley, why she is reluctant to accept help from anyone, and the importance of not judging people based on their appearance. They may also want to talk about the issue of corporate responsibility. No one at PG&E wanted anyone to get hurt. How do problems like lack of accountability arise?

Families who enjoy this movie will also enjoy Sally Fields’ Oscar-winning performance in “Norma Rae.”

Drew Barrymore plays Danielle, according to her great-great-great grand- daughter the real inspiration for the story of Cinderella. Just as in the classic fairy tale, Danielle lives with her mean step-mother and step- sisters, after the death of her beloved father. They force her to do all the work. She meets the prince, goes to the ball wearing glass slippers, and runs away before midnight. But there are some big differences. No pumpkin coach, no fairy godmother, and no bibbity-bobbity-boo. This heroine is not meekly obedient. She stays on because she wants to take care of her home and the people who work there, because it makes her feel close to her father, and because she still hopes that somehow she will find approval from the only mother she has ever known.

The step-mother, played by Anjelica Houston in her most evil “The Witches” mode, is not going to give it to her. She tells Danielle that she sees her as a pebble in her shoe. All she cares about is making sure that the prince chooses her elder daughter, Marguerite (Megan Dodd), as his bride. She is willing to lie, cheat, and steal to make it happen.

Meanwhile, the Prince (Dougray Scott) is not quite Charming. He appears arrogant, but is really just lonely and aimless. His parents want him to marry the princess of Spain, to cement a strategic alliance, but he wants to fall in love. He meets Danielle when she is in disguise as a courtier, to rescue a family servant sold by her step-mother to pay her debts, and he is very taken by Danielle’s passion and intellect.

The stepmother finds out about their relationship, and does her best to thwart it. When the prince finds out that Danielle is not really of noble birth, he is furious, at first. But it all ends happily ever after, even without a fairy godmother (though with a little help from Leonardo da Vinci).

Sumptuously filmed at medieval castles and chateaux, with gorgeous costumes, this is is a pleasure for the eye as well as the spirit. Danielle is a very modern heroine, smart, brave, honest, and able to save her prince as well as herself, if necessary. The script is clever (though wildly anachronistic in places), and while the accents come and go (and why do French characters speak with English accents, anyway?), the performances are excellent, with particularly engaging turns by Melanie Lynskey as the sympathetic younger step-sister and Judy Parfitt as the queen. It is one of the most delightful family movies of the year, maybe of all time.

Parents should note that some profanity in the theatrical release has been removed to secure a PG rating for the video, but there is still one expletive. There is some action violence, and a sad onscreen death. The plot may be a challenge to younger children, especially those expecting the story they know, so it is a good idea to prepare them, which can lead to a good discussion of different versions and points of view. Older children will enjoy Ella, Enchanted, by Gail Carson Levine, a different modern retelling of the Cinderella story. And everyone should see the more traditional versions, especially the wonderful Disney cartoon and the Rogers and Hammerstein musical starring Lesley Anne Warren in the original and Brandy and Whitney Houston in the remake.