Rubin “Hurricane” Carter triumphed over a brutal childhood to become a contender for the middleweight boxing championship, through pure determination. Then, wrongfully sentenced to three life terms for murders he did not commit, he used the same discipline, integrity, and ineradicable sense of dignity that served him as a fighter to survive in prison.

Denzel Washington’s dazzling portrayal as Carter makes us see the man’s courage and heart. And the astounding story of chance, loyalty, and dedication that led to his release gives us a chance to see true heroism and redemption.

Carter emerged from his first trumped up prison sentence (for running away from an abusive reformatory) determined to make his past work for him by making sure he would never return. He becomes a powerful boxer by channeling his rage into his fights: “I didn’t even speak English; I spoke hate, and those words were fists.” When his worst nightmare is realized, after a racist policeman coerces witnesses and suppresses evidence, and he is sent back to prison, he turns to that same focus to keep his core self free. He refuses to wear a prison uniform. And he refuses to accept privileges so that nothing can be taken away from him. He says, “My own freedom consisted of not wanting or needing anything of which they could provide me,” and “it is very important to transcend the places that hold us.” He makes a new goal: to “do the time,” meaning to do it his own way. If that requires cutting himself off from anything that makes him feel vulnerable, including his family and everyone else in the world outside the prison, he will. He says, “This place is not one in which humanity can survive — only steel can. Do not weaken me with your love.”

Meanwhile, a boy named Lasra Martin, living in Canada with people who took him in to provide him with an opportunity to get a better education, buys his first book for twenty-five cents. It is Carter’s book written in prison, The Sixteenth Round. Lasra writes his first letter. Carter answers.

They develop a close relationship, and Lasra introduces Carter to his Canadian friends, who become so committed to him that they move to New Jersey, vowing not to leave until he goes with them. They uncover new evidence, the lawyers develop a new theory, and finally, 20 years later, Carter is freed.

The devotion of the Canadians and the lawyers is truly heroic and very moving — the movie gently contrasts them with the celebrities who stopped by long enough to get their photographs taken, and then moved on to other causes. But, contrary to many “victims of racism saved by rightous white people” movie portrayals, the real hero of this story is Carter himself. In his first days in prison, locked in “the hole” for refusing to wear a prison uniform, we see him forging the steel that will keep his essence free, no matter how many locks are on the door. Then, in scenes that are almost unbearably moving, we see that he can still allow himself to hope and to need others. He has protected himself from dispair and bitterness in refusing to be a victim.

Families should talk about the struggles for racial equality in the 1960’s and 1970’s, and about what has and has not changed. And they should talk about the way that Carter keeps his spirit alive, in part by identifying himself with prisoners of conscience like Nelson Mandela and Emile Zola, and by writing, “a weapon more powerful than my fists can ever be.” Teens might want to read Carter’s book or the book Lazarus and Hurricane, which was the basis for the movie. They will also appreciate another dazzling performance by Washington in another tribute to an extraordinary historical figure, Malcolm X.

Jeffrey Wigand (Russell Crowe), a research scientist for a tobacco company, tells “60 Minutes” to reveal that the company is more aware of the addictive properties of nicotine than its executives claimed and in fact manipulated the delivery of nicotine. Lowell Bergman (Al Pacino), a producer of the show, promises to protect him. But CBS executives cut Wigand’s portion from the broadcast because they are worried about a potential lawsuit by the tobacco company.

Although the movie is based on a real-life incident, some of the names and details have been changed.

Wigand and Bergman are caught in parallel moral dilemmas. Both are loyal to their organizations until they witness what they perceive as acts of corruption. Both respond by making their stories public, resulting in struggle and sacrifice. The question is not one of disloyalty, but of conflicting loyalties. Wigand knows that telling the truth will hurt him and his family more than it hurts the tobacco company.

Families should be sure to discuss the point of view of the movie. Director/co-screenwriter Michael Mann very skillfully makes every shot and every note of the soundtrack help shape the story so that the viewer sees Bergman’s perspective. (One hint: the Bergman character is unerringly fair and honest.)

Families should discuss how the would movie be different if it was told from Wigand’s, Wallace’s, or the tobacco company’s point of view. And they should take a look at the tobacco company’s rebuttals to the movie, in full-page ads and on its website http://www.brownandwilliamson.com/1_hottopics/insider_frame.html.

It draws a lot from E.T.: The Extra-terrestrial, The Indian in the Cupboard, and, for that matter, from Lassie, but this story of a boy who befriends an enormous robot from outer space is told with so much humor and heart that it becomes utterly winning in its own right, and the best family movie of the summer.

The story is set in rural Maine, during the late 1950’s. Nine-year-old Hogarth Hughes (voice of Eli Marienthal) lives with his waitress mother, Annie(voice of Jennifer Aniston). One night, he discovers a huge robot in the woods, munching on whatever metal he can find, including the town’s electric substation. Hogarth is frightened, but takes pity when the robot is enmeshed in wires, and turns off the power so that the robot can escape.

The next day, Hogarth and the robot begin to get acquainted. The robot turns out to be the world’s best playmate, whether cannonballing into the swimming hole or acting as a sort of amusement park ride. His origins remain mysterious — the robot himself seems to have some memory loss — but his reaction to Hogarth’s toy ray gun suggests that he may have served as a weapon of some kind.

With the help of local beatnick/junk dealer/sculptor Dean McCoppin (voice of Harry Connick, Jr.), Hogarth hides the robot in Dean’s junkyard, where he can eat the scrap metal without attracting attention. But government investigator Kent Mansley (voice of Christopher McDonald) thinks that the giant is part of a communist plot, and presses Hogarth to turn him in. Mansley calls in the army, led by General Rogard (voiced by “Frasier’s” John Mahoney), and suddenly the robot and the surrounding community are in real danger. The resolution is genuinely poignant and satisfying.

The script, based on a book by England’s poet laureate, Ted Hughes, is exceptionally good. The plot has some clever twists, and some sly references to the 1950’s to tickle the memories of boomer parents. Setting the story in the 1950’s puts the government’s reaction to the robot in the context of the red scare and Sputnik (Hogarth and his classmates watch a “duck and cover” instructional movie at school).

It may not have the breathtaking vistas of some of the best Disney animated films, but it is lively and heartwarming and the characters, both human and robot, are so engaging that you might forget they are not real. The robot, created with computer graphics, is seamlessly included with the hand-drawn actors, making the illusion even more complete.

Parents should know that there are some tense moments that may be frightening to young children. There are also some swear words and some potty humor in the film, and parents should caution children that it is not funny to feed someone a laxative disguised as chocolate.

This movie provides a lot of good topics for discussion, including the role of violence and guns (the robot is very upset when a deer is killed by hunters and it automatically shoots back when it sees Hogarth’s toy gun) and how society can find a way to protect itself without creating unnecessary harm. Other good topics include how we make friends with those who are different and Hogarth’s advice to the robot that he can decide what he will be, no matter how he was created.

Video tips: Kids who enjoy this movie will like perennial favorite “E.T” and may also enjoy another movie about an outer-space robot who tries to teach humans about peace, The Day the Earth Stood Still.

Don’t waste your time on this animated version — rent the classic version with Yul Brynner and Deborah Kerr instead. Some of the classic Rodgers and Hammerstein songs remain, but second-rate animation and massive plot changes (mostly of the dumbing-down variety) remove most of the value.

It’s more than 20 years since the “all for one and one for all” days and the Three Musketeers and their friend D’Artagnan (Gabriel Byrne) have gone their separate ways. Athos (John Malkovich) is a loving father to his son, Raoul, himself a Musketeer, Artemis (Jeremy Irons) is a priest, and Porthos (Gerard Depardieu) is something of a libertine. Only D’Artagnan is still in service to the cruel and selfish young king, forever loyal to the crown, if not the man who wears it, and to his own true love, the king’s mother.

A mysterious prisoner in an iron mask turns out to be the king’s identical twin brother, and the original Musketeers free him so they can substitute him for the king, whose subjects are rioting in the streets to protest his neglect and abuse. The result is a respectable — if slow-moving — swashbuckler with teen idol Leonardo DiCaprio appearing as the twins. With double the roles he plays in “Titanic” and some good swordfighting scenes, this will have strong appeal for boys and girls in the 8-16 range. Parents should know, however, that there is coarse language, overheard sex, suggested group sex, and a young woman who kills herself when she finds out that the king deliberately caused the death of her beloved (Athos’ son Raoul) so that he could seduce her. Families who do see the movie should take the opportunity to talk about some of the issues of conflicts and loyalty it raises. Families may also want to share the delightful 1974 Richard Lester version of “The Three Musketeers.”