In “A Star is Born,” Kris Kristofferson sings a song that begins, “Are you a figment of my imagination or am I a figment of yours?” This is the theme of “Matrix,” heavy on special effects, striking visuals, and brooding paranoia, but light on plot, dialogue, character and even coherence. In other words, it is the ideal movie for the kind of teenager who wishes that video games could come to life.

Though rated R for violence (zillions of guns and explosions and some some pretty gross moments, including an icky bug that enters the hero’s body through his belly button) and language, most teens 14 and up who are begging to see it should be able to handle it without a problem.

Keanu Reeves plays a computer programmer with a sideline as a hacker who gets mysterious messages that lead him to Morpheus (Laurence Fishburne), leader of a rag-tag group that lives aboard a rocket-style craft. It turns out that it is not 1999 but somewhere around a hundred years into the future. All of humanity has been turned into a source of energy to keep machines “alive” by what Morpheus describes as “a computer generated dream world built to keep us under control.” The Matrix is a massive computer program that has the humans believing that they are still living in a world that has been destroyed. Morpheus believes that Neo is “the one” who can retake the world for the humans. Special agents, led by Smith (Hugo Weaving) seek out Morpheus and his followers, to destroy them.

This movie became a pheneomenon and a cultural touchstone because of its then-revolutionary special effects, especially the “bullet time” effect that quickly became an icon and then a subject for parody (the best example is in “Shrek”). But just as important in the success of the movie is the way it addresses the nagging feeling everyone (but especially adolescents) have about whether we are truly aware of the “real” reality. It also addresses the question of destiny vs. choice. The visuals are stunning and the action sequences are electrifying, but for me the most intriguing and intelligent scene in the movie is Neo’s quiet conversation about fate with a woman who is taking some cookies out of the oven.

The movie can lead to some interesting discussions about the relationship between humans and machines, and why Smith says that the first Matrix program, creating the perception of a utopia-like society, was unacceptable to the humans. Their attempt to keep the humans compliant through happiness did not work, so they had to try again with the past “reality” of a stress-filled world. There are also issues of destiny versus free will and loyalty versus self-interest. What did Morpheus mean when he said, “Fate, it seems, is not without a sense of irony?” Is it possible that humans could create machines that would “decide” to take over? What do the names “Morpheus,” “Trinity,” and “Neo” signify? Most important, would you choose the red pill or the blue pill, and how do we make that choice in our “real” lives? Parents should think about raising the issue of violence in movies, and the impact it has on viewers, especially impressionable or disaffected ones, as well.

Families who enjoy this movie will also enjoy both “Terminator” movies and “Blade Runner.”

Max (Eldon Henson), a huge boy who has flunked 7th grade twice and Kevin (Kieran Culkin), a tiny disabled boy, help each other in this moving story of the power of friendship and imagination. Inspired by stories of King Arthur’s knights, they live by a code of chivalry and honor that leads them into adventures, some enlightening, some dangerous.

At first, each completes the other, Kevin telling Max what to do as he rides on Max’s strong shoulders. But Kevin ultimately helps Max learn to think for himself, and Max helps Kevin come to terms with his limitations by showing him what he has accomplished.

This is a good movie to initiate a talk with middle schoolers about the way that all 7th graders feel like outcasts at times, and how what Max learns from Kevin makes it possible for him to survive a terrible family history and an abusive father. Kids may also want to read the book, Freak The Mighty by Rodman Philbrick.

This delightful remake of the Hayley Mills classic stars Lindsay Lohan as both Hallie and Annie, twin girls separated at birth, who meet up at summer camp and decide to switch places. Lohan is utterly adorable and does a masterful job of creating two separate characters, each of whom spends a large part of the movie impersonating the other. Their father, Nick (Dennis Quaid), owns a vinyard, and their mother Elizabeth (Natasha Richardson) designs wedding gowns. Meredith, the scheming girlfriend who hopes to marry their father for his money (Elaine Hendrix) has this year’s bad guy profession: publicist.

Parents may want to reassure their kids — one child who saw it with me was distressed that the parents had split up the twins and made no attempt to see the child they gave up. Divorced parents should make sure their children have no illusions of a reconciliation, and all parents should make sure that while it may be charming for the children in the movie to manipulate their parents, it is not appropriate for real life. Other parental concerns include Elizabeth’s getting drunk (portrayed as funny) because of her nervousness at seeing Nick again, and a truly grisly scene where one twin pierces the other’s ears. There is also a poker game bet which ends with a child jumping in the lake without any clothes. Children who enjoy this version will get a kick out of comparing it to the original. Make sure that they notice Joanna Barnes, who plays Vicki (the fiancee) in the original, playing Vicki (the fiancee’s mother) in the remake.

Dreamworks SKG’s first animated feature is a respectful retelling of the story of Moses, from the time he was found in the bullrushes and adopted by the Pharoh to the time he led the Hebrews out of Egypt to freedom. Presided over by former Disney-ite Jeffrey Katzenberg (“The Lion King”) the movie has some astonishing visual effects, particularly a chariot race that rivals “Ben Hur” and the parting of the Red Sea. The movie takes some liberties with the story, with Moses (voice of Val Kilmer) and Ramses (voice of Ralph Feinnes) raised as brothers who love each other deeply. But Moses learns that he was born a slave. More important, he learns that the man he loves and respects as his father, the Pharoh Seti (voice of Patrick Stewart), once ordered the murder of the slave babies. Struggling with his new understanding, he impulsively pushes aside a guard who is beating a slave, and the guard falls to his death. Ramses promises to pardon him, but Moses runs away.

He lives peacefully with nomads, marrying the spirited Tzipporah (voice of Michelle Pfeiffer), until he receives a message from God, telling him that he must return to Egypt and free the slaves. Ramses, by now Pharoh, is at first happy to see him, but refuses to grant his plea to “let my people go.” Felled by plagues that include locusts, boils, frogs, and, finally, the death of the first-born children, he finally agrees. But just as Moses is leading the Hebrews through the parted Red Sea, Ramses arrives with his army. The Red Sea closes over them, and Moses and his people are free.

This story, central to three great world religions, should be familiar to most children. The film-makers have done a good job of making it exciting and vivid while still being careful not to offend anyone. The musical numbers are largely forgettable, but the characters and the story remain compelling. Ramses, loving Moses, but terrified of being responsible for the end of a dynasty, is, if not a sympathetic character, a flawed but understandable one. Miriam and Tzipporah are strong, intelligent female characters. The themes of taking responsibility and the importance of freedom are well worth discussing. Families may wish to take a look at the web site to download one of the study guides developed by representatives of different religions.

Fans of the television series will be happily at home with this movie, which takes its toddler heroes through two terrifying adventures — getting lost in the woods and having to share parents with a new baby. The children around me at the theater laughed joyously at the potty humor and only a couple of them seemed concerned by the drooling wolf, mischevious monkeys, or the other perils the children face as they try to find their way back home. Their parents smiled at a couple of sly jokes, the use of voice talents like David Spade, Busta Rhymes, and Whoopi Goldberg, and that failsafe bolster of flagging parental attention, baby boomer-friendly music. The Rugrats’ trademark “kid-cam” use of floor- level perspective provides a few bright moments, and the kids’ efforts to understand the world around them are occasionally fresh and funny. The movie is not much more than a long version of the television show, but for many in its targeted audience, that is just fine. Parents may use Tommy’s concerns about his new baby brother Dylan to talk about children’s fears of displacement and how Tommy, though frustrated, cares for his brother when they are lost. They should also be sensitive to any signs that children are scared when the babies are separated from their parents, though most will be very reassured by the way the Rugrats cooperate and (usually) support each other.