Disney’s live-action remake of the classic animated film that was a turning point marking the revitalization of Disney’s legendary animation division invites us to once again, be part of the world of mermaid Ariel (pop duet singer Halle Bailey) and Prince Eric (Jonah Hauer-King). As in the original film, the couple at the center are both a bit bland, and therefore perhaps the better question is whether we want to be part of the world of sea witch Ursula (Melissa McCarthy) and Ariel’s sidekicks, Scuttle (Awkwafina), Flounder (Jacob Trembley), and Sebastian (Daveed Diggs), the classic songs with some additions from “Hamilton’s” Lin-Manuel Miranda, and the visuals from cinematographer Dion Beebe, working with his “Chicago” collaborator, director Rob Marshall. The easy answer to that question is yes.

Again, it is a romanticized, happily-ever-after version of the fairy tale by Hans Christian Andersen, the one so central to the Danish identity that it inspired the iconic statue in Copenhagen. In both of the Disney versions, Ariel is a rebellious teenager, the daughter of King Triton (Javier Bardem), who tells her than humans are evil and orders her to stay under water.

Eric, the adopted son of the widowed queen (a wonderfully regal Noma Dumezweni) is also ordered to stay away from the “other” world. Even before they meet, we see that he and Ariel have an adventurous spirit and core values of optimism, inclusion, and progressive views about the need to adapt to change in common.

Eric is my favorite Disney prince because, especially in the animated version, he is a little more off-beat than the usual stalwart, swashbuckling heroes. In his first scene, at sea, he shows us that he is not a snob and that he not only brings his dog on board, he risks his life to run through fire to save him. And then Ariel, who has been watching, saves both dog and prince from drowning. After a glimpse at the rescue, Ariel and Eric long to be together again, and that is when Ariel makes her fateful bargain with the sea witch.

Parts of this movie are truly enchanting, especially the underwater scenes. The opening moments on Prince Eric’s ship are thrillingly filmed and the “Under the Sea” number is a glorious Busby Berkeley underwater fantasia. A new number for Awkwafina from Lin-Manuel Miranda is a total banger. Some of the gentle updates to give Ariel more agency and the cast more diverse work well, and Colleen Atwood’s costumes are gorgeous. Other parts do not work as well. The ending is clumsy and drags on too long. The movie would be better with a 15 or 20 minutes shorter run time. But its best moments make us want to be part of Ariel’s world.

Parents should know that this film has some peril and scary moments including a fire on a sinking ship and a monstrous character.

Family discussion: Why do the Queen and King Triton fear going outside of their own communities? What will Eric and Ariel find? Which song is your favorite?

If you like this, try: the animated version, and the music of Chloe x Halle (note: some has mature language)

I’d love to talk to the person whose job is Googling or visiting some of the world’s iconic locations and then imagining how they can be trashed with car chases and explosions. Ten movies in (with apparently at least two more to go), the “Fast and Furious” series that began with a comparatively modest story about street racing has morphed into one of the most successful film franchises of all time, with a complicated trajectory and a lot of characters going undercover to chase Mcguffins for the CIA, but never wasting much time on whether the plot or the physics make sense. As a character says, “If it violates the laws of God and gravity, they did it twice.”

Next to the chases and explosions, the most creative part of the series was stripping down the original title, “The Fast and the Furious,” so that now part one of what is supposed to be the final saga is simply “Fast X.” They have to stop now, or the only title they will be able to use is just “FF.”

In order of importance to the filmmakers and the audience:

1. Let’s literally cut to the chase, or chases. Many, many chases and races. Many fabulous locations including Rome and Portugal. Bridges, helicopters, Much hitting and smashing through various barriers, some amphibious many ticking remote controlled bombs, one gigantic bomb sphere that looks like the rock that chased Indiana Jones in the first film crossed with the Death Star. Lots of fight scenes including two of the toughest women in film: Michelle Rodriguez as Letty and Charlize Theron as former and perhaps future supervillain Cipher, who shows up on Dom’s doorstep because “the enemy of my enemy….”

2. With so much star power on the side of Dom Toretto (Vin Diesel, occasionally adding slight movement to the one basic facial expression that signifies approval and determination), the villain in these movies has to be not just over the top but over the top of the top, doing a triple gainer, and then coming down to the top of the top again. Jason Momoa does all of this and more as the most completely bats times coo coo-bananas bad guy since Jack Nicholson as the Joker in “Batman,” with a touch of Jim Carrey as the Riddler and Heath Ledger as the Joker added for spice. Anyone remember the villain from #5? Anyone? It was Brazilian drug dealer Herman Reyes (Joaquim de Almeida), who was killed at the end of that film. We get a retcon flashback here to learn that Reyes had a son named Dante, and that he importantly told Dante that killing opponents was not as important as torturing them by hurting those they love. Dom loves a lot of people. More than racing cars, his sense of himself is entirely based on his ability to keep them safe. As they say, this time it’s personal. Dante is the most dangerous of all because he has no normal bad guy goal like making money or amassing power. He just wants to destroy people and for that he cannot be intimidated, redirected, or persuaded.

3. The fans will enjoy many, many references and callbacks to the earlier films including everyone making fun of Roman (Tyrese Gibson) for not being very smart or super-good at anything There are also knowing winks at some of the film’s conventions, like those in law enforcement who initially come after Dom’s found family for breaking the law ending up on his side (Brian, Elena, Jacob), and many nods to the past nine films like nitrous oxide push, the return of various characters (Han/Deckard remix), the re-appearance of the “God’s Eye” (the ultimate McGuffin) and, a deeper cut, computer whiz Ramsey suddenly knowing about cars. There’s also something that almost rises to the level of a theme of children, including adult children, trying to please or carry on the work of their fathers, including Dante, Dom’s son “Little B” (for Brian, played in the earlier films by the late Paul Walker), and Brie Larson as the daughter of the mysterious spy Mr. Nobody, played in the earlier films by Kurt Russell but not in this one — I predict that he will be back in part 2.

4. Stakes: The very qualities that make Momoa’s Dante a great movie villain ramps up the stakes in a way that some viewers may find uncomfortably, even distractingly, transcends the genre. Usually, in these films, the McGuffin concept is quickly explained as something critical our team needs to get away from the bad guys and then we’re on to the chase and explosions and jokes about Roman. And the bad guy usually wants something evil but rational, like money or world domination or revenge. But, as they say, “this time it’s personal.” When the villain is just in it to mess with everyone, to make things as emotionally devastating as possible, even the paper-thin characters, only slightly more fleshed out than the thingamabob everyone’s chasing after, we can’t help making an emotional connection that may interfere with the fun of the race and chase scenes.

5. There’s a surprise cameo I won’t spoil. And I don’t think anyone anticipated this one: “Fast X” features four Oscar winners, Brie Larson, Dame Helen Mirren, Rita Moreno, and Charlize Theron, bringing their A game as always. I could happily see a whole movie about any of their characters and the way things are going, that just might happen.

Parents should know that this film includes non-stop peril, action, and violence with many (mostly faceless) unnamed characters injured and killed and large-scale mayhem with crashed cars, bombs, fire, and explosions. Characters use strong language (including a child), drink alcohol, and briefly use drugs.

Family discussion: How do Dom’s, Little B’s, Tess’s, and Dante’s relationships with their fathers affect their life choices? Should Dom have let Roman lead the group? Who would you pick for your found family?

If you like this, try: the entire “Fast and Furious” series

We used to get movies about knights, cowboys, soldiers, usually with a lot of highly simplified clarity about the good guys and the bad guys. These were exciting in and of themselves, but they were also origin stories, those foundational, profound, and defining sagas that tell us who we are: the descendants of courageous people who triumphed over evil. many of the best had some depth and complexity. It is not necessary to abandon moral clarity to the point of “both sides-ism,” but to be honest and meaningful the stories should recognize the losses, the compromises, and the consequences of conflict.

Our recent cinematic origin stories look back at our most recent history with heroes in boardrooms, not battlefields. Instead of jousting with lances or dropping bombs from airplanes we have people typing code on keyboards and making presentations in bespoke suits. The hero of the “Tetris” movie is not the man who created the game; it’s the man who sold the game. Michael Jorden, one of the greatest athletes in history, barely makes an appearance in “Air,” the movie that mentions his extraordinary ability but makes as its central characters the men who made the deal to sell his branded sneakers. The upcoming “Flaming’ Hot” is the underdog story of the janitor who came up with the idea of extra-spicy Cheetos. And “Blackberry” is the rise-and-fall cautionary tale of the mismatched pair, the genius engineer and the Harvard-educated business powerhouse who joined forces to create a transformational new technology that ruled the world — until it was overtaken by another transformational technology. “Flamin’ Hot,” coming soon, is the origin story(ish) of a popular spicy snack. Maybe some day they’ll make a movie about the Betamax.

Mike Lazaridis (Jay Bảruchel) and Doug Freigen (played by writer-director Matt Johnson) make an inept pitch to executive Jim Balsillie (“It’s Always Sunny in Philadelphia’s” Glenn Howerton) and he tosses them out. But when he is fired, he remembers something they said. Lazaridis quoted his high school shop teacher: “The person who puts the computer inside the phone will change the world.”

He makes a proposal to the young entrepreneurs — he wants to be the CEO and have 50 percent of the stock. Lazaridis is willing but Freigen is not.  They think they’re in good shape because they have a lucrative deal for modems already. But engineers are better with soldering guns than PowerPoint, and they realize they need each other.

There are a lot of vivid, telling details in the film. When we first see Lazaridis, he is so bothered by a hissing sound of a machine in the office of someone he has not even met that he cannot help opening it up to fix it. That moment ties in very well with the movie’s conclusion. When Lazaridis and his team have just one night to produce a sample, they race through a store to pick up the components, including an early children’s Speak and Spell toy (like “ET”), creating a sort of Franken-phone. We see the difference between the engineers’ faith that if they build it everyone will want one and the marketing expert’s understanding that what sells new technology is not the functionality but the prestige, and especially the FOMO.

We know when the engineer and the MBA have a conflict early on: Balsillie says “Perfect is the enemy of good enough” and Lazaridis replies, “Good enough is the enemy of humanity,” we’re going to see that come back at them. And before it happens, we know that Lazaridis, with his hippie friend in the headband and the nerdy engineers who goof off and watch movies on one side and the demands of a suddenly mammoth company with huge technical and operational demands on the other will have to make some painful choices. Some will be the right ones, if the priority is the business over the friendships and the “perfect.” Some will be the wrong ones with the biggest conflict not within Blackberry but between his idea about what people want and Steve Jobs’ idea when he introduces the iPhone — no buttons! open source apps!  Coolness (again prestige).

Bảruchel plays a very different character than the slacker-ish but endearing roles we’ve mostly seen before. He does a good job of conveying the prematurely gray Lazaridis in the early years as someone who is passionate about his work but uncomfortable talking to people instead of tinkering with technology, and then showing us the more polished version years later. We do not know all of the turning points where he was forced to compromise on issues he had previously considered non-negotiable, but we can see what those compromises, or, as Balsille says, sacrifices have done to him. And Howerton is on fire as Balsille. We can see in his posture and in every gesture the fury that fuels him.

This is not the kind of movie that is going to give you glimpses into the private lives of the characters. While we get a glimpse of one character’s conflicts when he is trying to buy a different business at the same time he needs to be at a crucial Blackberry meeting, we never find out if they have families. This is a rare movie about top-level achievers without a scene of loved ones complaining that they don’t get enough time. This is a story about business, but it is also very much in the classic mold because it is about passion, innovation, and hubris.

Parents should know that this film has constant very strong language, along with some tense confrontations and breaking the law.

Family discussion: What kinds of sacrifice are necessary for greatness? How did Mike change? What will be the next disruptive technology?

If you like this, try: “The Social Network,” “Steve Jobs,” and “Tetris”

The movies have given us warm, loving, mothers, evil, abusive mothers, even alien mothers. Some of my favorites are featured in my book, 50 Must-See Movies: Mothers, including these. The book will be free on Amazon all weekend.

Claudia Before they went on to co-star in the luminous romance, “The Enchanted Cottage,” Dorothy McGuire and Robert Young played a young married couple in this sweet neglected gem based on the books by Rose Franken.  Claudia and David love each other very much and he finds her innocence very appealing.  But her immaturity leads to many problems.  A neighbor thinks Claudia is flirting with him and without consulting David she impulsively decides to sell their farm.  And she is very dependent on the loving mother she adores but takes for granted.  Claudia’s is about to face two of life’s most demanding challenges – her mother is dying and Claudia and David are going to become parents themselves.  So Claudia’s mother has to find a way to help Claudia grow up.  Watch for: a rare film appearance by the exquisite Broadway star Ina Claire as Claudia’s mother

Guess Who’s Coming for Dinner There are two great mothers in this talky, dated, but still endearing “issue movie” about inter-racial marriage from 1967.  Katharine Hepburn’s real-life niece Katharine Houghton plays her daughter and what Houghton lacks in screen presence and acting experience is less important than the genuine connection and palpable affection between the two of them.  The question may seem quaint now, but as filming was underway, inter-racial marriage was still illegal in 17 states.  The Supreme Court ruled those laws unconstitutional that same year.  Hepburn is electrifying in what she knew would be her final film with her most frequent co-star and real-life great love, Spencer Tracy.  And the distinguished actress Beah Richards is brilliant as the mother of a son who says his father thinks of himself as a “colored man,” while he just thinks of himself as a man.  Watch for: Hepburn’s expression as her daughter describes falling in love

Claudine Diahann Carroll was nominated for an Oscar for her performance as a single mother in this ground-breaking 1974 film, one of the first to portray a domestic employee as a real person with her own home and family, and one of the first to provide an honest look at the perverse incentives of the “Great Society” welfare programs.  Claudine is the mother of six who has to keep her work as a housekeeper and her relationship with a genial garbage worker (James Earl Jones) a secret from the social worker because they put at risk the payments she needs for her children.  Watch for: the very romantic bathtub scene

Dear Frankie Emily Mortimer plays Lizzie, the divorced mother of a young deaf son in this heartwarming story set in Scotland.  She is devoted and very protective.  She does not want him to know the truth about his abusive father (the source of his deafness), so she tells him that his father is a merchant seaman.  The letters he receives from all the ports of call full of details about all the places he has been are really written by Lizzie. When the ship comes to their town, she has to find someone to pretend to be his father.  Watch for: Lizzie’s explanation of the reason she writes to Frankie —  “because it’s the only way I can hear his voice”

Imitation of Life This melodrama about two single mothers, one white and one black, who join forces has been filmed twice and both are worth seeing.  The best remembered is the glossy, glamorous 1959 version with Lana Turner and Juanita Moore.  Lora (Turner) and Annie (Moore) are brought together by their daughters, who meet at Coney Island.  Lora, a struggling actress, needs someone to help look after her daughter and Annie needs a job and a place to live.  Annie moves in to be the housekeeper/nanny.  She and Lora have a strong, supportive friendship, though Lora and both girls take Annie for granted.  As the girls grow up, Lora’s daughter is resentful of the time her mother spends on her career and Annie’s daughter resents the racism she confronts even though her skin is so light she can pass for white.  Watch for: the most elaborate funeral scene ever put on film, with a sobbing apology from Annie’s daughter (Susan Kohner)

National Velvet Anne Revere played three of the all-time great movie mothers, in “Gentleman’s Agreement,” “Body and Soul,” and my all-time favorite movie mom, “National Velvet.” Her scene with Elizabeth Taylor, when she gives her daughter the money to enter her horse in the big race, is the essence of the love and support we get from great moms. Watch for: the end, when the parents call each other by their first names for the first time in the film.

Please Don’t Eat the Daisies Doris Day stars in this film loosely based on Jean Kerr’s hilarious essays about life as Kate, the wife of a theater critic (David Niven) and mother of four rambunctious boys.  While most of the film’s focus is on the marital strains caused by her husband’s new job and the family’s new home, the scenes of Kate’s interactions with her children are among the highlights.  It is clear that while she tries to be understated about her affection and sometimes frustration, she adores them.  Watch for: Kate’s affectionate interactions with her own mother, played by Spring Byington

I guess it makes sense. Not the movie. Not even close. But the form = content notion that “Guardians of the Galaxy Vol. 3,” the third in the series, is, like its characters a mess but a lovable and entertaining mess. By now it feels like it’s our mess. So, even though I couldn’t help imagining what Honest Trailers and Pitch Meeting are going to have so say about the very convoluted to the point of you’ve-got-to-be-kidding last 40 minutes or so and it’s well over two hours run time, I enjoyed it.

We already know something about the history of some of the characters. Peter Quill/Star Lord (Chris Pratt) had an earth mother and an alien father and was taken from earth at age 8 by an intergalactic group of rogues and thieves called The Ravagers. Gamora (Zoe Saldana) and Nebula (Karen Gillan) were stolen from their families when their planets were annihilated by Thanos and then tortured and mutilated to turn them into assassins. But we don’t know much about Rocket (Bradley Cooper) and the tree-guy voiced by Vin Diesel.

In this chapter, we go back to Rocket’s origin story. Like Thanos’ adopted daughters and Wolverine and I’m sure lots of other fictional characters, he was operated on by a megalomaniacal villain trying to “perfect” the world. He is The High Evolutionary, played by Chukwudi Iwuji. He has already created worlds and destroyed them for not living up to his exacting standards of perfection. One of his worlds we saw briefly in the last GothG movie, with Elizabeth Debicki as Ayesha, leader of a world of spectacularly beautiful golden-hued creatures. In this film, he threatens to destroy that world unless Ayesha’s son, Warlock (Will Poulter), brings him Rocket. While the High Evolutionary is obsessed with the “improvements” he inflicts, somehow Rocket has gifts of intellect that the High Evolutionary did not create for him and he wants to understand and either copy that or destroy it.

The High Evolutionary’s experiments on Rocket and other animals were mechanical, replacing body parts with metal, so that they look Like the mutilated toys in Syd’s room in the first “Toy Story.” But it is in the adjoining cages that he finds his first family, led by the warm-hearted otter named Lylla. Rocket, using that exceptional capacity for engineering we have observed in the earlier films, manages to escape (including piloting a ship even though he has never even seen one before, much less been exposed to outer space or really anything outside of his prison).

This time, then, the Guardians are not saving the galaxy. At the beginning of the film they seem happily settled in Knowwhere with Cosmo the Soviet wonder dog, Mantis, the anntena-ed empath (Pom Klementieff), and former Ravager Kraglin (Sean Gunn). They have opened a bar. But the one doing all the drinking is Peter, who is still trying to drown his grief over the loss of Gamora. Nothing can get him to stop until Rocket is attacked. He is gravely injured and in order to save him the Guardians will need to retrieve a code to unlock a mechanism that prevents the necessary surgery and just 48 hours to do it. The Ravagers also get involved, and they now include a different version of Gamora brought back from the past who has no memory of her relationship with Peter.

There’s a hint of “Mission Impossible.” They’re even told that if they are caught, they will not be acknowledged as acting on behalf of the ruling body. And there’s a Zune vintage music player retrieved at the end of Vol 2 to follow the mix-tapes from the first two movies with some new songs for the soundtrack.

As noted, it does get messy. The group of misfit toys go off in different directions and it is hard to keep track of who is doing what where. A increasing problem with the Marvel movies is the way they keep using the stakes The High Evolutionary and Warlock have powers of near god-like magnitude. What can the Guardians do? It gets muddled. The High Evolutionary can do just about anything including creating and destroying worlds, but somehow cannot fight back from an attack with claws. There is a significant element to the story about the essential value of living beings who might not be considered “higher” life forms….until that is undermined later on. I said it was messy. As Peter said in the first one, “Something good, something bad? Bit of both.”

NOTE: Stay through the credits for two extra scenes

Parents should know that this film has extended peril and comic book/action-style violence with sometimes graphic and disturbing images. Characters are injured and killed. The film includes strong language, drinking and drunkenness.

Family discussion: Why is having a name so important? What does the name High Evolutionary mean and what does he think it means to be “perfect?” Why was the distinction about “higher forms” significant?

If you like this, try: the other “Guardians” movies