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"This is It" is here to rescue us from the tabloids and remind us what true star power looks like. There are moments of aching sadness as we get a behind-the-scenes look at the concert tour that never happened, but it is the very intimacy of the preparation process that makes the film so enthralling. Jackson comes across as the consummate professional, always polite and appreciative but with a stunning mastery of the smallest detail and the biggest special effect in putting together what would have been a ground-breaking performance.

Jackson seems physically frail at times, conserving his voice and his energy in the musical numbers as the back-up dancers give it performance-level power every time. In one lovely moment, he falls so much in love with a song he is rehearsing that he cannot resist giving it full power and, as happens more than once in the course of the film, all of the people working on the show just stop to watch and listen, utterly entranced. In another moment, we glimpse his quick, private smile of satisfaction with a number that has come together. When he sings "I'll Be There," we can't help being reminded that even though he is gone, his performances will be a part of our lives forever.

There's a glimpse of the auditions, the dancers almost overcome with the chance to try out for what they consider the zenith of entertainment. He tells one musician to "let it simmer" and demonstrates a guitar riff for another. He is unfailingly appreciative and thoughtful, over and over thanking everyone and unfailingly respectful in giving direction, almost apologetic when he says that the earpiece is making it harder for him to hear. The endless series of bizarre outfits with their military stripes and Munchkin-like shoulders, seem irrelevant when we watch the way he interacts with people and the way he thinks about the songs and dances. Appropriately, the most thrilling moment is "Thriller." Jackson says he wants to take us places we have never been before, and in this combination concert film/documentary, he reminds us of the power of imagination and talent and the reason he was a star.

If this story wasn't true, they'd have to invent it. Indeed, they already did. "This is Spinal Tap," one of the most outrageous, influential, and utterly hilarious movies ever made, is a "mockumentary," a fake documentary about a heavy metal rock group on a disastrous tour in support of a disastrous new album. "Anvil: The Story of Anvil" is an actual documentary about an actual heavy metal rock group on a disastrous tour in hopes of making a new album and it is hilarious and touching and completely captivating.

Like all great documentaries, this is the story of a passionate dream. Guitarist Steve 'Lips' Kudlow and drummer Robb Reiner (not to be confused with one-b Rob Reiner, who directed "This is Spinal Tap") met as teens in a small town near Toronto and have been performing together for four decades. They had a brief brush with success in the 1970's, when they performed at a festival with acts that have since gone one to sell hundreds of millions of CDs, and their Metal on Metal album is considered seminal to the genre. But for some reason, they never made it despite subsequent alliterative albums like Worth the Weight and Hard n Heavy. The eternally optimistic Lips has a day job delivering school lunches. But when a European fan calls to say she has booked them on a tour, they drop everything and go. Everything goes wrong. But, as Lips says, at least they have a tour for things to go wrong on.

There are some nice little bows to "Spinal Tap" -- a producer whose amps go to 11, a drive by Stonehenge. And the inspired title lets you know from the beginning that it is cheekily subversive, even of its own pretensions. It never takes itself or the band too seriously. But the passion of its characters for rocking out hard and for the partnership they share is perfectly suited to rock as the ultimate affirmation of life in the face of The Man in all forms, from club managers who don't pay to recording executives who don't get it to time that goes by too fast. The support of their families and their unquenchable commitment to the music is ineffably moving. It is funny and surprising but filled with heart.

Disney's 70th anniversary release of its first animated feature film on Blu-Ray is gorgeously restored and filled with behind-the-scene extras and a wonderful opportunity to catch up with the one that is still "the fairest of them all."

Snow White (voice of Adriana Caselotti) is a sweet girl whose step-mother, the Queen (voice of Lucille LaVerne), is vain and cruel. Snow White dreams of a prince to love, and meets the Prince of her dreams when she is fetching water for the castle. Meanwhile, each night, the Queen looks into a magic mirror and asks who is the fairest one of all. The mirror tells her that it is she, and she is satisfied. But one night, the mirror tells her that Snow White has become more fair, and the Queen, consumed with jealousy, tells her huntsman to take Snow White to the forest and kill her.

The tender-hearted huntsman cannot kill her and instead tells her to run away. Racing through the forest terrified, she collapses in tears. But she makes friends with the animals, who live in the woods and they lead her to a small cottage. Once inside, she cleans up the mess, singing "Whistle While You Work." She thought, when she saw the small beds, that children lived in the house, but it turns out that it is the home of seven dwarfs, who work each day digging jewels from a mine.

When they come home, they are surprised to find her stretched out across their beds, sound asleep. But they soon make friends and are delighted to have her stay and take care of them.

Eventually, the Queen discovers that Snow White is still alive. The Queen makes a poisoned apple and turns herself into an old hag so she can deliver it to her. Snow White at first follows the dwarfs' advice not to speak to strangers, but finally takes a bite of the apple and collapses. The Queen runs away and falls into a steep ravine.

The dwarfs are heartbroken and create a beautiful crystal bier for her to lie on. The prince discovers her there and gives her a kiss, which awakens her, whereupon he carries her off to live happily ever after.

Children used to today's Disney stories may be surprised by a more passive heroine and by a score more classical than pop. But in addition to its historical value as the first animated feature, it is still a delight, with memorable songs and characters. It is hard to remember that before Disney the dwarfs in the Snow White story had no names and no individual characters. Sneezy, Sleepy, Grumpy, Dopey, Doc, Happy, and Bashful are all vivid characters, and their dance number with Snow White is a highlight.

This movie provides a good opportunity to discuss jealousy, and how to handle it. And, of course, it raises issues about women and beauty, about women's role in the home, and about finding happiness only through dreams of "Someday My Prince Will Come." Blended families are often sensitive about the traditional fairy tale villain being the "wicked stepmother," and some children will need reassurance.

Talk to kids about how characters like Snow White might be different if they were created today, and make sure that they see a range of alternative role models. Note: The movie is very scary when Snow White is running through the forest (though reassuring when the animals turn out to be friendly) and when she bites the apple; the Queen is especially scary when she turns into the old hag. By today's standards, Dopey might well be considered an insensitive stereotype of a developmentally disabled person.

Families who see this movie should discuss these questions: Why is the Queen jealous of Snow White? Why is being beautiful so important to her? Why did Snow White stay at the castle? Why did the huntsman disobey the Queen's orders? Why did the dwarfs love Snow White so much?

Families who enjoy this movie should watch some of the other versions of the Snow White story, including the Faerie Tale Theatre production with Elizabeth McGovern.

The 70th anniversary of this all-time classic is being celebrated with a beautiful new DVD release, a great chance for the family to sit down and watch what is probably the all-time greatest family film again.

Dorothy Gale (Judy Garland) lives in Kansas with her aunt and uncle and her dog, Toto. Mean Miss Gulch (Margaret Hamilton) swears she will have Toto taken away. Auntie Em and Uncle Henry support Dorothy, but they are too distracted by the coming tornado to pay much attention to her. Dorothy dreams of a place "over the rainbow" where everything is beautiful, "troubles melt like lemon drops" and "the dreams that you dream really do come true." She starts to run away to protect Toto, but is sent back home by the kindly Professor Marvel (Frank Morgan), a traveling fortune-teller.

When the tornado arrives, Dorothy is outside the shelter. She goes to her room, where she is hit on the head by a piece of wood torn loose by the wind. The whole house rises, and is carried away by the tornado.

The house lands with a crash, and when she opens the door, she finds she has landed in the colorful world of Oz (the movie, black and white until this point, becomes technicolor). Her house has landed on the Wicked Witch of the East, killing her, and the tiny Munchkins celebrate Dorothy as a great heroine. Their friend Glinda the good witch (Billie Burke) arrives and gives her the Wicked Witch's magic ruby slippers, just as the Wicked Witch of the West (Margaret Hamilton) arrives to take them. The Wicked Witch of the East was her sister. Furious, she swears revenge. Dorothy wants to go home and is told to seek out the Wizard of Oz, who lives in the Emerald City, for help.

On the way to the Emerald City, she meets a talking Scarecrow (Ray Bolger) who wants a brain, a Tin Woodsman (Jack Haley) who longs for a heart, and a cowardly Lion (Bert Lahr) who wants courage. They all join her, to seek the help of the Wizard. At the Emerald City, the Wizard at first refuses to see them, then finally tells them they must earn their wishes by bringing him the broom of the Wicked Witch of the West. They are captured by the Witch's flying monkeys, and just as she is about to kill them, Dorothy douses her with water, trying to protect the Scarecrow from fire, and the witch melts.

They return to the Emerald City only to find that the Wizard cannot help them. He is a fraud, just "the man behind the curtain" whose terrifying displays of smoke and light hid a "humbug" who had no magical powers at all. But he is able to show the Scarecrow, Tin Woodsman, and Lion that they really did have what they were seeking all the time, and he promises to take Dorothy back to Kansas in his hot air balloon.

Toto jumps out of the balloon's basket. Dorothy runs after him and misses the balloon launch. But, just as Dorothy despairs of ever going home, Glinda arrives and shows Dorothy that she had the means of getting home all the time. Back in Kansas, Dorothy wakes up to find her aunt and uncle, the farmhands, and Professor Marvel (who strongly resemble the Scarecrow, Tin Woodman, Lion, and Wizard), and tells them that "there's no place like home."

This movie is an ideal family film, superb in every aspect, with outstanding art direction, music, and performances. It is still as fresh and engrossing as it was in 1939, and improves with every viewing. If you ever have a chance to see it in on a big screen, in a theater with a good sound system, you will enjoy it even more.

It is hard to imagine what it would have been like with the original intended cast, including Shirley Temple as Dorothy and Buddy Ebsen as the Tin Woodsman. But 20th Century Fox would not loan its top star, and Ebsen was hospitalized when he inhaled the aluminum dust in the Tin Woodsman's make-up. Judy Garland is a perfect Dorothy -- vulnerable, sensitive, completely believable. On the brink of leaving childhood, her dreams of a place "over the rainbow" are in part a yearning to escape the concerns of adulthood.

There is something especially satisfying about the way that the main characters find what they need within themselves. Talk with children about the way that the Scarecrow demonstrates his intelligence, the Tin Woodman demonstrates his heart, and the Lion demonstrates his courage. Even the humbug Wizard finds that he had the means to go home all the time. Dorothy, who in the first part of the movie runs away from home to try to solve her problems, spends the rest of the movie trying to get back. Even if the story is just a dream (in the book, it is a real adventure), this makes a great deal of emotional sense, a way of working through her inner conflicts.

It is also worth talking about the scene in which Dorothy and her friends disregard the Wizard's plea to "pay no attention to the man behind the curtain" and discover that he is really just an ordinary man. This can be a touchstone or metaphor for many kinds of challenges children face. It can help them recognize that the overpowering figures in their lives (parents, teachers, adults, sports figures) are just imperfect human beings. And it can also help them recognize attempts, by themselves as well as others, to distract people in hopes of hiding our imperfection and vulnerability.

NOTE: There are a number of different scenes in this movie that may be scary for children. Many adults still remember the flying monkeys or Dorothy looking into the crystal ball and seeing her aunt turn into the witch. Parents should talk to children about the story before seeing the movie, and watch with them to gauge their reactions.

If you live in New York or Los Angeles, go see Spike Lee's latest movie in the theater. It is a film version of the Tony Award-winning musical autobiography, something between a concert and a play, about, by, and starring the one-named musician named Stew. He heads up the on-stage band, which functions somewhere between an orchestra and a Greek chorus, in this story based on his experiences leaving home to move to Europe and find himself.

Stew and his collaborator, Heidi Rodewald have put together a show that is very specific and autobiographical but also archetypal. It has a terrific script that perfectly captures the tug of home, the lure of away, the hunger for art, and the vulnerability of relationships. The main character's only name is Youth to emphasize his Candide-ish qualities. The show is genre-crossing, with music that shows the influence of rock, pop, funk, gospel, and more. It explodes with electrifying performances by Daniel Breaker as Youth and a top-notch cast that instantly creates a range of international characters. Lee's camera takes us into the heart of the action, even back-stage, seamlessly integrating three different performances. It is available now on pay per view, which gives you a chance to see one of the best films of the year without leaving the house.