Young teacher inspires at-risk youth in 'Freedom Writers'
January is traditionally used by Hollywood studios to quietly dump their clunkers while moviegoers are still too bleary-eyed from holiday reveling to notice. So it comes as a pleasant surprise that the first week of the new year brings "Freedom Writers" (Paramount), an unexpectedly good classroom drama in the tradition of "Dangerous Minds" and "Stand and Deliver."

Based on true events, the gritty but ultimately uplifting story centers on the efforts of an idealistic, novice high school English teacher, Erin Gruwell (Hilary Swank), to transform a racially divided class of troubled teens into model students by inspiring them to believe in themselves and break the cycle of gang violence in which they feel trapped.

As a way of empowering them, she has the students record their personal stories, experiences and feelings in journals, which they will eventually get published under the collective title "Freedom Writers," inspired by the civil rights-era Freedom Riders. She also has them read "The Diary of Anne Frank," sensing they will identify with the Jewish teen's tragic tale.

Her unconventional teaching methods and unswerving faith in her students draw resentment from the other faculty members, including department head Margaret Campbell (Imelda Staunton), while her all-consuming dedication takes its toll on her marriage to husband Scott (Patrick Dempsey).

Director Richard LaGravenese overcomes a predictable and, at times, message-heavy script with emotionally powerful performances by the young ensemble and redemptive themes of self-worth, the efficacy of education and empathy to overcome intolerance, and the ability of one person to make a difference.

The film contains some graphic street violence, including shootings, beatings and brief but disturbing images of domestic abuse, a divorce subplot, one instance of the f-word, recurring crude language and a few racial slurs, limiting its appropriateness to older adolescents and up. (A-II, PG)

-- David DiCerto

Miss Potter (MGM/Weinstein)
Charming, beautifully crafted story of "Peter Rabbit" author Beatrix Potter (Renee Zellweger) and her bittersweet romance with the awkward young publisher of her books (Ewan McGregor), under the disapproving eyes of her class-conscious parents (Barbara Flynn and Bill Paterson) in turn-of-the-century England. The script, music, production design and cinematography, and sensitive performances from all (including Emily Watson), under Chris Noonan's canny direction combine to make the kind of quality film that's all too rare. (A-I, PG)

Notes on a Scandal (Fox Searchlight/DNA)
Lurid but skillful melodrama set in England about a lonely history teacher (Judi Dench) whose unhealthy interest in an attractive younger art teacher (Cate Blanchett) leads her to help conceal the latter's reprehensible affair with a determined 15-year-old student (Andrew Simpson) in the hope of fostering the woman's dependence on her. Richard Eyre directs playwright Patrick Marber's adaptation of Zoe Heller's award-winning book with Hitchcockian flair, while taking care not to glamorize the seamier plot elements. Though Dench is a manipulative villain, she skillfully delineates her character's sense of isolation. The themes may rule out the film for many, but for those who approach the plot as the astute psychological thriller it is, they'll appreciate two actresses at the top of their game. Some rough, crude and profane language, domestic violence, adulterous affair with underage boy including some kissing, innuendo and obsession. (L, R)

Pan's Labyrinth (Picturehouse)
Cinematically stunning adult tale set in 1944 Spain about an unhappy 11-year-old girl's (Ivana Baquero) emotional escape into a maze -- either real or imagined -- overseen by a faun (Doug Jones) attended by insect-fairies that help her cope with the horrors of the marriage of her ailing pregnant mother (Ariadna Gil) to a vicious fascist officer (Sergei Lopez) assigned to root out resistance fighters who are secretly aided by his housekeeper (Maribel Verdu) and physician (Alex Angulo). Though the main story outline is familiar in its classic structure, it is given new life by director Guillermo Del Toro's deft balancing of the harsh real world with the girl's mysterious parallel universe which sheds light on the former, and there are poignant elements of sacrifice and redemption. Subtitles. Rough and crude language and some profanity, several brutally violent episodes, torture, several murders, a nongraphic amputation, a mercy killing, occult plot aspects and graphic childbirth scenes. (A-III, R)

Perfume: The Story of a Murderer (Paramount/DreamWorks)
Deeply disturbing but hypnotic story set in 18th-century France about an orphan (Ben Wishaw) -- impoverished and abused but gifted with an extraordinary sense of smell -- who apprentices to a perfumer (Dustin Hoffman), after which -- incapable of normal love -- he becomes a serial killer in his quest to capture the scents of his young female victims, ultimately targeting the virginal daughter (Rachel Hurd-Wood) of a wealthy merchant (Alan Rickman) desperate to protect her. Director Tom Tykwer's artful adaptation of Patrick Suskind's 1985 best-seller shows sensitivity in telling a story which could be utterly repellent in other hands, and without justifying the terrible deeds, succeeds in illuminating the protagonist's strange motivation with Christian compassion. Reasonably restrained in its violence, the film will clearly not be to every taste and should be approached with caution. Aberrant violence including murder and bloodshed, partial nudity, an unflattering ecclesiastical character, and a climax involving mass eroticism with long-shot nudity. (L, R)

Rocky Balboa (MGM)
Sixth and ostensibly final round in the "Rocky" saga, in which former heavyweight champ Rocky Balboa (Sylvester Stallone), now a widower, estranged from his son (Milo Ventimiglia) and running a restaurant, comes out of retirement, stepping into the ring against the current champ (Antonio Tarver) to prove he has plenty of heart left in his aging body. Written and directed by Stallone, this new chapter is arguably the best in the series since the 1976 original, emphasizing character and emotional drama over fight action, while imparting an inspirational message about perseverance and giving it your all, win or lose. Some bloody boxing violence and a few mildly crude expressions. (A-II, PG)

David DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. More reviews are available online at www.usccb.org/movies.