Batman Begins tells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand? Michael Caine provides much of the film's humor as the family butler, Alfred, and as the love interest, Katie Holmes (Dawson's Creek) is surprisingly believable in her first adult role. Also featuring Gary Oldman as the young police officer Jim Gordon, Morgan Freeman as a Q-like gadgets expert, and Cillian Murphy as the vile Jonathan Crane.

The poster for Teaching Mrs. Tingle may feature young TV cuties Katie Holmes (Dawson's Creek), Marisa Coughlin (Wasteland), and Barry Watson (Seventh Heaven), but the real star is the actress playing the title character: Helen Mirren. Mirren plays a bitter, tyrannical teacher who, due to circumstantial evidence, believes goody two-shoes Holmes is guilty of cheating on her history final. Holmes, Coughlin, and Watson go to Mirren's home to convince her that there's been a misunderstanding, but Mirren refuses to listen. Terrified that this will ruin her chances to go to college, Holmes and her compatriots knock Mirren out and tie her to her bed. Unfortunately, they haven't any idea what to do next; when Mirren awakes, the situation becomes a battle of wits in which the teenagers are hopelessly outmatched. Coughlin and Watson are pretty to look at and Holmes has some genuine talent and a lot of charm, but Mirren--who's played Shakespeare on the stage and been in movies ranging from lurid and trashy (Caligula) to eerie and arty (The Comfort of Strangers) to lurid, trashy, eerie, and arty (The Cook, the Thief, His Wife, and Her Lover)--combines the cutting intelligence of Vanessa Redgrave, the steely will of Judi Dench, and a sensual energy that any young starlet would kill for. For fans of the British TV series Prime Suspect, in which Mirren plays the tough yet vulnerable Inspector Tennyson, this teen comedy-thriller is just an amusing footnote in Mirren's career; but if you've never been transfixed by this actress's mischievous sidelong glances, Teaching Mrs. Tingle might provide a good start. --Bret Fetzer

Playing the president's kin in the modern fairy tale First Daughter is the most grown-up role yet for Dawson's Creek cutie Katie Holmes. Samantha McKenzie (Holmes) has lived all her life on the edge of the political spotlight, but she hopes that she'll get away from it all when she leaves the White House for college. No such luck. Even though she's able to make friends with her roommate (singer Amerie) and meet a nice guy (Marc Blucas), security is tight in an election year, and the Secret Service follows her wherever she goes. First Daughter isn't particularly original (it was the working title for Mandy Moore's Chasing Liberty, which opened in theaters earlier the same year, 2004), but it's a chuckle-inducing girlie movie that's worth watching for Holmes. Also, Michael Keaton is especially likable as a president and dad. That's a big change for Holmes, who as Dawson's Creek's Joey Potter was a poster child for daughters with dysfunctional fathers. --David Horiuchi

This paranoia-fueled thriller, more intelligent and imaginative than you would have reason to believe, owes a huge debt to The Stepford Wives with its premise of a goody-good high school clique programmed by an evil doctor to be wholesome, academically driven, and shining examples of clean living. Unlike its predecessor, though, David Nutter's film opts to open up its premise for everyone to see, diluting the scares but amplifying the creepy atmosphere. There's never any question of what's happening to the students of Cradle Bay High, who go from being druggies and sex fiends to the academically excellent Blue Ribbons, but it's a lot of fun to see these programmed teens run amok--and start killing people--when their hormones kick in. And considering they're all horny teenagers, this happens, oh, at least a few times a day. Model-perfect James Marsden, with stunning cheekbones and piercing blue eyes, is the new kid in town who stumbles on the plot with a little help from metalhead Nick Stahl. Moody Marsden stirs up trouble when he refuses to join up with the Blue Ribbons, prompting his concerned parents to consider signing him up for the program, especially after it turns Stahl into a vest-wearing, pep-rallying brainiac. The satire isn't entirely fulfilled (the evil kids hang out at the yogurt shop and spout inspirational platitudes), but once the action kicks in it's quite an enjoyable ride, thanks primarily to Bruce Greenwood (of The Sweet Hereafter) as the mad scientist behind it all and Katie Holmes (Go) as Marsden's love interest. Refusing the advances of the star football player and fighting gamely alongside Marsden, Holmes manages to deck a few bad guys with a fervor that squarely puts her in Linda Hamilton and Jamie Lee Curtis territory. With Steve Railsback as the colluding chief of police and Dan Zudovic as a janitor with a penchant for getting rid of "rats," rodent and otherwise. --Mark Englehart

You can admire Abandon more for what it attempts, as opposed to what it actually achieves. Making his directorial debut after winning an Oscar® for scripting Traffic, screenwriter Stephen Gaghan emphasizes character dynamics and time-shifting structure over action and plotting, and the results are intelligent but oddly detached. As a recovering alcoholic detective (Benjamin Bratt) is assigned to reopen the two-year-old disappearance of an arrogant college student, we're drawn into the thoughts and emotions of the missing person's former girlfriend (Katie Holmes), whose behavior--especially when her volatile ex-boyfriend suddenly reappears--is key to the slowly unfolding mystery. Abandon is all about mood and atmosphere--shadowy gloom is dominant throughout--and viewers may grow impatient as the tissue-thin plot leads to an anticlimactic revelation. Still, Gaghan's sharp dialogue draws fine work from Holmes, and his supporting cast (especially Zooey Deschanel and Melanie Lynskey, as fellow students) adds much-needed energy on the fringes of this lugubrious psychological thriller. --Jeff Shannon

Adam Sandler in drag: this is the gist of Jack and Jill, and Sandler doesn't skimp on the premise. He plays two roles, in fact: Jack is a successful L.A. TV producer, family man, and vaguely unpleasant shill for advertising clients. Jill is his sister, in town from the Bronx for a holiday visit. Obnoxious and passive-aggressive, she is also a lethal impersonation on Sandler's part, a wickedly exact send-up of the relative who never seems to get the hint. (One early dinner-table scene, where Jill refuses to acknowledge that the Christmas movie with Jimmy Stewart and the angel might in fact be It's a Wonderful Life, is a fine study in cluelessness.) Critics lambasted the film, emphasizing the ruthless physical humor and the gastrointestinal jokes, and to be sure, this is not Noel Coward territory (or even Moe Howard territory) we're in here. But the movie does have some surreal gags, and a large supporting role for Al Pacino, as himself (Jack is trying to convince Pacino to be a pitchman for a donut commercial). Pacino proves to be an awfully good sport about the whole thing, especially when his role requires him to fall for Jill in a variety of cockamamie ways. It may be more a series of sketches than an actual movie, but Jack and Jill does showcase Sandler's gift for outrageous impersonation--although admittedly, you'll probably have to be a die-hard Sandlerite to go the distance here. --Robert Horton

Thank You for Smoking is a 2005 comedy-drama film written and directed by Jason Reitman and starring Aaron Eckhart, based on the 1994 satirical novel of the same name by Christopher Buckley. It follows the efforts of Big Tobacco's chief spokesman, Nick Naylor, who lobbies on behalf of cigarettes using heavy spin tactics while also trying to remain a role model for his 12-year-old son. Supporting roles are played by Cameron Bright, Katie Holmes, Maria Bello, David Koechner, Rob Lowe, Adam Brody, Sam Elliott, William H. Macy, J.K. Simmons, and Robert Duvall.

Take three women in need of cash, a slew of money about to be shredded, and a plot that nicks a bit from 2005's Fun with Dick and Jane and you've got Mad Money. Diane Keaton stars as Bridget, a stay-at-home wife whose life as she knows it ends when her husband loses his cushy, high-paying job. Her college degree in literature turns out to be useless, so she accepts a janitorial position at the local bank. There she meets Nina (Queen Latifah) and Jackie (Katie Holmes), who could use some spare scratch as well. Suddenly, it dawns on Bridget that the bank has plenty of what they need: money! Because the gals are so cute and nice, it's clear they're not really going to rob the bank. What they will do, though, is take the old bills headed for the shredder and recycle it back into the economy by spending it. (Oh heck, they're basically stealing the money.) Played for laughs, the movie doesn't bother to discuss the economic ramifications of what would happen if too much money was recirculated, but that's neither here nor there. The trio of personable actors--particularly Keaton--does a good job of making the characters likable, even in some unbelievable situations. But Keaton deserves better than Mad Money, which isn't really funny enough to be a comedy and doesn't have enough romance to qualify as good chick flick. Still, Keaton, Latifah and Holmes share warm camaraderie. It'd be fun to see them reunited in a film that had a little more weight to it. Ironically, Mad Money was directed by directed by Callie Khouri, who wrote Thelma & Louise and Something to Talk About--movies that had all the key components (compelling storyline and characters worth cheering on) that Mad Money is lacking. --Jae-Ha Kim

Fondly remembered for scaring the Tab out of impressionable viewers, 1973's television movie Don't Be Afraid of the Dark stands today as a minor classic of irrational dream-logic horror, with an ending that goes straight for the worst-case scenario. Despite (or perhaps because of) its wonky effects, minimalist character development, and snicker-worthy Freudisms, it knows how to linger into the wee small hours. Cowriter-producer Guillermo del Toro's mash note of a remake is a superior movie in virtually all aspects, really, yet it somehow fails to ping the same whimpering neurons. Director Troy Nixey's film follows the same basic blueprint as the source material--a fractured family (Guy Pearce, Katie Holmes, and Bailee Madison) moves into a dark old house, only to be tormented by a gaggle of tiny chatterbox demons--but with a much greater emphasis on the mythology and back story of the creatures. Del Toro has long proclaimed his love for the original movie, and it's rather fascinating to see the filmmaker attempt to shoehorn his own trademark obsessions (grim fairy-tale origins, spooky little girls, odd Lovecraftian angles, etc.) into the existing material. Still, such Gothic curlicues, however nifty, ultimately end up diluting the solid-state nightmare fuel of the premise. Aside from a few solid shocks and a strong performance by Holmes, this heartfelt redo is unlikely to have the same lasting effect on audiences as the much cruder original. Instead of focusing on the hows and whys, that one just wanted to freak the viewer out. --Andrew Wright

Pittsburgh area college professor Michael Douglas faces a slew of crises as he struggles to complete the follow-up to his successful first novel. His wife has left him, his lover--the wife of his department's head--is pregnant, a student boarder is in love with him, and a troubled young writer sees Douglas as a mentor. Frances McDormand, Katie Holmes, Tobey Maguire also star in Curtis Hanson's adaptation of Michael Chabon's book. 112 min.