“Meet Darren,” slyly reads the tagline. “He’s sixteen going on immortal.”

What “Twilight” has done for a new generation of adolescent girls (it’s made vampires empathetic and romantic) “Cirque du Freak: The Vampire’s Assistant” wants to do for adolescent boys—portraying vampires as cool, mischievous and brimming with supernatural powers.

Darren and Steve (Chris Massoglia, Josh Hutcherson) are best friends. Darren is reserved, well-mannered, stifled by overbearing parents. Steve’s pretty much the opposite. One night, the mysterious “Cirque du Freak” rumbles into peaceful suburbia. Despite warnings not to attend, Steve coerces Darren to sneak off to see the show.

The performance is, of course, a watered down (and CG-ed up) version of the old sideshow carnival. One confronts all sorts of interesting folks—the snake boy; the monkey girl; Madame Truska, the bearded lady (Salma Hayek, quite fetching even heavily whiskered); and an odd assortment of humanity.

Masquerading as a magician is Larten Crepsley (John C. Reilly), a vampire hoping for anonymity.

But as only teenaged boys (and movies about teenaged boys) can do, Darren and Steve inadvertently become involved with Crepsley, who’s really a general in an ageold vampire conflict that, by happenstance, is brewing again. Battle lines are being drawn and, as fate happens, Steve and Darren find themselves on opposite sides of the skirmish.

To vampire aficionados (or film buffs aware of classics like Todd Browning’s 1932 “Freaks”), “Cirque du Freak” is admittedly a little cheesy.

Geared to the 13- to 17-yearold male hormone, it contains a good deal of false bravado, teenage banter, parental one-upmanship and even a little monkey girl lust.

Not really a comedy, not really horror, “Cirque du Freak” is more a fantasy thriller, a frivolous joyride of a film that’s occasionally too brusque for smaller children and too juvenile for adults or horror connoisseurs. It’s a date flick or an after-school buddy flick that leaves no doubt about a sequel or two, box office receipts permitting.

John C. Reilly’s the one to watch here—occasionally fiendish but not as animated as I would have liked. (I suspect Reilly's skills may have been toned down a tad for the demographics.) If only “Cirque du Freak” were a little more fiendish as well, it might have held a tighter grip on my attention. It’s not necessarily a bad film about vampires but, given the plot potential, not as memorable as one might hope.

—D.W.

Considering how many celebrities there are in the world posing as role models—it’s wonderful when a film reminds us of someone we can truly admire.

Directed by Mira Nair and executive-produced by (and starring) Hilary Swank, “Amelia” examines the life and loves of Amelia Earhart—the iconic aviation figure who has been clouded in mystery and intrigue since her disappearance several decades ago.

Although the story may be subdued, not soaring as high as one might hope, it remains a captivating tale that will provoke one’s mind (introducing for many an extraordinary woman in history). Perhaps after viewing the film, one might even be motivated to take action and reach new heights in their own life. Possibly flying higher than ever deemed possible.

Amelia (the woman and the movie) may have a few flaws, but both are worthy of recognition. She is a feisty, fascinating female with an adventurous spirit who classifies herself as “a vagabond of the air.” She never lets anyone tell her that something can’t be done and believes that pursuing one’s passion is the only way to live. Swank captures the essence of Earhart, bringing to life the legendary aviatrix.

Earhart becomes the first woman to fly across the Atlantic, commanding (but not piloting) a crew in 1928. This flight brings notoriety and endorsement deals encouraged by her publisher, and later husband, George Putnam (Richard Gere).

Feeling like a fraud, she would rather “face a watery grave” than let that be her only legacy.

Eventually she flies solo over the Atlantic, proving that a woman is fully capable of such an accomplishment. During her final flight in 1937 (a journey intercut throughout the film) she attempts to circumnavigate the globe. During that flight she vanishes and her fate remains unknown.

Amelia Earhart is a true heroine. She is a brave soul and someone that every individual—especially young girls and women everywhere—can be inspired by in regard to pursuing passion and following one’s dreams.

“If I listened to everyone who said it was impossible—I’d never be flying,” she said. “Don’t ever let anyone turn you around.”

—Karma Christine Salvato