One of the biggest shocks in “The Woman in Black” arrives in the first minutes, when you realize that Daniel Radcliffe, who seemed to be a child himself not so very long ago, is now playing the father of a 4-year-old. Granted, “Woman” is set in the Victorian era, when it was commonplace for teens to marry and start families, but even so the sight of a cherubic little boy calling Radcliffe “Daddy” is a bit jarring.

When Madonna hired a documentary crew to follow her around for her 1991 film “Truth or Dare,” many observers thought she’d scaled new heights of narcissism (even her then-boyfriend Warren Beatty brayed, “She doesn’t want to live off-camera!”). As it turned out, the high priestess of pop had once again seen the future: Twenty years later, anyone with a camera, a Facebook page or a Twitter account can be the star of his or her own show — he or she may also be the only truly interested member of the audience as well.

Jung´s patient will become his secret lover, which jeopardizes his personal and professional relationship with his mentor, Sigmund Freud (Viggo Mortensen). But when Freud and Spielrein finally meet, Freud´s stern stance is challenged.

Monday, Jan. 30 —The East Lansing Film Society screens writer-director Woody Allen's "Midnight in Paris" this week. The comic fantasy is nominated for three Academy Awards, including best picture and best director.

Over the years, we’ve seen many characters cross-dress in the movies for various reasons. Jack Lemmon and Tony Curtis pretended to be female musicians to escape gangsters in “Some Like It Hot.” Dustin Hoffman went dowdy to become a soap opera diva in “Tootsie.” Barbra Streisand concealed her femininity to become a Talmud scholar in “Yentl,” while Julie Andrews disguised herself as an upscale drag queen in “Victor/Victoria.” And let’s not forget Jaye Davidson playing “The Crying Game.”

In 1991, Kathleen Turner attempted to turn Sara Paretsky’s V.I. Warshawski thrillers into a franchise; unfortunately, the dream died the minute the dismal debut, “V.I. Warshawski,” began to unspool for audiences. A similarly sorry fate awaits Janet Evanovich’s Stephanie Plum, the bounty hunter who has strutted through 17 novels, but probably won’t make it to her second movie, once fans snooze through the slapdash “One for the Money.”

Stephen Daldry has something to brag about. Every one of the British-born director’s features to date — “Billy Elliot,” “The Hours” and “The Reader” — has received an Academy Award nomination as best picture. But all good things must come to an end, and as of Tuesday (when the next batch of Oscar contenders is announced) Daldry’s streak will almost certainly be broken: “Extremely Loud and Incredibly Close,” based on the Jonathan Safran Foer novel that some people adored and many people abhorred, is unlikely to wow the voters.

There has never been — and will never be — a flawless crop of Academy Award nominations. But this year´s roster, which was announced Tuesday morning, has more than its share of astonishing omissions.

Tuesday, Jan. 24 — There has never been — and will never be — a flawless crop of Academy Award nominations. But this year's roster, which was announced Tuesday morning, has more than its share of astonishing omissions.

Their eyes meet. They are seated across from each other on a New York subway train, but it´s immediately apparent each of them is imagining how much closer they could get. She smiles shyly while glancing at him slyly. He stares at her intently, almost — but not quite — smiling. In the silence, you can almost hear their blood boiling and the crackle of electricity in the stale air.