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The officer claims he did not cuff the young man, and when he approached the backseat a scuffle ensued. The teen allegedly got hold of the officer's handcuffs and swung them in his direction. The unnamed cop then shot the teen to end the fight.

Hollywood police officers confronted Banegas the night of Oct. 17 after getting a call about a man trying to break into cars, police said. Chirino spotted the teen first and tried to arrest him, but Banegas allegedly resisted and pulled out a stolen semi-automatic handgun, the arrest warrant said.

A second officer arrived moments later and received several scrapes before finally getting the teen into handcuffs. Chirino's fellow officers tried to keep him alive as he was rushed to a nearby hospital, where he was pronounced dead, police said.

2 DVD heist. A woman who was seen stealing DVDs and candy from King Soopers, 12043 W. Alameda Parkway, left in a white truck before police arrived Aug. 9. Officers caught up to the truck and recovered $112.29 worth of movies from the woman. She was given a summons.

3 Shoplifter bites employee. A loss prevention employee at Nordstrom Rack, 393 S. Vance St., called police after a shoplifter in custody bit him and pulled his hair Aug. 8. The employee was attempting to place handcuffs on the shoplifter by holding her down when she bit him. She was issued a summons for assault and shoplifting.

For tax day, the editors at MSN Movies came up with an idea for contributors to write short essays about the most, ahem, "taxing" people in modern movies. Each of us picked a person whose presence, behind or in front of the camera, we find wearisome and debilitating -- as in the Merriam-Webster Dictionary definition of taxing: "onerous, wearing."

Let me say up front that I don't think Nolan is a bad or thoroughly incompetent director, just a successfully pedestrian one. His Comic-Con fan base makes extravagant claims for each new film -- particularly since Nolan began producing his graphic-novel blockbusters with "Batman Begins" in 2005 -- but the movies are hobbled by thesis-statement screenplays that strain for significance and an ungainly directing style that seems incapable of, and uninterested in, illustrating more than one thing at a time: "Look at this. Now look at this. Now look at this. Now here's some dialogue to explain the movie's fictional rules. Now a character will tell you what he represents and what his goals are." And so on ... You won't experience the thrill of discovery while looking around in a Nolan frame. You'll see the one thing he wants you to see, but everything around it is dead space. [...]

"Apollo 13" (1995) may be the flattest movie I've ever seen; its epic tale is true-life, almost literally cosmic, yet the film's utterly devoid of resonance. Frank Langella and Michael Sheen make "Frost/Nixon" (2008) worthwhile, but as with so much of Howard, it's a movie you can watch a few seconds ahead of what's on-screen: "He'll say this ... then, in two beats, a reaction shot of the other guy ... held a nanosecond too long ... until that guy says thus-and-so ..." Two times out of three, thus-and-so will be exactly what that guy says. Really, such movies watch themselves. And clearly Ron Howard loves making that happen, and figures that's his job.

Bay once said, pre-emptively defending his honor, "I make movies for teenage boys. Oh, dear, what a crime." But the crime isn't the act, it's the execution. James Cameron, Justin Lin, Steven Spielberg, Sam Raimi, Peter Jackson, Peter Berg and John Woo make movies for teenage boys, but they also make them exceptional movies -- with character, with care, with craft, with substance under the spectacle and with a sense of personality, not just Bay's endless series of quick cuts and soft-focus lighting and slapdash storytelling and cheap sentiment as a substitute for real emotion. With Michael Bay, what's frustrating isn't merely the films that are, but the films that you can imagine if only he'd quit being lazy, put in real work and prove that a good movie can make money, too. -- James Rocchi

Movie-wise, Aniston has pretty much always been The Rachel. (An exception is 2002's "The Good Girl," in which her sweet affect masked the soul of a stone-cold sociopath.) Over the years, as cinematic forays into richer, larger personalities failed to please -- her attempt to play a "Derailed" femme fatale was panned as "calamitous miscasting" -- Aniston's polished her winsome Central Perk persona to a fine sheen. For my money, the shtick has become increasingly knee-jerk. Her limited comedic repertoire worked in the small-screen sitcom context of "Friends," but in the movies it's gotten old fast, at least for anyone hoping for some contemporary equivalent of the comedic largesse of Katharine Hepburn and Carole Lombard. -- Kat Murphy

This course will allow students to take an in depth look at materials in a variety of formats for teens ages 15-18, including fiction, popular nonfiction, graphic novels, movies, computer games, websites, other media, and determine how they can meet developmental needs.

FERGUSON: The racial flashpoint city of Ferguson awoke under a state of emergency yesterday after a second night of clashes between police and protesters, a year after the shooting death of an unarmed black teen. In unrest that erupted Monday evening and stretched into the early hours, angry demonstrators beat drums and chanted as they threw stones and bottles. Police used pepper spray as they arrested numerous demonstrators.

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