In theaters

DERAILED, directed by Mikael Hafstrom, written by Stuart Beattie, 100 minutes, rated R.

Tucked in the middle of the new Mikael Hafstrom thriller, “Derailed,” is a swell twist, one that’s better than anything else in the movie – and one that actually makes a measure of sense, as cinematic twists go, which usually is south.

It won’t be revealed here, but it does shift the movie into a higher realm, if only for a moment, before the film settles back into the average, derivative thriller that it is.

Here is a movie in which one must increasingly sustain a high level of disbelief in order to enjoy it. From Stuart Beattie’s script, the film stars Clive Owen as Charles Christopher Schine, a frazzled ad executive with an unhappy home life who is about to have a very bad stretch of luck, indeed.

Early in the movie, on a train, he informs the attractive passenger who offers to buy his ticket when he is unable to do so that because he is the product of Catholic and Jewish parents, he carries more guilt than most. Not that you’d know it. In spite of his admission, no amount of guilt stops Charles from nearly having an affair with this passenger, the lovely Lucinda (Jennifer Aniston), who has a pretty face and the sort of legs that stretch up to here.

Their flirtation heats up, with Lucinda revealing to Charles that she isn’t particularly happy at home, either. Like Charles, she has an adorable daughter, but her marriage is on the rocks and sex is in the can. So, what’s an absurdly hot-looking, bored married couple to do? Naturally, they head to a hotel, where things get dicey – really dicey – but in ways we’ll leave for you. Too much of the movie’s success rides on their secrecy.

What can be discussed are techniques, and Hafstrom has a few to his credit, much of which he learned by studying such movies as “Double Indemnity” and especially “Fatal Attraction,” the camp thriller that gives “Derailed” an extended sequence many in attendance will swear they’ve seen before. That’s because they have.

Looking unusually haggard for someone who normally looks anything but, Owen grounds the movie with a performance that seems game for whatever Hafstrom and Beattie throw at him, which is plenty. His character is a weak sneaker, falling apart whenever someone walks on him, which is often. Note to Owen: Having this movie in production while you were vying for the role of James Bond might be the reason you lost it to Daniel Craig. Just a thought.

As for Aniston, she is less sure of herself here than she has been in her other, better movies, though you have to give it to her for breaking from type and trying something new. She doesn’t appear in a great deal of the movie, but in a key scene where she must deliver the goods, she pulls through, sporting the sort of mean mouth and hard eyes that would likely render an old friend still.

Grade: C+

On video and DVD

HANNA-BARBERA GOLDEN COLLECTION

Here’s a conundrum. How do you top the release of an uncensored collection of classic cartoons that featured Bugs Bunny in drag and the Road Runner running the risk of being bleep-bleeped? The quick answer? You don’t.

But you can come close.

Tomorrow, Warner Home Video follows the release of their excellent “Looney Tunes Golden Collection: Vol. 3” with three films from its former competitor, Hanna-Barbera.

Sold individually, the Hanna-Barbera Golden Collection includes “The Flintstones: The Complete Fourth Season,” the Emmy Award-winning “The Huckleberry Hound Show: Vol. 1,” and “The Yogi Bear Show: The Complete Series.” After the racy antics of the superior “Looney Tunes” collection, these shows from Hanna-Barbera showcase a rather different sensibility.

But not an unwelcome one. William Hanna and Joseph Barbera began their work at MGM in 1939 before starting their own production company in 1957. The studio always was the less wise-cracking of the animated lot; they’re what Chuck Jones and Tex Avery would have been without an edge. They also were of and for the times, whereas Jones and Avery seemed beyond them – and still do.

Some highlights from the collections include the birth of Bam-Bam in the fourth season of “The Flintstones,” which was such an event, it drew the sort of numbers the birth of Little Ricky did on “I Love Lucy.” Also included is a fine featurette, “The Flintstones: One Million Years Head of its Time,” which chronicles how the show became the first animated series on primetime television.

In the 26 episodes of “The Huckleberry Hound Show: Vol. 1,” look for “Huckleberry Hound Restoration: Reconstructing the Premiere Episode”; it’s the only worthwhile featurette in the collection. Fans of Yogi Bear will find 35 episodes in his “Complete Series,” as well as “Yogi Gets Global,” which takes an amusing look at how one Yogi Bear episode is turned into several different languages.

“Flintstones” – Grade: A-

“Huckleberry Hound” – Grade: B+

“Yogi Bear Show” – Grade: B+

Visit www.weekinrewind.com, the archive of Bangor Daily News film critic Christopher Smith’s reviews, which appear Mondays in Discovering, Fridays in Happening, and Weekends in Television. He may be reached

at Christopher@weekin

rewind.com.