Wracking up impressive box office numbers right across the globe, the arrival of The Simpsons Movie onto the big screen proved, for many, to be more than worth the wait. But with its DVD release, there's a compelling argument that Springfield's finest have come back to their natural home.



The film itself is primarily Homer-centred, with the head of The Simpsons family seemingly consigning Springfield to certain doom when he dumps his waste where he shouldn't. But, in the true spirit of the show, the plot takes a relative back seat to the antics of America's first family.



And it's those antics that offer the film's gold. As you'd hope, it boasts several laugh-out-loud moments, from visual gags (the rock and hard place being a favourite) through to the by-now infamous Spider-pig. There's not quite enough material to keep the chuckle counter going for the full duration of The Simpsons Movie , and the criticism that it's effectively three episodes strung together has some truth to it. But you'd still be hard-pushed to complain for one key reason: The Simpsons Movie is grand entertainment, with plenty of rewatch potential.



So while you can add us to the queue of people who wanted more Mr Burns, and while it doesn't quite measure up to some of the show's best episodes, The Simpsons Movie still delivers, and does it with some quality. And Spider-pig is a work of genius… --Jon Foster

The sixth installment of the Harry Potter series begins right where The Order of the Phoenix left off. The wizarding world is rocked by the news that"He Who Must Not Be Named" has truly returned, and the audience finally knows that Harry is"the Chosen One"--the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it's dark, dangerous, and scary.<p/> Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It's in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies' many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort's darkest weapon--the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.<p/> More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. Harry Potter and the Half-Blood Prince is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. -- Jordan Thompson

You may be surprised to discover that the director of the Lethal Weapon movies and scary horror flick The Omen , Richard Donner, also produced and directed this classic children's adventure (which, by the way, was written by Donner's screen-wizard friend Steven Spielberg). Then again you may not. The Goonies , like Donner's other movies, is the same story of good versus evil. It has its share of bad guys (the Fratelli brothers and their villainous mother), reluctant-hero good guys (the Walsh bothers and their gang of friends), and lots of corny one-liners. Like in an old-fashioned Hardy Boys or Nancy Drew plot, the Goonies need to solve a problem: a corrupt corporate developer has bought out their neighbourhood and plans to flatten all their homes. Luckily, the beloved gang stumbles on a treasure map. In the hopes of finding the treasure to buy back their houses, the Goonies embark on their quest through underground passages, aboard pirate ships, and behind waterfalls. This swashbuckling and rollicking ride was also a great breeding ground for a couple of child actors who went on to enjoy numerous successes in adulthood: Sean Astin ( Rudy , Encino Man ) and Martha Plimpton ( Pecker , 200 Cigarettes ). -- Samantha Allen Storey, Amazon.com

UMD all regionsThe Mystery Inc. gang have broken up but find themselves together on Spooky Island. Strange things happen on the island resulting in the gang getting together to solve the case.

Now and forever a favourite among kids, this 1990 comedy written by John Hughes ( The Breakfast Club ) and directed by Chris Columbus ( Mrs. Doubtfire ) ushered Macaulay Culkin onto the screen as a troubled 8-year-old who doesn't comfortably mesh with his large family. He's forced to grow a little after being accidentally left behind when his folks and siblings fly off to Paris. A good-looking boy, Culkin lights up the screen during several funny sequences, the most famous of which finds him screaming for joy when he realises he's unsupervised in his own house. A bit wooden with dialogue, the then-little star's voice could grate on the nerves (especially in long, wise-child passages of pure bromide), but he unquestionably carries Home Alone . Billie Bird and John Candy show up as two of the interesting strangers Culkin's character meets. Joe Pesci and Daniel Stern are entertainingly cartoonish as thieves, but the ensuing violence once the little hero decides to keep them out of his house is over-the-top. --Tom Keogh

For anyone who thought the Oscar-winning documentary March of the Penguins was the most marvelous cinematic moment for these nomads of the south, you haven't seen nothing yet. Here's an animated wonder about a penguin named Mumble who can't sing, but can dance up a storm. George Miller, the driving force behind the Babe (and Mad Max ) movies, takes another creative step in family entertainment with this big, beautiful, music-fueled film that will have kids and their parents dancing in the streets. From his first moment alive, Mumble (voiced by Elijah Woods) feels the beat and can't stop dancing. Unfortunatly, emperor penguins are all about finding their own heart song, and dancing youngster--as cute as he is--is a misfit. Luckily, he bumps into little blue penguins, a Spanish-infused group (led by Robin Williams) and begins a series of adventures. Miller has an exceptional variety of entertainment, Busby Berkley musical numbers, amusement park thrills, exciting chase sequences (seals and orca lovers might like think otherwise), and even an environmental message that doesn't weigh you down. Best of all, you don't know where the movie is going in the last act, a rare occurrence these days in family entertainment. A fusion of rock songs, mashed up and otherwise are featured; this movie is as much a musical as a comedy. Mumble's solo dance to a new version of Stevie Wonder's"I Wish" by Fantasia, Patti and Yolanda may be the most joyful moment on camera in 2006. --Doug Thomas

As warming as a nice cup of tea on a cloudy day, Chicken Run is that charming singularity, a commercially successful British family movie that has near-universal appeal without compromising its inherent British pluckiness (that will be the first and last poultry-pun in this review). It invites us into the Plasticine-world of Tweedy's farm, a far-from-free-range egg factory ruled with an axe of iron by greedy Mrs.Tweedy. One intrepid chicken, Ginger (voiced by Julia Sawalha) sets her sights on breaking out the whole flock, a cast of beautifully individuated chicken characters including ditsy Babs (voiced by Jane Horrocks), matronly Bunty (Imelda Staunton) and practical-minded Mac (Lynn Ferguson). Each effort is thwarted, and Ginger repeatedly reaps a spell in the coalbunker for her troubles, prompting the first of many allusions to The Great Escape , one of several World War II films name-checked throughout. (Grown-ups will have a ball playing Spot-the-Allusion Game here.) When an American rooster named Rocky (Mel Gibson) literally drops in from the air, the hens are set all a-flutter with excitement thinking he'll help teach them to fly away at last. But Rocky is not all he seems.

Although the action sags just a fraction around the 40-minute mark, it's the set pieces that really lift this into the realm of cartoon genius: the montage of inept flying attempts, Rocky and Ginger's narrow escape from Mrs Tweedy's new pie machine (an horrific contraption of chomping steel and industrial menace) and the magnificent, soaring climax. Despite the fact British animators (such as the directors, Nick Park and Peter Lord, themselves) regularly scoop Oscars for their short films, our record in full-feature length cartoons has been scrappy at best. There have been a few highlights-- Animal Farm (1955), The Yellow Submarine (1968), Watership Down (1978)--and, er, that's about it really, unless you count The Magic Roundabout: Dougal and the Blue Cat . ChickenRun , made by the Aardman production house who produced the delightful Wallace and Gromit shorts among many other treats, has proved that Britain can compete with the most calculated, merchandised and screen-tested Disney production and win. -- Leslie Felperin

For anyone who thought the Oscar-winning documentary March of the Penguins was the most marvelous cinematic moment for these nomads of the south, you haven't seen nothing yet. Here's an animated wonder about a penguin named Mumble who can't sing, but can dance up a storm. George Miller, the driving force behind the Babe (and Mad Max ) movies, takes another creative step in family entertainment with this big, beautiful, music-fueled film that will have kids and their parents dancing in the streets. From his first moment alive, Mumble (voiced by Elijah Woods) feels the beat and can't stop dancing. Unfortunatly, emperor penguins are all about finding their own heart song, and dancing youngster--as cute as he is--is a misfit. Luckily, he bumps into little blue penguins, a Spanish-infused group (led by Robin Williams) and begins a series of adventures. Miller has an exceptional variety of entertainment, Busby Berkley musical numbers, amusement park thrills, exciting chase sequences (seals and orca lovers might like think otherwise), and even an environmental message that doesn't weigh you down. Best of all, you don't know where the movie is going in the last act, a rare occurrence these days in family entertainment. A fusion of rock songs, mashed up and otherwise are featured; this movie is as much a musical as a comedy. Mumble's solo dance to a new version of Stevie Wonder's"I Wish" by Fantasia, Patti and Yolanda may be the most joyful moment on camera in 2006. --Doug Thomas

As warming as a nice cup of tea on a cloudy day, Chicken Run is that charming singularity, a commercially successful British family movie that has near-universal appeal without compromising its inherent British pluckiness (that will be the first and last poultry-pun in this review). It invites us into the Plasticine-world of Tweedy's farm, a far-from-free-range egg factory ruled with an axe of iron by greedy Mrs.Tweedy. One intrepid chicken, Ginger (voiced by Julia Sawalha) sets her sights on breaking out the whole flock, a cast of beautifully individuated chicken characters including ditsy Babs (voiced by Jane Horrocks), matronly Bunty (Imelda Staunton) and practical-minded Mac (Lynn Ferguson). Each effort is thwarted, and Ginger repeatedly reaps a spell in the coalbunker for her troubles, prompting the first of many allusions to The Great Escape , one of several World War II films name-checked throughout. (Grown-ups will have a ball playing Spot-the-Allusion Game here.) When an American rooster named Rocky (Mel Gibson) literally drops in from the air, the hens are set all a-flutter with excitement thinking he'll help teach them to fly away at last. But Rocky is not all he seems.

Although the action sags just a fraction around the 40-minute mark, it's the set pieces that really lift this into the realm of cartoon genius: the montage of inept flying attempts, Rocky and Ginger's narrow escape from Mrs Tweedy's new pie machine (an horrific contraption of chomping steel and industrial menace) and the magnificent, soaring climax. Despite the fact British animators (such as the directors, Nick Park and Peter Lord, themselves) regularly scoop Oscars for their short films, our record in full-feature length cartoons has been scrappy at best. There have been a few highlights-- Animal Farm (1955), The Yellow Submarine (1968), Watership Down (1978)--and, er, that's about it really, unless you count The Magic Roundabout: Dougal and the Blue Cat . ChickenRun , made by the Aardman production house who produced the delightful Wallace and Gromit shorts among many other treats, has proved that Britain can compete with the most calculated, merchandised and screen-tested Disney production and win. -- Leslie Felperin

An irresistible concept meets computer-generated wonders in Night at the Museum , inspired by a 1993 children's book by Milan Trenc. Ben Stiller stars as Larry Daley, an underachieving inventor waiting for his ship to come in while getting evicted from one apartment after another for lack of funds. Larry's son needs some stability, so the well-meaning ne'er-do-well takes a job as night watchman at New York City's Museum of Natural History. What the soon-to-retire guards (Dick Van Dyke, Mickey Rooney, Bill Cobbs) don't tell him is that an ancient pharaoh's tablet in the museum causes everything on display to come to life at night. Thus, Larry meets representations of Teddy Roosevelt, Attila the Hun, fire-worshipping cavemen, and Roman Empire soldiers, and learns to cope with an excitable T-Rex and man-eating, ancient animals. The film might have left things at that, but an added story element gives Night at the Museum some extra urgency and excitement, especially for kids: Larry becomes responsible for keeping this nightly miracle going and preventing anything in the museum from dying due to exposure to sunrise. Computer effects, as well as wildly imaginative costumes and makeup, help make the film appeal to the 8-year-old in everyone. Director Shawn Levy ( The Pink Panther ) works with a hugely talented cast, including Robin Williams, Owen Wilson, Ricky Gervais, Carla Gugino, and Steve Coogan. --Tom Keogh

While many movie franchises slide as they reach their later instalments, the Harry Potter films just keep getting better. The latest, Harry Potter and the Order of the Phoenix is easily the darkest of the series to date, and it's also one of the best. For while it could easily have been little more than a holding film to set up the big encounters to come in the last two instalments of the series, it's to the credit of British director David Yates that the end result is really very good.

It finds Harry coming under suspicion from his wizarding colleagues, who don't believe his claims that the evil Lord Voldermort has returned. Harry Potter and the Order of the Phoenix thus finds its title character on the backfoot for much of its running time, with a select band who firmly believe his story, and very powerful figures who don't.

Where the movie of Harry Potter and the Order of the Phoenix excels though is in its three trump cards. Number one is a far tighter script than we're used to with Potter films, which, combined with trump card number two--the aforementioned David Yates behind the camera--cuts much of the slavish loyalty to the text away in favour of a film with real momentum. The third, and best, card though is the casting of Imelda Staunton as Professor Dolores Umbridge, who simply flies away with every scene she's in. It's a superb performance, and the film is poorer whenever she's not on screen.

Harry Potter and the Order of the Phoenix is not a film without a few problems, certainly: it's a fair criticism that not too much actually happens, and one or two bits feel superfluous. But it overrides its problems with ease, to emerge as a compelling, highly enjoyable family film, which will leave you salivating for the Christmas 2008 release of movie number six in the series. -- Simon Brew

Most horror movies establish an atmosphere of normality, which they gradually rupture with spooky or creepy or stomach-churning images. The Amityville Horror --a remake of the 1979 movie about a possessed house that torments the family that moves into it--tosses normality out the window in the first five minutes, unleashing a nonstop barrage of unsettling camera angles, decaying wood and stained wallpaper, half-glimpsed shadows in motion, fast edits of grotesque ghosts, and dozens of other horror-movie devices. Whether you like the movie will depend on whether you like feeling slightly nauseated and cut off from any semblance of reality--for many people, that's why they go to horror movies. Others won't be able to suspend disbelief that anyone but an actor would spend the time necessary to develop Ryan Reynold's insanely buff physique, prominently displayed as he runs around wearing nothing but a pair of loose-fitting pajama bottoms. In addition to Reynolds, the movie also features Philip Baker Hall and Melissa George. --Bret Fetzer, Amazon.com

Don't panic! After twenty years stuck in development (a mere blink compared to how long it takes to find the answer to life, the universe, and everything), The Hitchhiker's Guide to the Galaxy has finally been turned into a movie. Following the radio play, TV series, commemorative towel, and books, this latest installment in the sci-fi-comedy franchise is based on the screenplay and detailed notes by Douglas Adams. For those unfamiliar with the story, everyman Arthur Dent (Martin Freeman) wakes up one morning to discover that his house is set to be demolished to make room for a bypass. Little does he know the entire planet Earth is also set to be destroyed for an interplanetary bypass by the Vogons, a hideous and bureaucratic race of aliens realized in the film by Jim Henson's Creature Shop. Whisked off the planet by his best friend, alien-in-disguise Ford Prefect (Mos Def), Dent embarks on a goofy jaunt across the galaxy accompanied by his trusty Hitchhiker's Guide, which looks like a really fancy PDA. The guide itself provides some of the funniest bits of the movie, little animated shorts that explain the ludicrous life forms and extraterrestrial phenomena our heroes encounter. Along the way Arthur meets the two-headed party animal/president of the galaxy Zaphod Beeblebrox (Sam Rockwell) and develops an unrequited crush on fellow earthling Trillian (Zooey Deschanel). The creatures and sets are inspired and answer to the sci-fi fan's primal need to see lots and lots of cool stuff. Where the story stumbles is in the telling--as books, the Hitchhiker's Guide was foremost about goofy and brilliant ideas that raised questions about our place in the universe while getting a laugh. The movie has enough trouble figuring out how to get the characters from one fantastical location to the next that Adams's funniest concepts often feel left in the dust. While the reverence the filmmakers felt toward Adams's legacy is apparent, one wonders what we could have expected had the creator of this science fiction universe lived to see it with his own eyes. --Ryan Boudinot, Amazon.com