Nicole Kidman, Eva Green, Ben Walker, Daniel Craig, Clare Higgins

Whatever you do, don't confuse this Jack Frost with the 1997 comedic horror flick of the same name (its tagline: "He's chillin. and killin'"). This family film stars Michael Keaton as Jack Frost, an aspiring musician, loving husband and occasionally absent father. Frost's life is unexpectedly cut short by a car accident and a year after his death he comes back as-you guessed it-a snowman, to help his family heal (Kelly Preston and Joseph Cross as wife and son Gabby and Charlie, respectively). The sudden death may affect sensitive younger viewers but by the time Frost returns the movie is more light-hearted and the film's message is a worthy one. There's an underlying theme that supports independence, and Gabby isn't saddled with a new dude by the film's end. There's also a good rapport developed between father and son, and especially mother and son. If an audience can take that huge leap of faith to accept the premise (as youthful audiences will no doubt be able to do), this is entertaining family fare. [+]

A very good adaptation of the popular series of books by Tony DiTerllizi and Holly Black, The Spiderwick Chronicles is one of the few family films in recent years to seamlessly integrate magical elements with a potent drama that will strike a chord with many kids. An exceptionally talented Freddie Highmore (August Rush) plays twin brothers Jared and Simon Grace, caught up in a sad shock from their parents' divorce and coping with a decision by their mother (Mary-Louise Parker) to uproot the boys and their sister, Mallory (Sarah Bolger), from New York City to a small town. There, the broken family moves into a spooky old mansion passed on to them by the kids' great-aunt, Lucinda (Joan Plowright), who is spending her twilight years in managed care and whose scientist father, Arthur Spiderwick (David Strathairn), disappeared some 80 years ago. Jared, angry, defiant, and determined to live with the father who seems to have abandoned him, investigates strange happenings and discovers Arthur's secret notations on fairies, ogres, and other mythical creatures that live both in and outside the house. Having no idea where his curiosity is leading, Jared soon finds that he and his family are under siege from goblins and a powerful ogre (Nick Nolte) who wants Arthur's notebook. Suddenly, the boy who is a lightning rod for a troubled family becomes a resourceful warrior intent on saving his loved ones from powerful forces. The Spiderwick Chronicles benefits enormously from a script (partially written by John Sayles) that treats, quite seriously, the emotional pain of its human characters and makes Jared's will to survive the very real engine of an otherwise fantastic story. It helps, too, that director Mark Waters, who brings a warm and knowing touch to outlandish material (Freaky Friday), has a way of making the spectacular elements of The Spiderwick Chronicles genuine enough to stir real excitement and suspense. This is one of the better film adaptations of best-selling fiction for kids in some years. -Tom Keogh Joan Plowright, Freddie Highmore, David Strathairn, Mary Louise Parker, Nick Nolte.

Sweetness that doesn't turn saccharine is hard to find these days; Finding Neverland hits the mark. Much credit is due to the actors: Johnny Depp applies his genius for sly whimsy in his portrayal of playwright J. M. Barrie, who finds inspiration for his greatest creation from four lively boys, the sons of widow Sylvia Llewelyn Davies (Kate Winslet, who miraculously fuses romantic yearning with common sense). Though the friendship threatens his already dwindling marriage, Barrie spends endless hours with the boys, pretending to be pirates or Indians-and gradually the elements of Peter Pan take shape in his mind. The relationship between Barrie and the Llewelyn Davies family sparks both an imagined world and a quiet rebellion against the stuffy forces of respectability, given physical form by Barrie's resentful wife (Radha Mitchell, High Art) and Sylvia's mother (Julie Christie, McCabe and Mrs. Miller). This gentle silliness could have turned to treacle, but Depp and Winslet-along with newcomer Freddie Highmore as one of the boys-keep their feet on the earth while their eyes gaze into their dreams. Also featuring a comically crusty turn from Dustin Hoffman (who appeared in another Peter Pan-themed movie, Hook) as a long-suffering theater producer. -Bret Fetzer.

Hoodwinked fuses the classic fairy tale of Little Red Riding Hood with the crisscrossing storylines of film noir-pretty ambitious stuff for a computer-animated cartoon. The police cordon off Grandma's cottage and an amphibious version of William Powell named Nicky Flippers (voiced by David Ogden Stiers, M*A*S*H) begins interrogating the suspects: A Little Red in bell-bottoms (Anne Hathaway, Ella Enchanted), a Wolf turned investigative journalist (Patrick Warburton, The Woman Chaser), a snow-boarding Granny (Glenn Close, 101 Dalmatians), and a dimwitted would-be Woodsman (Jim Belushi, Curly Sue), each of whom have very different reasons for ending up in that cottage living room. The visual style of Hoodwinked mixes a clunky, video-game look with an homage to the stop-motion puppetry of Rudolph the Red-Nosed Reindeer and other Rankin-Bass holiday specials. While sometimes awkward, there are also moments of surreal beauty, such as when a depressed Red wanders through a field of blue and red flowers-and moments of lunatic comedy, such as the Schnitzel song, which is irresistibly bizarre. The Shrek-style pop-culture references grow annoying, but the left-field goofiness of a yodeling goat points toward a far more distinct and delightful comic world. Also featuring the voices of Anthony Anderson (Kangaroo Jack), rapper Xzibit, and an especially witty turn by Andy Dick (NewsRadio) as a deceptively cute bunny rabbit. -Bret Fetzer.

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 coal bunker 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. [+]

A perfect marriage of novel but incisive writing, acting and direction, Big is the story of a 12-year-old boy who wishes he were older, and wakes up one morning as a30-year-old man (Tom Hanks). The script by Gary Ross(Dave) and Anne Spielberg finds some unexpected ways of attacking obvious issues of sex, work, and childhood friendships, and in all of these things the accent is on classy humour and great sensitivity. Hanks is remarkable in the lead, at times hilarious (reacting to caviar just as a 12-year-old would) and at others deeply tender. Penny Marshall became a first-rate filmmaker with this 1988 work. -Tom Keogh A perfect marriage of quirky but incisive writing, acting and direction, Big is the story of a 12-year-old boy who wishes he were older, and wakes up one morning as a 30-year-old man (Tom Hanks). The script by Gary Ross (Dave) and Anne Spielberg finds some unexpected ways of attacking obvious issues of sex, work and childhood friendships, and in all of these things the accent is on classy humour and great sensitivity. Hanks is remarkable in the lead, at times hilarious (reacting to caviar just as a 12-year-old would) and at others deeply tender. Penny Marshall became a first-rate filmmaker with this 1988 work. -Tom Keogh, Amazon. com-This text refers to the VHS tape edition.

Four-disc set includes: Episode IV, A New Hope (Special Edition)-with commentary by George Lucas, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Episode V, The Empire Strikes Back (Special Edition)-with commentary by George Lucas, Irvin Kershner, Lawrence Kasdan, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Episode VI, Return of the Jedi (Special Edition)-commentary by George Lucas, Lawrence Kasdan, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Bonus disc: all-new bonus features, including the most comprehensive feature-length documentary ever produced on the Star Wars saga, and never-before-seen footage from the making of all three filmsSubitles (all material across all four discs): English, Danish, Finnish, Norwegian, Swedish Click here to see detailed information on the special features included on the bonus disc. Amazon. co. uk Review George Lucas's original Star Wars trilogy is a clever synthesis of pop-cultural and mythological references, taking classic fairy-tale themes, adding more than a dash of Arthurian legend, and providing cinematic high adventure inspired as much by Kurosawa's Samurai epics as by Flash Gordon and Buck Rogers. As a result, audiences of all ages can find something to identify with in Luke Skywalker's journey from disaffected teenager dreaming of adventure to Jedi Knight and saviour of the galaxy. He not only rescues a Princess, but discovers she's a close relative. And if there's a lesson to be gleaned from the Skywalker clan, it's that no matter how bad things get in the average dysfunctional family, it's never too late for reconciliation. Originally released in 1977, Star Wars, the first film, was made as a standalone. Perhaps that's why Obi-Wan Kenobi seems a tad inconsistent in his attitude towards his old pupil Anakin Skywalker, and perhaps also why Luke is allowed to develop a guilt-free crush on Princess Leia. Lucas's story, told from the point of view of the two bickering droids (a device taken from Kurosawa's Hidden Fortress), also borrows freely from Errol Flynn's Robin Hood, as does John Williams's seminal Korngold-inspired music score. [+]

The title is a mouthful, but Dreamer: Inspired by a True Story hits the winner's circle as a warm and inspiring family film. Ben Crane (Kurt Russell) is a Kentucky horse trainer who watches in horror as a championship filly breaks its leg during a practice run. Ordinarily that means curtains, but today Ben's daughter, Cale (Dakota Fanning), is at the track, and Ben impulsively buys the horse and loses his job in one fell swoop. The rehabilitation process is almost too much for a farm that's already struggling to survive in a modern economy, but the horse turns out to be a much-needed salve to the nearly broken family, including Ben's wife (Elisabeth Shue) and father (Kris Kristofferson). The cast is excellent, especially Fanning, and the film is well-paced by director-writer John Gatins and beautifully shot by cinematographer Fred Murphy. Surely the ultimate fate of the horse and the family won't surprise anyone, but young girls who love horses often don't need a surprise ending. They need a reason to cheer, and Dreamer delivers all the way. - David Horiuchi.

This big, fat theatrical bomb has a lot going for it. There's the three leads, Bette Midler, Kathy Najimy and Sarah Jessica Parker, playing three resurrected witches who wreak havoc on Salem, Massachusetts, 300 hundred years after they were hung. There's music, special effects, and magic. There's a surprisingly horror-filled plot. Whoops, hold up on that last one. It's probably the extremes that this film goes to (displaying a Disney label), such as the witches sucking the life out of a little girl in the first five minutes, that put the brakes on any success for Hocus Pocus. Older children, however, in the 8 and up range should get a kick out of all the weird goings-on. It's a good measure of Halloween thrills and chills. -Keith Simanton.

Dr. Seuss's classic 1954 book Horton Hears a Who has entertained generations of children and served as the inspiration for a 26-minute, 1970 television special Dr. Seuss's Horton Hears a Who and the 2000 Broadway musical "Seussical: The Musical". This 2008, full-length animated movie features the voice talents of Jim Carrey as Horton, Steve Carrell as the Mayor of Whoville, Carol Burnett as the Kangaroo, and Jesse McCartney as JoJo and promises to delight a whole new generation of children and their parents and grandparents. The technological wonders of computer animation have allowed 20th Century Fox Animation to bring to life the wacky, colourful Whoville with its minute inhabitants and the lush Jungle of Nool with its host of distinctive animals and the result is a rich, fantastical world of wonder worthy of Dr. Seuss' own imagination. All the major plot elements of Dr. Seuss' book are present, with Horton hearing the faint cry for help from a tiny dust speck atop a small clover and doing his best to protect the inhabitants of that small civilization of Whoville despite the disbelief, disdain, and persecution of his fellow animals. The feel of Dr. Seuss' original rhyming prose is partially preserved in the sparse narration by Charles Osgood that's interspersed throughout the film's dialogue and the overarching themes of staying true to one's convictions and the celebration of the power of perseverance, imagination, and kindness come through loud and clear. [+]