Napoleon Dynamite (PG)

Story
We are first introduced to our bushy-haired, redhead friend Napoleon (Jon Heder) in a vintage unicorn T-shirt, dangling a superhero action figure out the window of his school bus. When his much younger friend asks, "What are you going to do today, Napoleon?" our protagonist's first words are marked with an attitude that is unmatched by anybody other than Napoleon himself, "Whatever I feel like!" Napoleon and his chat room surfing brother Kip (Aaron Ruell), 31 with braces, live with their biker grandma (Sandy Martin) until she's injured quad running at the dunes and Uncle Rico (Jon Gries) comes to babysit. Dynamite becomes the campaign manager for the class presidency of his best friend, a new Mexican student named Pedro (Efren Ramirez), handing out key chains made by expert friendship bracelet-maker Deb (Tina Majorino). Dynamite also wins over the likes of Trisha (Emily Kennard) with a personal drawing of her that took forever, he winsomely says, "to finish the shading on her upper lip"; wears a vintage suit to his school dance; and injures his scrotum with a time machine purchased on the Internet. If this proud geek wasn't being kicked during class and pushed into lockers after, he could just as easily be considered the coolest dork in town.

Acting
Jon Heder masters the coolness of weird and the awkwardness of youth through his social reject Napoleon Dynamite. Heder certainly has the open-mouthed, squinty-eyed, spectacle-clad doofus down to a T. From breaking an excessive sweat after practicing dance moves in his room, to throwing fruit at his Uncle Rico, to showing a pent-up rage while dancing for Pedro's candidacy speech, Heder does every little thing with a resentful anger that makes his performance unforgettable and oh so laughable. As dazzling as he is alone, Heder's act benefits when complemented by his equally outrageous costars. Ruell does a notable job portraying the fragility of his character Kip, perfectly displaying the transition from computer geek to ghetto superstar, thanks to new girlfriend LaFawnduh (Shondrella Avery). Gries is Uncle Rico--his constant nostalgic comments about his chance to "make State" in high school football in 1982 really start to get on your nerves. But Majorino takes the cake for the hilarity with which she depicts her character, down to her hairstyles, outfits, jobs, and hobbies. Her character Deb is eerily reminiscent of Dawn Wiener (Heather Matarazzo) from 1995's dork homage, Welcome to the Dollhouse. One of the most attractive things about the movie is the organic love story that unfolds as Napoleon and Deb realize that they're in fact two peas in a pod.

Direction
Jared Hess directs Dynamite, written by him and wife Jerusha. This movie is his baby, as his only other directing and production credits include Peluca, 2003's 9-minute short film focused on the character of Napoleon Dynamite, then dubbed Seth. Without special effects or an expensive budget, Dynamite will blow you away with its simple cinematography, paralleled by the plain rural town in which the movie is set. Each of his characters has a specific quirky personality that they stay true to every minute on camera. Dynamite's Deb seems to look to Welcome to the Dollhouse's Dawn for fashion and boy advice. The two films are geek anthems that are both pathetic and inspiring at the same time. Just as Dollhouse reached its peak with a fuming Dawn marching over to her male obsession and releasing her rage over years of being unaccepted, Dynamite reaches a whole new peak with the curiously angry Napoleon putting on an emotional dance performance in front of his victim of choice--the entire student body class.

Juno (PG-13)

Story
Juno pulls no tricks, opening with teenage sex that leads to pregnancy, which would be a shocking climax for most movies. And Juno (Ellen Page) pulls no punches: The offbeat Minnesota teen and unexpectedly expectant mother simply cannot bite her acidic tongue. But as Juno comes to terms with her pregnancy, she softens. The terms of her pregnancy—that is, after deciding against “procuring a hasty abortion”—are that she will give her newborn to a baby-deprived married couple, Vanessa (Jennifer Garner) and Mark (Jason Bateman), from upscale suburbia. And helping Juno come to said terms are her father (J.K. Simmons), stepmom (Allison Janney), best friend (Olivia Thirlby) and, from a distance, the dad-to-be, Paulie Bleeker (Michael Cera), who himself doesn’t look too far removed from infanthood. But Juno soon discovers that these nine months won’t pass by without physical and emotional pain—pain for which her icy-exterior defense mechanism is no match—and that some grown-ups still want to be children.

Acting
Twenty-year-old Ellen Page (Hard Candy) is an age chameleon as the title character: Physically, she passes for Juno’s age of 16 with ease, and whether Juno acts like a late-‘70s/-punk-era throwback or a plain old 21st century teen, Page has no problem. But it’s her range of emotion as Juno that is most impressive. Page first endears you with her ability to shoot off quick, rhythmic sarcasm at an astonishing rate—she’s hilarious, if initially a tad sitcom-y; it’s her vulnerability as the movie progresses, however, that is even more endearing and will move you beyond what you thought possible given the way Juno begins. Such an amazing yet believable transformation is what makes this possibly the year’s best performance from an actress (even the Academy might be forced to agree). There’s a major drop-off in screen time for the other actors, but not in quality. Neo-geek god Cera (Superbad) understands what makes comedy funny as well as anybody, but he throws the occasional, and totally effective, curveball at us with scenes of tenderness; Garner, in true “Who knew?” fashion, gives a superbly delicate, against-type performance; Bateman, reuniting with his Arrested Development son Cera and The Kingdom costar Garner, is typically flawless in his small but crucial role; and Simmons (HBO’s Oz) and Janney are pleasant surprises, casting-wise, as Juno’s free-spirited voices of reason.

Direction
Even if you knew nothing of Juno going in, it’s easy to pick up on the fact that the movie’s voice is unlike any you’ve heard in a while—it’s totally fresh, in every sense of the word. That’s because a brand new writer, Diablo Cody, and a new-ish director, Jason Reitman (Thank You for Smoking), are the brains behind the operation. Cody, whose past as a Minnesota stripper has been well documented/exploited, is most responsible for the greatness that is Juno. It’s one of the best debut scripts in recent memory, fearless for refusing to conform where other first-timers err on the side of conservatism. Cody doesn’t just elect not to go the conventional route; she gives it the finger! At the same time, Cody is unconcerned with maintaining the movie’s sheer coolness, as evidenced by Juno’s soft-around-the-edges second half. And then there’s Reitman, who sits back and lets the writer work her untapped magic—to a certain extent. Where the sophomore director shines is not just visually and audibly (the best soundtrack of the year features Moldy Peaches and lead singer Kimya Dawson quite prominently, as well as Belle and Sebastian, Cat Power and others), but tonally. He weaves Cody’s superb script, which could’ve taken a completely different turn in the hands of another director, into a simultaneously upbeat and downbeat near masterpiece. Reitman also plays no small part in the incredible performances turned in by the cast.

Fanboys (PG-13)

Story
Eric, Windows, Hutch , Zoe and Linus are the very definition of Fanboy -- five lifelong friends who live for everything George Lucas dishes out, at least when it comes to Star Wars. Realizing that the suddenly ill Linus may not live long enough to see the upcoming Star Wars Episode 1: The Phantom Menace , the gang sets out on a long dreamed-of adventure: criss-crossing the country to go and break into Lucas’ Skywalker Ranch in Northern California. Their amended goal now is to try and steal a print of the unfinished movie for Linus to see before it’s too late.

Acting
Fanboys has been lovingly cast with a promising group of young actors who instantly get the wit and charm of a smart and funny screenplay that is tailor-made for the inner-Jedi in all of us. As Linus, the heart of the film, Chris Marquette perfectly captures the obsessive , never-give-up nature of a devoted Star Wars freak. Equally fine are Jay Baruchel (Tropic Thunder) as Windows, Sam Huntington as schemer Eric and paunchy and funny Dan Fogler (Balls of Fury) as Hutch, whose van is used to get to their golden destination. Also along for the ride is Kristen Bell as Zoe, the lone girl in the group who apparently loves this stuff as much as the boys. She provides a nice, welcome diversion. Showing up in cameos are Seth Rogen and a raft of Star Wars figures, including Carrie Fisher and Billy Dee Williams. Even Star Trek’s William Shatner makes a brief , amusing appearance.

Direction
Director Kyle Newman wrapped Fanboys in 2006 only to have the studio take it back, have it partially reshot to remove the cancer subplot and then see it trashed on the Internet by real-life Fan boys offended by the studio tinkering. Newman was brought back in and recut the film to its original state, and its a good thing. Fanboys is a blast ,a sweet surprise for the new year –a wise tribute to obsessive sci-fi fans everywhere.

Coraline (PG)

Story
Based on the graphic novel by Neil Gaiman (Sandman) and re-conceived by director Henry Selick (The Nightmare Before Christmas, James and the Giant Peach) in 3-D stop-motion animation, Coraline (voiced by Dakota Fanning) opens a world of twisted wonder when she passes through a secret door in her new house and suddenly discovers an alternate existence mirroring her own life but making it so much more interesting and satisfying until her Other Mother (Teri Hatcher) tries to turn her little visit into a permanent one.

Acting
Fanning is the ideal Coraline -- curious, fickle, frightened and determined. She does an excellent job bringing to life this young girl suddenly caught up in an extraordinary adventure that rivals what Dorothy went through on the road to Oz. Hatcher is properly bland as her real mother and slippery as her Other -- she’s clearly having fun ditching Desperate Housewives. Standout is Keith David, voicing an exquisitely drawn but quite mysterious Cat. There’s also brief but amusing work from the team of Jennifer Saunders and Dawn French (Absolutely Fabulous) as Coraline’s very very British and very eccentric neighbors and an even wackier Ian McShane as the Russian Mr. Bobinsky.

Direction
Selick has created a modern classic that tops even his brilliant Nightmare Before Christmas, turning the world of Coraline into something we’ve seen before. It’s Alice in Wonderland times 10 but, despite its soft PG rating, is really dark stuff. Kids won’t be turned off by this, but some not-clued-in parents might. The film will be shown in both 3-D and regular formats, but go for the 3-D version if possible. It’s a mind-blowing use of the technology and perhaps the best yet put on screen.

Chocolat (PG-13)

Story
Things haven't changed much in this small town where everyone faithfully goes to mass each week and widows stay dressed in black for life. Enter Vianne (Binoche), a single mother with ancient Mayan chocolate recipes that awaken the villagers out of their "slumber" and revive their deepest desires. Soon after they taste Vianne's delightful chocolates, grumpy couples are making love like newlyweds, estranged relatives are speaking to one another once again and a battered wife finds the strength to stand up for herself. This causes change in a town that has remained the same since the World War I - change that the mayor is adamant on putting a stop to, personally.

Acting
Binoche's Vianne is a delight to watch on the big screen, playing a complicated character filled with wisdom, strength, grace and the tenderness of a mother. Judi Dench's portrayal of a hard-nosed landlord eager to spend time with her estranged grandson provides the right blend of comical relief in this gem. Johnny Depp provides plenty of sex appeal as the drifter who brings more "trouble" to the town, but offers little depth to his character.

Direction
Director Lasse Hallstrom's follow-up to The Cider House Rules is a true winner and deserving of an Oscar nomination. The story of how a single woman and her sweet delicacies can have such a profound impact on a staunch, rigid town captivates with real-life drama and light comic relief. Although Binoche is the messenger, Hallstrom never lets the viewer forget what's at the core of this sweet tale and the remedy to the villagers' disease: the rich sweet taste of Vianne's chocolate. From the kitchen scenes where Vianne stirs the creamy brown liquid to her beautifully decorated shop, the tantalizing chocolate is never far from the camera's lens.

Beverly Hills Chihuahua (PG)

Story
Chloe (voiced by Drew Barrymore) is a diamond-drenched, pampered pooch who lives the high life in Beverly Hills. Beloved by her owner, Aunt Viv (Jamie Lee Curtis), and adored by the landscaper’s Chihuahua, Papi (George Lopez), she is left with a babysitter, niece Rachel (Piper Perabo), when Viv takes off on vacation. Rachel impulsively departs on a last-minute weekend romp to Mexico, with Chloe, who not only gets lost south of the border but ends up in some very bad company. Saved from certain death in a dog fight, she hooks up with a street-savvy German Shepherd (Andy Garcia) harboring a dark secret from his past life as a police dog. Along the way, her diamond ID collar is swiped by a conniving rat (Cheech Marin) and his accomplice, a very fidgety Iguana (Paul Rodriguez), leading to major chaos as all of them are pursued by the vicious El Diablo (Edward James Olmos), a Doberman out for revenge and one very disoriented Chihuahua. Will Rachel and Papi be able to find her in time before clueless Aunt Viv’s return? That’s the burning question.

Acting
Basically a talking dog movie with a heavy Spanish accent, Beverly Hills Chihuahua doesn’t exactly shy from stereotyped Mexicans, but since this is a canine Babe it manages to get away with just about anything simply because these pooches are just so darned cute. The voice cast, which features such Latino stars as George Lopez, Edward James Olmos, Paul Rodriguez, Cheech Marin and Andy Garcia, is perfectly cast, lending a lot of fun to the proceedings, especially Lopez as the lovably loyal Papi and Marin as a jewel-thief rat. Barrymore is also ideal as the ultra-rich and spoiled Chloe, who is the equivalent of a canine Paris Hilton. The human actors are basically wallpaper, with Curtis given little dimension in her relatively brief screen time and Perabo spending most of the film searching for the pup she carelessly misplaced. Manolo Cardona does nicely as the family gardener who helps out in the search. But it’s the remarkable real dog stars that steal this show. You have to wonder how their trainers, led by Birds And Animals Unlimited’s Mike Alexander, pulled some of this stuff off. These animals are more three-dimensional than most real thesps we’ve seen lately and actually do seem to be mouthing their lines (including some very clever dialogue).

Direction
The old show-business adage says to never work with kids or animals--they take center stage everytime. In this case, director Raja Gosnell and the group of talented trainers behind the cameras have proven the saying absolutely right. Dominating the breezy 86-minute time, the bulk of the movie is devoted to stars of the four-legged variety, and Gosnell makes it look easy with inventive camera angles, giving us the POV of all the various dog stars who seem to be taking on the distinct personalities of the “characters” they are playing, particularly the soulful down-and-out ex-police dog Garcia voices. You really do wonder what this dog’s deep, dark secret is and the relationship forged between him and Chloe is genuinely real. It’s a tribute to Gosnell’s talents and the entire behind-the-scenes team that Beverly Hills Chihuahua turns out to be the family delight it is.

American Teen (PG-13)

Story
Filmed over the course of the 2005-06 school year at Warsaw Community High School in Warsaw, Indiana, American Teen documents the many trials and triumphs of a group of seniors: endearing, eccentric Hannah Bailey; earnest basketball star Colin Clemens; queen of the popular crowd Megan Krizmanich; awkward loner Jake Tusing; and charming Mitch Reinholdt. The camera follows them as they cope with everything from painful breakups and new love to championship games and college applications, capturing the stress, joy, agony, and confusion of being a teenager. There's not much here that many other teen movies—particularly those in the John Hughes canon—haven't dealt with before, but because it's all new to these kids, it feels fresh and compelling. Not to mention heartwrenching; if you've already left high school behind you, don't be surprised to find yourself thanking your lucky stars.

Acting
Although American Teen is a documentary, the realities of being a teenager mean that its subjects end up acting every day. Hannah puts on a tough face when she returns to school after a long absence due to a bout of depression. Megan acts like she'll be OK if she doesn't get into Notre Dame (a long-standing family tradition). Mitch tries to pretend that he doesn't care that his friends don't understand why he'd want to date an "outsider" like Hannah. Because viewers get to see the truths behind these pretenses, they're all the more affecting; Hannah, in particular, will win you over with her big dreams and fierce determination. But while there's no shortage of raw, honest moments, it's impossible not to feel like the kids are putting on at least a bit of a show for the cameras; raised in the era of reality TV, you can tell that they know what interpersonal drama is "supposed" to look like.

Direction
No stranger to gripping documentaries, Nanette Burstein—who also directed On the Ropes and The Kid Stays in the Picture—is clearly aware of how closely her film and its subjects mirror their fictional counterparts in Hughes' classics like The Breakfast Club. But it's precisely this awareness that makes the film's point so clear: Stereotypes and clichés rule high school just as thoroughly in the real world as they do in fiction. And teens have to negotiate the pressures and boundaries imposed by those labels every day. The fact that Burstein really helps her audience get to know the kids she spent a year with makes what they go through both personal and moving. It's not the most original documentary you'll see, but it certainly taps into emotions that we can all identify with.