DD 5.1

Miss Potter walks that fine line between charming and cloying with pleasing sure-footedness. Apple-cheeked Renee Zellweger (Bridget Jones' Diary) once again slips into a British accent to play writer/illustrator Beatrix Potter, the creator of Peter Rabbit. Potter, born into wealth, fought the disapproval of her high society mother to do something as crass as publish a book...and to fall in love with her publisher, Norman Warne (Ewan McGregor, previously teamed with Zellweger in Down With Love). Unfortunately, their love runs into something worse than upper-class stuffiness.

A new term at high school is even more of a trauma for Cady (Lindsay Lohan) than it is for everybody else, since she is not just an out-of-towner but an out-of-Africa, her parents having raised her as a bush baby. Now she is confronted with the complexity of school loyalties and fads, which-as we are reminded by innumerable slo-mo sequences with an added roartrack-are twice as bloodlusty as the lives of African fauna.

Pile together a blue-ribbon cast, a screenplay high in quirkiness, and the Sundance stamp of approval, and you've got yourself a crossover indie hit. That formula worked for Little Miss Sunshine, a frequently hilarious study of family dysfunction. Meet the Hoovers, an Albuquerque clan riddled with depression, hostility, and the tattered remnants of the American Dream; despite their flakiness, they manage to pile into a VW van for a weekend trek to L.A. in order to get moppet daughter Olive (Abigail Breslin) into the Little Miss Sunshine beauty pageant.

Comparisons with E.T. are inevitable, but the more modest The Last Mimzy is based on the classic short story "Mimzy Were the Borogoves," by Lewis Padgett (a pseudonym for husband-and-wife writing team Henry Kuttner and C.L. Moore), that anticipated Steven Spielberg's extraterrestrial fantasy by nearly four decades. Chris O'Neil and Rhiannon Leigh Wryn give winning, naturalistic performances as siblings Noah and Emma, whose lives are transformed by a box of mysterious objects they find on the beach outside the family's Seattle vacation home.

First screened in Europe and scheduled for limited release in the U.S., The Illusionist offers welcome proof that "arthouse" quality needn't be limited to the arthouses. Set in turn-of-the-century Vienna, this stately, elegant period film benefited from a crossover release in mainstream cinemas, and showed considerable box-office staying power--granted, teenage mallrats and lusty males may have been drawn to the allure of Seventh Heaven alumna Jessica Biel, who rises to the occasion with a fine performance.

This is the story of a little penguin named Mumble who has a terrible singing voice and later discovers he has no Heartsong. However, Mumble has an astute talent for something that none of the penguins had ever seen before: tap dancing. Though Mumble's mom, Norma Jean, thinks this little habit is cute, his dad, Memphis, says it "just ain't penguin." Besides, they both know that, without a Heartsong, Mumble may never find true love. As fate would have it, his one friend, Gloria, happens to be the best singer around.

Starting off from the dark and tragic ending of the fourth film, Harry Potter and the Order of the Phoenix begins in a somber and angst-filled tone that carries through the entire 138 minutes (the shortest of any HP movie despite being adapted from the longest book). Hopes of winning the Quidditch Cup have been replaced by woes like government corruption, distorted media spin, and the casualties of war. As the themes have matured, so have the primary characters' acting abilities.

Leonardo DiCaprio puts a handsome face on an ugly industry: In parts of Africa, diamond mining fuels civil warfare, killing thousands of innocents and drafting preteen children as vicious soldiers. DiCaprio (The Departed) plays Danny Archer, a white African soldier-turned-diamond-smuggler who gets wind of a large raw jewel found by Solomon Vandy, a native fisherman (Djimon Hounsou, In America) recently escaped from enslavement by a brutal rebel leader. Archer offers a deal: He'll help Vandy find his war-scattered family if Vandy will share the diamond with him.

Here's hoping James Mangold's big, raucous, and ultrabloody remake of 3:10 to Yuma leads some moviegoers to check out Delmer Daves's beautifully lean, half-century-old original. That classic Western spun a tale of captured outlaw Ben Wade (Glenn Ford)--deadly but disarmingly affable--and the small-time rancher and family man, Dan Evans (Van Heflin), desperate enough to accept the job of helping escort the badman to Yuma prison.

In this inspirational costume drama, Michael Apted (49 Up) recounts a period in British history sure to be unfamiliar to most Americans. In fact, his eye-opening biography of 18th century abolitionist William Wilberforce (Ioan Gruffudd) is likely to come as a revelation to many Britons, as well. After all, despite the presence of his wife, Barbara (Romola Garai), this isn't a particularly "sexy" story, but it is a powerful one. The title comes from John Newton's hymn Amazing Grace ("I once was lost but now am found").