Is fate really predetermined, or can people change their destiny? Scottish princess Merida (Kelly Macdonald) certainly believes that a teenager should have control over her own life. She has little patience with the conservative ideas her mother (Emma Thompson) holds about proper etiquette for girls, and even less tolerance for her kingdom's traditions regarding the marriage of a princess. An impulsive young woman with impressive archery skills and a no-nonsense attitude, Merida throws her realm into chaos when she disregards the customary procedure for finding a suitor and then disappears into the forest in defiance of her mother's unbending ways. In the forest, will-o'-the-wisps appear and, since Scottish legend suggests that these unearthly spirits might lead one to his or her destiny, Merida follows them to the house of a strange witch (Julie Walters) who grants her wish to change her mother. The witch's spell takes a most unexpected form, one that promises to test not only the bond between mother and daughter, but the bonds and bravery of the entire family and kingdom. What eventually becomes clear is that fate lies within, if only one is brave enough to see it. This collaborative Pixar-Disney film features stunning animation, an engaging story, plenty of laughs, effective music, and a one-of-a-kind princess. At times, the film feels almost Ghibli-esque, especially with its floating wisps, frightening creatures, and the stark conflict between the mystical and traditional. Brave is frightening (probably too frightening for those under 10 years), fascinating, and quite compelling. —Tami Horiuchi

Spaced revolves around two idle twentysomething flatmates - immature skateboarding would-be comic artist Tim (Simon Pegg), and moody, responsibility-shy Daisy (Jessica Stevenson), and their self-induced lack of success in employment, relationships and life in general. Together with their oddball assortment of friends and neighbors, Marsha, Brian, Mike and Twist, they exist in a world perched precariously on the edge of normality.

The Deathly Hallows: Part 2 is the film all Harry Potter fans have waited 10 years to see, and the good news is that it's worth the hype—visually stunning, action packed, faithful to the book, and mature not just in its themes and emotion but in the acting by its cast, some of whom had spent half their lives making Harry Potter movies. Part 2 cuts right to the chase: Voldemort (Ralph Fiennes) has stolen the Elder Wand, one of the three objects required to give someone power over death (a.k.a. the Deathly Hallows), with the intent to hunt and kill Harry. Meanwhile, Harry's quest to destroy the rest of the Horcruxes (each containing a bit of Voldemort's soul) leads him first to a thrilling (and hilarious—love that Polyjuice Potion!) trip to Gringotts Bank, then back to Hogwarts, where a spectacular battle pitting the young students and professors (a showcase of the British thesps who have stolen every scene of the series: Maggie Smith's McGonagall, Jim Broadbent's Slughorn, David Thewlis's Lupin) against a dark army of Dementors, ogres, and Bellatrix Lestrange (Helena Bonham Carter, with far less crazy eyes to make this round). As predicted all throughout the saga, Harry also has his final showdown with Voldemort—neither can live while the other survives—though the physics of that predicament might need a set of crib notes to explain. But while each installment has become progressively grimmer, this finale is the most balanced between light and dark (the dark is quite dark—several familiar characters die, with one significant death particularly grisly); the humor is sprinkled in at the most welcome times, thanks to the deft adaptation by Steve Kloves (who scribed all but one of the films from J.K. Rowling's books) and direction by four-time Potter director David Yates. The climactic kiss between Ron (Rupert Grint) and Hermione (Emma Watson), capping off a decade of romantic tension, is perfectly tuned to their idiosyncratic relationship, and Daniel Radcliffe has, over the last decade, certainly proven he was the right kid for the job all along. As Prof. Snape, the most perfect of casting choices in the best-cast franchise of all time, Alan Rickman breaks your heart. Only the epilogue (and the lack of chemistry between Harry and love Ginny Weasley, barely present here) stand a little shaky, but no matter: the most lucrative franchise in movie history to date has just reached its conclusion, and it's done so without losing its soul. —Ellen A. Kim

The title credit for Delicatessen reads "Presented by Terry Gilliam," and it's easy to understand why the director of Brazil was so supportive of this outrageously black French comedy from 1991. Like Gilliam, French codirectors Jean-Pierre Jeunet and Marc Caro have wildly inventive imaginations that gravitate to the darker absurdities of human behavior, and their visual extravagance is matched by impressive technical skill. Here, making their feature debut, Jeunet and Caro present a postapocalyptic scenario set entirely in a dank and gloomy building where the landlord operates a delicatessen on the ground floor. But this is an altogether meatless world, so the butcher-landlord keeps his customers happy by chopping unsuspecting victims into cutlets, and he's sharpening his knife for a new tenant (French comic actor Dominque Pinon) who's got the hots for the butcher's nearsighted daughter! Delicatessen is a feast (if you will) of hilarious vignettes, slapstick gags, and sweetly eccentric characters, including a man in a swampy room full of frogs, a woman doggedly determined to commit suicide (she never gets its right), and a pair of brothers who make toy sound boxes that "moo" like cows. It doesn't amount to much as a story, but that hardly matters; this is the kind of comedy that springs from a unique wellspring of imagination and inspiration, and it's handled with such visual virtuosity that you can't help but be mesmerized. There's some priceless comedy happening here, some of which is so inventive that you may feel the urge to stand up and cheer. —Jeff Shannon

Mixed reviews and creepy comparisons to Michael Jackson notwithstanding, Tim Burton's splendidly imaginative adaptation of Charlie and the Chocolate Factory would almost surely meet with Roald Dahl's approval. The celebrated author of darkly offbeat children's books vehemently disapproved of 1971's Willy Wonka and the Chocolate Factory (hence the change in title), so it's only fitting that Burton and his frequent star/collaborator, Johnny Depp, should have another go, infusing the enigmatic candyman's tale with their own unique brand of imaginative oddity. Depp's pale, androgynous Wonka led some to suspect a partial riff on that most controversial of eternal children, Michael Jackson, but Burton's film is too expansively magnificent to be so narrowly defined. While preserving Dahl's morality tale on the hazards of indulgent excess, Burton's riotous explosion of color provides a wondrous setting for the lessons learned by Charlie Bucket (played by Freddie Highmore, Depp's delightful costar in Finding Neverland), as he and other, less admirable children enjoy a once-in-a-lifetime tour of Wonka's confectionary wonderland. Elaborate visual effects make this an eye-candy overdose (including digitally multiplied Oompa-Loompas, all played by diminutive actor Deep Roy), and the film's underlying weirdness is exaggerated by Depp's admirably risky but ultimately off-putting performance. Of course, none of this stops Burton's Charlie from being the must-own family DVD of 2005's holiday season, perhaps even for those who staunchly defend Gene Wilder's portrayal of Wonka from 34 years earlier. —Jeff Shannon

DVD features
The second disc is filled with a number of distinctive featurettes. The likely crowd-pleaser in most households is "Attack of the Squirrels," which recounts how those fuzzy little creatures (a combination of hard-to-train live animals, animatronics, and computer graphics) can be ornery in their own right. "The Fantastic Mr. Dahl" is a 17-minute look at author Roald Dahl through vintage footage and new interviews with family, friends, and colleagues. "Becoming Oompa-Loompa" follows Deep Roy as he is filmed over and over again through his dance steps and music performances.

Roy is a constant throughout the kids' activities as well. You can follow him to learn two different dance steps "Augustus Gloop" and "Violet Beauregarde," and make him taste weird candy inventions in a simple game. "Search for the Golden Ticket" is a five-part challenge that tests your remote-control fingers, your deductive abilities, or your luck. Finally, if you just want basic behind-the-scenes information, "Making the Mix" is a collection of featurettes (around 40 minutes total) covering the film's casting, music, production design, and special effects. —David Horiuchi