Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. —Jeff Shannon

This 1986 fantasy/action thriller has since spawned two sequels, a popular syndicated TV series, numerous comic-book spinoffs, and a loyal (if somewhat oddly obsessive) following of fans. Directed by music video veteran Russell Mulcahy (which explains the dizzying camera work), the original theatrical release made hash of an intriguing story about an "Immortal" from 16th-century Scotland (Christopher Lambert) who time-leaps to modern-day America with his archenemy (Clancy Brown) in hot pursuit. It becomes a battle to the death (yes, Immortals can die), and Lambert seeks survival training from an Immortal mentor played by Sean Connery. Dazzling, energetic, and altogether confusing in its original form, the film has since been released on video, laserdisc, and DVD in this revised widescreen "director's cut," with additional footage, director and producers' commentary, a photo and artwork archive, the original trailer, and an official time line of the film's evolution from script to screen. A must for Highlander fans ... and you know who you are! —Jeff Shannon

The next installment in the Harry Potter series finds young wizard Harry Potter (DANIEL RADCLIFFE) and his friends Ron Weasley (RUPERT GRINT) and Hermione Granger (EMMA WATSON) facing new challenges during their second year at Hogwarts School of Witchcraft and Wizardry as they try to uncover a dark force that is terrorizing the school.

HARRY POTTER characters, names, and related indicia are trademarks of and (c) Warner Bros. Entertainment Inc. Harry Potter Publishing Rights (c) J.K.R. (c) 2007 Warner Bros. Entertainment Inc. All rights reserved.

Here's an event movie that holds up to being an event. This filmed version of Harry Potter and the Sorcerer's Stone, adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts, the school for young witches and wizards. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure—involving the titular sorcerer's stone—doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. Ages 8 and up. —Doug Thomas

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 neighborhood 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

Ebulliently imaginative and far more cleverly presented than you would expect from a TV miniseries, this satirical adventure succeeds by never pandering to the lowest common denominator. Closely based on Jonathan Swift's 1726 classic, it is enhanced by dazzling special effects from Jim Henson Productions and a superb, multi-ethnic cast. The biggest surprise is Ted Danson in the title role—one of his best performances, even if he is the only person in England without an accent. He conveys amusement, amazement, and intelligence as he travels from one strange country into another. Not that anyone back in Merry Old England believes Mr. Gulliver's tales of little people or giants. The story is told in flashback from an insane asylum, where he is forcibly confined. This far outshines several previous adaptations of Swift's satirical novel. —Rochelle O'Gorman

A lush retelling of the legend of King Arthur and the Knights of the Round Table, Excalibur is a dark and engrossing tale. Director John Boorman (Deliverance) masterfully handles the tale of the mythical sword Excalibur, and its passing from the wizard Merlin to the future king of England. Arthur pulls the famed sword from a stone and is destined to be crowned king. As the king embarks on a passionate love affair with Guenevere, an illegitimate son, and Merlin's designs on power, threaten Arthur's reign. The film is visually stunning and unflinching in its scenes of combat and black magic. Featuring an impressive supporting cast, including early work from the likes of Liam Neeson and Gabriel Byrne, Excalibur is an adaptation of the legend both faithful and bold. —Robert Lane

Despite its box-office failure in 1981, Dragonslayer was gradually recognized as one of the finest fantasies to emerge from the post-Star Wars boom in special effects. It's still one of the best adventures of its kind, featuring one of the most fearsome fire-breathing serpents in movie history. Ominously named Vermithrax Pejorative, this ill-tempered monster terrorizes the peasantry of sixth-century England, feeding on maidens sacrificed by a duplicitous king until a sorcerer's apprentice named Galen (Peter MacNicol, long before Ally McBeal) is recruited as a reluctant hero. Aided by a tenacious beauty (Caitlin Clarke) and his resurrected mentor (Ralph Richardson), Galen confronts the soaring beast in a breathtaking climax. Employing a then-innovative technique called Go-Motion to animate the dragon, the special effects are still dazzling, and stunning locations in Scotland and Wales allow director Matthew Robbins (cowriter of Steven Spielberg's feature debut, The Sugarland Express) to maintain a vivid atmosphere for the wealth of movie magic. —Jeff Shannon

In the closing paragraph of his 1996 review of Dragonheart, noted critic Roger Ebert summed up this adventurous fantasy quite nicely: "While no reasonable person over the age of 12 would presumably be able to take it seriously, there is nevertheless a lighthearted joy to it, a cheerfulness, an insouciance, that recalls the days when movies were content to be fun." That's precisely the quality that makes Dragonheart so appealing, despite the fact that it didn't exactly take flight and breathe fire at the box office. The movie takes itself seriously without sacrificing the wit and cleverness that make it so entertaining. It's about the last of the great dragon slayers, Bowen (Dennis Quaid), who teams up with the last of the great dragons, Draco (and voiced by Sean Connery), after they realize that killing each other would put them both out of business! So they devise a bogus dragon-slaying act that's a huge hit as they tour from village to village. Later, they must rouse the peasantry against the loutish Prince Einon (David Thewlis), whose life was once saved by Draco, but who now violates the "Old Code" of honor with a ruthless reign of terror. As Ebert rightly noted, Dragonheart is no masterpiece, and its story (which was originally conceived as a darker, more serious drama) isn't likely to capture everyone's heart (dragon or otherwise). But it's full of exciting action, witty dialogue, and gallant heroism, and in the presentation of a realistic talking dragon it's a milestone in computer-generated special effects, far surpassing the breakthroughs of Jurassic Park three years earlier. —Jeff Shannon.

If you haven't seen the original Dragonheart, never fear—this story doesn't have much to do with it. Geoffrey (Chris Masterson) is a stable boy at a monastery, with dreams of knighthood—dreams that seem out of reach until he discovers a young dragon living in the monastery's dungeon, a scaly but kindly faced fellow named Drake (voiced by Robby Benson). Unfortunately, the king of the realm has fallen under the spell of an evil adviser, who has plans for this dragon. Fortunately, an old Chinese man and his ward—a very attractive girl with a stunning kung-fu kick—have arrived to keep the dragon from harm. The story is straightforward and clearly aimed at a younger audience, with an uncontroversial moral about friendship. The special effects are capable and at times expressive. Dragonheart: A New Beginning is kid-friendly and will probably be kid-appealing. —Bret Fetzer

The dark, brooding tone of Conan the Barbarian is replaced in this rousing sequel by a lighter, more humorous tone and one of the campiest casts ever assembled. This time, Conan is assigned by a duplicitous queen (Sarah Douglas) to escort a virgin princess (Olivia d'Abo) on a treacherous trek to a crystal palace where they will retrieve a priceless gemstone. Basketball champ and self-described Lothario Wilt Chamberlain plays Bombaata, a warrior sent on a secret mission to kill Conan, and the androgynous Grace Jones plays Zula, a wild woman who becomes Conan's loyal ally. Some consider this sequel a disappointment, but the film makes no apologies for its silliness, and that's the key to its success as gloriously pulpy entertainment. —Jeff Shannon

Geena Davis (THELMA & LOUISE, BEETLEJUICE) and Matthew Modine (MARRIED TO THE MOB, FULL METAL JACKET) deliver a tidal wave of nonstop action and adventure in this swashbuckling saga of ruthless pirates, buried treasure and bloodthirsty betrayal.

Hong Kong wuxia films, or martial arts fantasies, traditionally squeeze poor acting, slapstick humor, and silly story lines between elaborate fight scenes in which characters can literally fly. Crouching Tiger, Hidden Dragon has no shortage of breathtaking battles, but it also has the dramatic soul of a Greek tragedy and the sweep of an epic romance. This is the work of director Ang Lee, who fell in love with movies while watching wuxia films as a youngster and made Crouching Tiger as a tribute to the form. To elevate the genre above its B-movie roots and broaden its appeal, Lee did two important things. First, he assembled an all-star lineup of talent, joining the famous Asian actors Chow Yun-fat and Michelle Yeoh with the striking, charismatic newcomer Zhang Ziyi. Behind the scenes, Lee called upon cinematographer Peter Pau (The Killer, The Bride with White Hair) and legendary fight choreographer Yuen Wo-ping, best known outside Asia for his work on The Matrix. Second, in adapting the story from a Chinese pulp-fiction novel written by Wang Du Lu, Lee focused not on the pursuit of a legendary sword known as "The Green Destiny," but instead on the struggles of his female leads against social obligation. In his hands, the requisite fight scenes become another means of expressing the individual spirits of his characters and their conflicts with society and each other.

The filming required an immense effort from all involved. Chow and Yeoh had to learn to speak Mandarin, which Lee insisted on using instead of Cantonese to achieve a more classic, lyrical feel. The astonishing battles between Jen (Zhang) and Yu Shu Lien (Yeoh) on the rooftops and Jen and Li Mu Bai (Chow) atop the branches of bamboo trees required weeks of excruciating wire and harness work (which in turn required meticulous "digital wire removal"). But the result is a seamless blend of action, romance, and social commentary in a populist film that, like its young star Zhang, soars with balletic grace and dignity. —Eugene Wei