In this Emmy®-winning comedy's hilarious third season, Michael Bluth finally realizes that it's his Uncle Oscar serving time in prison, not his father. Reluctant to spring Oscar due to the effect it may have on the family business, Michael decides that the only fair thing to do is to find his father and place him under house arrest. Yet once found, George Sr. insists he was tricked into working with the Iraqis, leaving Michael no choice but to investigate his father's outrageous claim. But it isn't until Michael and Buster go to Iraq on a rescue mission to save Gob that the depth of the devious plot is revealed...and Michael learns which family member is the real brains behind all the madness.

The axe of cancellation dangled perilously over Arrested Development during its second season, but the award-winning comedy fought against fate to deliver a hilarious if scattershot 18 episodes (reduced from the original show order of 22), and stayed alive for the beginning of a third season. Most likely, the creators and actors knew the clock was ticking down, so they didn't hesitate to throw their all into these manic, hilarious episodes, which have only the thinnest of plot arcs but an electrifying energy that makes them hard to resist. Some of the story antics were more of the same: good son Michael (Jason Bateman) tries to keep his company afloat, but is often foiled by older brother Gob (Will Arnett); the precarious marriage of Lindsay (Portia de Rossi) and Tobias (David Cross) undergoes a trial separation; and young George-Michael (Michael Cera) fights his attraction to his cousin Maeby (Alia Shawkat). Other show developments, though, were new and stunningly, uproariously bizarre: Buster (Tony Hale) joins the army, but later finds his hand bitten off by a seal (yes, a real seal), and Oscar (Jeffrey Tambor), the hippie brother of jailed George Sr. (also Tambor), rekindles an affair with sister-in-law Lucille (Jessica Walter), which may have resulted in Buster's conception years ago.

Jokes flew fast and furious, as did guest stars—Ben Stiller, Julia Louis-Dreyfuss, Christine Taylor, Thomas Jane, Ed Begley Jr., Ione Skye, and Zach Braff among them—making it hard to keep straight who was doing what and why. No matter, as each of the episodes was in and of itself was a perfect gem of comedy, strung together by sharp writing and fantastic performances. In addition to the regular cast, both Liza Minnelli, reprising her role as "Lucille Two," and Martin Short, as an, um, eccentric family friend, deserve special mention, with the episode both appeared in, "Ready, Aim, Marry Me," a frenetic exercise in slapstick farce. Typical examples of the show's offbeat humor were found in "Afternoon Delight," in which various members of the Bluth family discover the true meaning of the '70s ballad, "Meet the Veals," wherein the Bluths encounter the conservative parents of George Michael's girlfriend, and "Motherboy XXX," surrounding an unsettling mother-son traditional dance. The entire cast cohered perfectly through this season, and their give and take provided a perfect balance among the actors, all of whom were even better than the previous year. However, it's Bateman who should be singled out as the show's anchor, mixing dry sarcasm with impeccable comic timing. Despite plummeting ratings, Arrested Development didn't just keep its head above water, it swam with grace and hilarity. —Mark Englehart

Winner of the Outstanding Comedy Series Emmy its first year out, Arrested Development is the kind of sitcom that gives you hope for television. A mockumentary-style exploration of the beleaguered Bluth family, it's one of those idiosyncratic shows that doesn't rely on a laugh track or a studio audience; it's shot more like a TV drama, albeit with an omniscient narrator (executive producer Ron Howard) overseeing the proceedings. Holding the Bluths together just barely is son Michael Bluth (Jason Bateman), the only normal guy in a family that's chock full of nuts. Hardworking and sensible, Michael's certain he's going to be given control of his family's Enron-style corporation upon the retirement of his father (Jeffrey Tambor). The fact that he's passed over instead for his mother (Jessica Walter) is only a blip when compared to his father's immediate arrest for dubious accounting practices, and the resulting freeze on the family's previously limitless wealth.

Bereft of money, and even less family love, the Bluths have to band together in their moment of need—not easy when everyone's looking out for number 1. In addition to his scabrous parents, Michael has to contend with his lothario older brother (Will Arnett), his basically useless younger brother (Tony Hale), his greedy twin sister (Portia DeRossi), and her sexually ambiguous husband (David Cross). Michael's only comrade in sanity is his son George Michael (Michael Cera), but then again, the teenage boy harbors a secret crush on his cousin (Alia Shawkat). A peerless ensemble led by the brilliant Bateman (who ever knew he could be this good?), all the actors are pitch-perfect in their roles, delivering the dryly funny, sometimes absurdist dialogue with the speed and flair of classic farce. The unusual tone of Arrested Development takes a bit of getting used to—it's far different from anything you'll see on TV, even HBO—but once you buy in to the Bluths' innumerable dysfunctions, you'll be laughing your head off for hours.—Mark Englehart

There are only so many filmmakers fearless or foolhardy enough to tackle a challenging novel, like Yann Martel's Life of Pi, but adaptation specialist Ang Lee (Brokeback Mountain) was well positioned to take it on. As a structuring device, he uses an interview between a journalist (Rafe Spall) and Pi Patel (The Namesake's Irrfan Khan), a Montreal immigrant with an unusual back story. As he tells the writer, his parents oversaw a zoo in French-Indian Pondicherry, and he found himself drawn to the Bengal tiger, Richard Parker—the name resulted from a clerical error—but his father (Adil Hussain) warned him to stay away. On his own, Pi became entranced by Islam, Hinduism, and Catholicism, which comes in handy when his family relocates to Canada by freighter and a brutal storm—as believably horrific as anything in Titanic—leaves Pi (now played by Suraj Sharma) stranded in a lifeboat with a zebra, an orangutan, a hyena, and the tiger. Soon, it's just Richard and Pi struggling against the elements for 227 days, and since he doesn't want to end up as cat food, he spends most of his time in a makeshift raft attached to the boat. It's giving nothing away to say that he makes it out alive, but the point of the journey remains more enigmatic, since fate tests Pi's faith at every turn. Whether that makes this visually spectacular film a religious allegory or not, Richard (a marvel of CGI technology) remains the biggest mystery of all. —Kathleen C. Fennessy

Future. Present. Past. Everything is connected. From the creators of the Matrix trilogy and the director of Run Lola Run. An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution. The story is a time-shifting weave of six interlinking narratives, with diverse settings from the savagery of a Pacific Island in the 1850s to a dystopian Korea of the near future. Based on the best-selling novel "Cloud Atlas" written by David Mitchell.

Everything you know about aliens from pop culture is true. At least that's the message from Paul, a swift, sharp, and very funny movie from the creative minds that also brought us Shaun of the Dead, Hot Fuzz, Superbad, and Adventureland. The British stars of the first two, Simon Pegg and Nick Frost, also wrote the snappy screenplay, and director Greg Mottola shows that he can make human and sentimental both the slapstick and the subtle, self-referential humor the same way he did in Superbad and Adventureland. The premise Pegg and Frost have laid out for themselves as likable, sci-fi fanatic supernerds is a dream vacation starting at Comic Con, then continuing through the American Southwest in an RV visiting historic UFO sites like Area 51, the Black Mailbox, and Roswell, and finishing up at Devil's Tower in Wyoming, the iconic centerpiece from Close Encounters of the Third Kind. After their inauspicious start, they happen upon an escaped alien who is 4 feet tall, and has the big head, classic diamond eyes, and features we've come to recognize as both the benevolent and evil kinds of space aliens from movies and TV. He is also the titular character, and as voiced by Seth Rogen, this CGI creature spouts a never-ending string of wisecracks, insider secrets, and frat-boy humor that comes loud and clear as classic Rogen in tone and attitude. As an aside and terrific example of the very clever throwaway punch lines that run throughout, there's a brief flashback to 1980 showing Paul on a conference call with Steven Spielberg (really), giving him advice about script development issues for E.T.

Paul crash-landed in the late 1940s and has been held prisoner by the government's men in black. They've not only been pumping him for knowledge, they've also leaked the fabric and features of his being to people who want to believe, especially the ones in Hollywood. Now Paul wants to go home, and he's found the perfect getaway with the want-to-believe team of Graeme (Pegg) and Clive (Frost), who take him to his rendezvous (at Devil's Tower, of course). The road movie that unfolds is consistently hilarious, moving nimbly through one-off gags and inside jokes, but also creating larger relationships and drawn-out humor that relies on us believing that the little CGI Paul is real. And mostly we do, again thanks to Rogen's delivery and distinctive vocalizing. Paul constantly quips, makes fun, gets drunk, smokes dope, and spouts a steady stream of patter about how aliens have been bowdlerized and reimagined in entertainment and the minds of people like Graeme and Clive. There's a jam-packed supporting cast that complements and complicates the story (in a good way), including Bill Hader and Joe Lo Truglio as the bumbling men in black, and Jason Bateman as the scary man in black. Also passing through are some fun familiar faces like Jane Lynch, David Koechner, Jeffrey Tambor, John Carroll Lynch, and an iconic sci-fi actress who shall remain unnamed. Especially good is Kristen Wiig as a fundamentalist Christian whose mind is literally blown by Paul. Amid the broad humor and nonstop punch lines there's also a sweetness that stays with each finely drawn character (including Paul) and gives Paul an amiable sentimentality that runs throughout. Everyone clearly had fun making this movie, and that's exactly how it is to watch. —Ted Fry

A fellow named Bilbo Baggins lives in the Shire—but perhaps you've made his acquaintance already? If you're familiar with J.R.R. Tolkien's epic Lord of the Rings trilogy, and the films that Peter Jackson wrought from them, of course you have. And here is Bilbo, played again by Ian Holm, shuffling about his hobbit hole and recalling a grand adventure from his past, when he left the Shire with a wizard and some dwarves and found a certain ring and a very peculiar creature named Gollum. This is The Hobbit: An Unexpected Journey, which Jackson and his LOTR crew have expanded on from Tolkien's 1937 novel. And boy, have they expanded: this 169-minute escapade is merely the first of three separate movies made from that one book, and it gets the young Bilbo (played by Martin Freeman) only a little ways into his grand trek. Many loud, garish battles and chases fill the time, along with some (it pains one to say it) fairly tedious adolescent-level humor. Jackson tends to dally with scenes that might have been more effective in half the time, and the bumptious dwarves are some of the least charming characters in the Tolkieniad. Thank goodness, there's Gollum (played, as before, by the digitally transformed Andy Serkis), who shares a riddle-trading scene with Bilbo that sends genuine shivers up the spine. Ian McKellen returns as Gandalf, and a few other LOTR folk make cameos, but the more An Unexpected Journey goes on, the less you sense the magic afoot. Despite the fun moments, this feels like a prologue for the actual movie, which is still to come. (Originally released on many screens in 3-D, the film was also showcased in some theaters in a pioneering format that increased the clarity of the image—or made it look like a soap opera, depending on your receptiveness to the flat, frictionless technology.) —Robert Horton

The revisionist version of natural history offered up in the Ice Age movies gets yet another twist in the fourth installment, 10 years after Manny the woolly mammoth, Diego the saber-toothed tiger, Sid the sloth, and Scrat the squirrel made their chilly debut to hot box-office receipts. The lessons of family and loyalty in Continental Drift may seem a little warmed over, but the creatively constructed laughs, amusing voice characterizations, and inventive CGI animation are reason enough to keep the series viable for kids to giggle about and grownups to belly laugh over—sometimes for exactly the same reasons. Once again, acorn-addicted Scrat is the cause of some pretty important behind-the-scenes machinations. His dialogue-free antics also serve as a stand-alone subplot that could easily be a very clever short film of its own. This time the weasely rodent's addled obsession with the fruit of the oak is revealed as the cause of the formation of the world's continents as we now know them. He sets the story—and planet Earth—in motion while pursuing a little nut in a hyperactive prologue that causes underground rifts that in turn form the famous shapes of Australia, Africa, North America, and the outline of Italy (which it turns out is shaped like a boot for a very good reason). Above ground this means more global chaos for the herd of animals we've come to know so well. All the familiar voices reprise their wonderful roles as fissures in earth and ice separate Manny (Ray Romano) from his woolly wife Ellie (Queen Latifah) and boy-crazy teenager Peaches (Keke Palmer). With a killer continental shelf bearing down on them, mother and daughter lead the madcap pack of animal characters toward a safe meeting place while Manny, Diego (Denis Leary), Sid (John Leguizamo), and Sid's crazy granny (Wanda Sykes) drift away on an iceberg schooner into a newly vast open ocean. While floating into oblivion, the mismatched pack encounters a band of animal pirates piloting another slab of ship-shaped ice, captained by a crazed baboon named Gutt (Peter Dinklage), who's bent on resentment-based revenge. The motley crew provides a plethora of comic encounters and a new raft of excellent voice actors. Running a close second to Dinklage in ingenious casting is Jennifer Lopez as Shira, a sultry tiger who, don't cha know, ends up on the good ship and falling for Diego in the end. The adventures of both the land- and sea-based creatures are full of clever gags and densely constructed set pieces that may not be quite up to Pixar story standards, but are certainly always on the ball and executed with computer-animation acumen that is astonishingly lifelike for such an unreal-looking world. Scrat's misadventures act as interstitial connectors to the parallel heroes' journey stories until they ultimately intersect in a massively scaled finale. Even after all the melting and refreezing, the Ice Age world is still a hot commodity in the animated-franchise business and remains a good investment despite the constancy of global rifts in entertaining family fare. —Ted Fry