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The Deathly Hallows: Part 2 will be the film all Harry Potter fans have waited 10 years to see, and also the great news is it's really worth the hype--visually stunning, action packed, faithful on the book, and mature not just in the themes and emotion but within the acting by its cast, some of whom had spent half their lives making Harry Potter movies. Part 2 cuts right for the chase: Voldemort (Ralph Fiennes) has stolen the Elder Wand, one of the three objects required to provide someone handle of death (a.k.a. the Deathly Hallows), with all the intent to hunt and kill Harry. Meanwhile, Harry's quest to eliminate the rest of the Horcruxes (each containing a little bit of Voldemort's soul) leads him first to some thrilling (and hilarious--love that Polyjuice Potion!) vacation to Gringotts Bank, then to Hogwarts, when a spectacular battle pitting the young students and professors (a showcase with the British thesps who have stolen every scene with 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 much less crazy eyes to make this round). As predicted all throughout the saga, Harry also offers his final showdown with Voldemort--neither can live while one other survives--though the physics of these predicament might need a group 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 with the most welcome times, thanks towards the deft adaptation by Steve Kloves (who scribed all but one with 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, in the last decade, certainly proven he was the proper kid for the job all along. As Prof. Snape, essentially the most perfect of casting choices in the best-cast franchise of 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 bit shaky, but no matter: probably the most lucrative franchise in movie history thus far has just reached its conclusion, and it is done this without losing its soul. --Ellen A. Kim

In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have not been higher and nobody is safe. But it can be Harry who might be called upon to generate the best sacrifice as he draws closer for the climactic showdown with Lord Voldemort. All of it ends here.

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In resourceful orphan Hugo Cabret (Asa Butterfield, an Oliver Twist-like charmer), Martin Scorsese finds the perfect vessel for his silver-screen passion: this can be a movie about movies (fittingly, the 3-D effects are spectacular). After his clockmaker father (Jude Law) perishes in a very museum fire, Hugo goes to call home regarding his Uncle Claude (Ray Winstone), a drunkard who maintains the clocks with a Paris train station. When Claude disappears, Hugo carries on his work and fends for himself by stealing food from area merchants. In his free time, he attempts to repair an automaton his father rescued from your museum, while attempting to evade the station inspector (Sacha Baron Cohen), a World War I veteran without having sympathy for lawbreakers. When Georges (Ben Kingsley), a toymaker, catches Hugo stealing parts for his mechanical man, he recruits him being an assistant to repay his debt. If Georges is guarded, his open-hearted ward, Isabelle (Chloë Moretz), introduces Hugo with a kindly bookseller (Christopher Lee), who directs them to a motion-picture museum, where they meet film scholar René (Boardwalk Empire's Michael Stuhlbarg). In helping unlock the key of the automaton, they learn regarding the roots of cinema, starting using the Lumière brothers, and offer a forgotten movie pioneer his due, thus illustrating the value of film preservation, a cause to that the director has dedicated his life. If Scorsese's adaptation of The Invention of Hugo Cabret isn't his most autobiographical work, it just could be his most personal. --Kathleen C. Fennessy

Welcome with a magical realm of spectacular adventure! When wily and resourceful Hugo discovers a secret left by his father, he unlocks a mystery and embarks over a quest which will transform those around him and lead to a safe and loving place he is actually able to call home. Academy Award®-winning filmmaker Martin Scorsese invites one to experience a thrilling journey that critics are calling “the stuff that dreams are manufactured of.” *Peter Travers, Rolling Stone