Martin Lawrence in Big Momma's House 2BIG MOMMA'S HOUSE 2

In the second season of TV's Arrested Development, struggling wannabe actor Tobias, separated from his wife and daughter, devises a brilliant strategy for insinuating himself back into their lives: He dons a wig and a frumpy housedress, speaks in a high, quasi-British falsetto, and greets his family as Mrs. Featherbottom, hired by "the agency" to serve as housekeeper and nanny. (Tobias, as the narration points out, is giddily - and ridiculously - enacting the plot to Mrs. Doubtfire.) His family is, naturally, unconvinced by Tobias' disguise, but they're happy to let him continue the ruse anyway - the house never looked cleaner. This subplot was a typically, fiendishly clever one for the series; by finally addressing the "Are you kidding?" element of this comic staple - where seemingly smart characters are fooled by a touch of latex and rouge - it subverted expectation by making our "hero" the butt of his own joke. Tobias' drag act made it impossible to ever again watch Mrs. Doubtfire - or even Tootsie or Some Like It Hot or Shakespeare's Twelfth Night - in quite the same way.

Colin Firth and Renee Zellweger in Bridget Jones: The Edge of ReasonBRIDGET JONES: THE EDGE OF REASON

I have a friend who does a bit based on a seminal Laverne & Shirley gag. In nearly every episode of that sitcom, one of the titular characters would say, "There's no way this situation could get worse!" or "What's that smell?" and Lenny and Squiggy would cluelessly burst through Laverne's and Shirley's door; if someone around us says something like "That's the ugliest thing I've ever seen!" my friend will mime a door opening and exclaim, with perfect greaser-nerd cadence, "Hello!" That gag is pure sitcom-honed irony - that is, obvious irony - and Bridget Jones: The Edge of Reason, the follow-up to 2001's Bridget Jones's Diary, is like a continuous loop of that Lenny and Squiggy routine.

Viggo Mortensen in HidalgoHIDALGO

As family-friendly adventures go, the Disney-produced western Hidalgo isn't all that bad, but it sure could have used a feistier directorial spirit, something like what Gore Verbinski brought to last summer's Pirates of the Caribbean.

Emma Thompson in Love ActuallyLOVE ACTUALLY

If you are to believe the (mostly) glowing responses to Love Actually, writer-director Richard Curtis has compressed material for a half-dozen romantic comedies into one, creating, in the words of one reviewer, "an epic romantic comedy." But that's not exactly accurate. For his first directorial outing, Curtis - the clever, funny screenwriter of Four Weddings & A Funeral and Notting Hill - has apparently decided to take every idea he's ever had, every last one, and blend them into a frothy, holiday-themed confection; it's less an epic romantic comedy than a romantic comedy shaped as an epic (which isn't the same).

Billy Crystal and Robert De Niro in Analyze ThatANALYZE THAT and EMPIRE

It's enough to make a grown movie-critic weep: You rave about Solaris, a science-fiction work that's psychologically rich, challenging, and incredibly unusual, and you read in the paper that the audience-tracking firm Cinemascore has ranked it the most universally loathed major release in 20 years. You check out the top-10 list from the National Board of Review, the first organization to hand out year-end kudos, and realize that only one of those 10 films has (as yet) made it to the Quad Cities, and that one only stayed for a week at Moline's Nova 6 Cinemas. And you eagerly look forward to a December weekend of new releases - surely some of those terrific-looking titles will finally appear? - and your only options are Analyze That and Empire.

Renee Zellweger in Bridges Jones's DiaryBRIDGET JONES'S DIARY

A terrific leading character can atone for a lot of wrongs in a film, and there might be no better proof of that thesis than Bridget Jones's Diary, Sharon Maguire's adaptation of Helen Fielding's incredibly popular novel. Our heroine, a 32-year-old British woman who works a dead-end publishing job, is a completely realistic type we almost never see in movies: a chain-smoking, wine-slurping, slightly overweight, unsatisfied-in-relationships flirt who wants desperately to better herself but doesn't have the motivation or discipline to do so. Flawed as she is, she's intensely endearing, and as perfectly played by Renée Zellweger, she's a magically comic creation, even more wonderful than Zellweger's previous incarnations of Dorothy Boyd and Nurse Betty. That the moviemakers spend the film's running length putting her in one humiliating situation after another, and that she's trapped in a predictable love triangle between a cad and a sweetie, aren't to be held against her; Bridget Jones, and Zellweger herself, triumph over their circumstances, creating a totally enjoyable cinematic work, flaws and all.