Narrated by Oscar-winning actor Morgan Freeman, “March of the Penguins” has captured the heart of moviegoers all summer– and in the process has become one of the most unlikely and profitable success stories of the year. Director Luc Jacquet captures in astonishing fashion the life of the Antarctic’s triumphant emperor penguin. It is truly a magnificent sight to behold, and likely as emotionally resonant as anything you’ll see at the movies this year.

If you have children, do the right thing and take them to see this entertaining, educational, and inspiring film. (If you don’t have kids, borrow someone else’s or just treat yourself.)

Grade: A
Rated G

For the past four decades Clint Eastwood has a proven knack for directing stellar back-to-back movies. His first one-two punch came in 1976/77 with “The Outlaw Josey Wales” followed by “The Gauntlet.” “Pale Rider” and “Heartbreak Ridge” came in succeeding years (1985/86) and his powerhouse pair from 1992/1993 (“Unforgiven” and “A Perfect World”) not only proved Oscar worthy but established Eastwood as a director of unique and singular vision, shedding his “Dirty Harry” acting days to that of an elite status director — perhaps the best American director alive.

With his latest, “Million Dollar Baby” coming on the heels of 2003′s forceful “Mystic River,” Eastwood effectively knocks out any director challengers.

For about 90 minutes of “Million Dollar Baby” it appears that Eastwood is merely imprinting his trademark gritty individualism on the boxing movie formula. That Eastwood’s casting choices are always perfect (and at least half the battle in making an interesting film) allowing him to rely less on histrionics than restraint makes “Million Dollar Baby” a compelling enough journey in his typically fatalistic but nonetheless uplifting style.

Then comes a shocking turn in the films’ final third when and the story, as well as our emotional involvement, take on a whole new dimension. To reveal any details of this jolting detour in the story is to rob the audience of one of the great movie experiences in recent memory. I will say this: it’s not loud, offensive or provocative in any way. One critic, Michael Medved (who I very much respect) felt the film’s transition was heavy handed in its moral grandstanding. Not so.

Again, Eastwood’s restraint and gentle direction defies posturing and is ultimately more effective, leaving the audience quietly but profoundly reflective.

“Million Dollar Baby” relies on the trinity of grizzled boxing trainer and skanky gym owner Frankie, (Eastwood) his aging former student Scrap (Morgan Freeman) who lost an eye but not his insight over his 109 fight career and now works for his former manager, and the underdog “girly” fighter Maggie, (a wonderfully credible Hillary Swank). She’s self-proclaimed “trailer trash from the Ozarks,” who seeks Frankie’s expertise and won’t take no for an answer.

Though a slew of boxing movies have surfaced through the years and the story here for the most part is pretty predictable — the main characters ring with a rare authenticity. Frankie reads Yeats and studies Gaelic, Scrap likes holes in his stockings, and frugal Maggie eats her customer’s leftovers at her waitress job. The pacing and narrative are patient but never boring — a sign of a director’s confidence in his own direction, actors and story.

The side characters are a mixed bag — some Catholics may be taken aback by the prickly portrayal of a young Priest where Frankie attends Mass every day — his language and advice seem a little too unsympathetic at first.

“Million Dollar Baby” reflects its director: Stoic, assured, aware of its shortcomings, with a classic feel that never gets old.

Grade: A
Rated PG-13 for violence and mature themes.

Seven year-old Damien (Alex Etel) has big faith and an even bigger heart. When a satchel full of British pounds falls upon the cardboard fort he’s erected near his Manchester home, he’s determined to give it to the poor. This truly delightful, funny, touching film continually charms as Damien learns, with the assistance of the patron saints who visit him, that performing miracles is hard work. This wonderfully original must-see film is a small miracle itself, but it is only here for a short time. Don’t miss it.

Grade: A
Rated PG (Mild profanity and violence)

It is not a remake, a sequel or an animated cartoon. It doesn’t involve a superhero of any kind. (At least not the comic book kind.) For these tiny blessings be grateful, for in “Mr. & Mrs. Smith” we have an adult action film of the kind that used to define our summer moviegoing objective: Dumb diversion.

Backed by an incredible advertising effort matched only by Darthmania, “Mr. & Mrs. Smith” has gotten equally effective tabloid coverage thanks to the gossip surrounding the behind-the-scenes fandango of its stars, the post-Jen Brad Pitt and the between-husbands Angelina Jolie.

Director Doug Liman (“Swingers,” “The Bourne Identity”) is talented enough to know how not to let the material or his technical abilities outshine his actors. Even with guns a-blazin’ and plenty of sonic mayhem his film is really about marital combat.

Pitt and Jolie play a couple married for five or six years (even they can’t agree), each of whom unknowingly works as a contract assassin for rival, clandestine organizations. That they can keep their ample killing abilities as well as their substantial personal arsenals hidden from each other stretches credibility, but this film is not grounded in reality but video game issue violence. In fact it may go down as a film with the highest body count with the lowest ratio of spilled blood.

The film takes some unpredictable turns that thankfully aren’t foreshadowed in the previews, and Vince Vaughn is the source of many funny one-liners. There are the requisite shootouts and car chases, which feature refreshingly few slow motion and shaky handheld camera shots. There is also a certain, well, manic chemistry, between the two stars, but (to paraphrase Chris Rock) “Mr. & Mrs. Smith” clearly reaffirms who here is the actor and who is the celebrity. Pitt is given most of the moments that require subtle humor and nuance while Jolie is given sexy outfits. Her ubiquitous “come hither” look remains her lone onscreen expression.

It’s time to call out Ms. Jolie, for “Mr. & Mrs. Smith” is likable despite her numerous shortcomings as an actress. Reflecting on her career, ponder this: Are any of her films good, or at least better because she starred in them? Stop me when I name one: “Taking Lives,” “Sky Captain and the World of Tomorrow,” “Life or Something Like It,” or either of the dreadful “Lara Croft” films?

And can you name an actress involved in the theatrical nadir of more respected actors, including the likes of Colin Farrell, (“Alexander”) Antonio Banderas (“Original Sin”) Denzel Washington (“The Bone Collector”) and Clive Owen (“Beyond Borders”)? She’s the black cat on Friday the 13th of Hollywood.

So, good for Brad Pitt for taking on this role. He consistently seeks challenges in his career, and “Mr. & Mrs. Smith” proves that some relationships are worth fighting for, and there can be some mindless fun in watching handsome people work out their problems. Just don’t try this at home.

Grade: B-

For those who didn’t understand the hype behind the so-called political thriller “Syriana” (a well-acted but highly convoluted mess), here is the real deal. Leave it to Steven Spielberg to create a nail-biting, intense, intelligent drama about the aftermath of the massacre of the Israeli athletes at the 1972 Olympics.
Gritty and compelling, the film transports the viewer unlike any other film in recent memory. And while Spielberg wisely sidesteps any moral grandstanding, he gives us a lot to think about while watching Mossad operatives hunt down and assassinate those they believe are responsible.

Grade: A
Rated R for violence, nudity, and sexual situations.

What appears to be a simple documentary of a gangly, rather average bass player in the influential glam-rock band the New York Dolls and his transformation from “has been” to converted Mormon, turns out to be an inspired film that defies description. Director Greg Whiteley captures Arthur “Killer” Kane reuniting with his surviving bandmates after 30 years to be part of singer Morissey’s popular music festival. Touching and funny, and with an unforgettable ending that could not have been better if it were fiction. One of the best films of the year.

Grade: A
Rated PG-13 for drug content

Despite its heavy-handed treatment of the first-ever class action sexual harassment lawsuit, “North Country” contains some excellent performances. Most notable among them is Charlize Theron’s portrayal of an abused wife who takes a mining job in a frigid rural town in northern Minnesota. The one-sided, formulaic storyline and laughable courtroom histrionics are eclipsed by peripheral material involving Theron’s brooding teenage son and penitent father.

Grade: B
Rated R for language and violence.