A co-worker and I were talking the other day about the old adage of ‘death comes in threes.’ This week we’ve read about the demise of chess champion Bobby Fischer and actress Suzanne Pleshette. We wondered who would be next.

I’m upset today to see that Heath Ledger is number three.

I haven’t heard any tasteless ‘gay cowboy’ comments from anyone, although I did read a message board post in which someone pointed out how unfair it was that Ledger is dead but Britney Spears continues to walk (or, rather, stumble) among the living. Strange how that works out.

Ledger’s death, which could have been an accidental drug overdose or a suicide, undoubtedly will cast a large shadow over the premiere of “The Dark Knight,” which opens in June. Batman fans were already planning to turn out in droves to see Ledger play the maniacal Joker, but it’s chilling to think about the number of people who will see the film because it was Heath Ledger’s last.

I know I’m going to feel weird saying this, but I never knew teen pregnancy could be so hilarious.

Case in point is ‘Juno,’ possibly the biggest sleeper hit of 2007, written by newcomer Diablo Cody (doesn’t that sound like the name or a brand of hot sauce? Or perhaps one of those spaghetti western heroes?).

The dark comedy stars Ellen Page as the title character, a girl smart enough to seemingly be the mental peer of the adults around her but who, in a moment of passion, conceives a child with a lanky, awkward boy named Paulie Bleeker (Michael Cera) who has a strange affinity for orange Tic Tacs and is unable to grow a mustache.

The film centers around Juno’s deal with a suburban couple who wish to adopt her baby upon its birth — Vanessa, the straight-laced, by-the-book, wife who is desperate to be a mom, and her husband Mark, a musician who is still trying to decide whether this sterile, white-picket fence existence is really for him.

As Mark and Vanessa bicker over what shade of off-white they should paint the baby’s nursery, the complications of Juno’s teenage life are compounded by her pregnancy. The hallways of her school are filled with kids who stare at her and whisper. Her relationship with her supportive stepmother (Allison Janney) is becoming increasingly strained. And Juno, has developed romantc feelings for Paulie, who, before the pregnancy, was merely her close friend.

More than anything else, ‘Juno’ is a story full of revelations. Each character ends the journey making a huge discovery about him or herself: Vanessa learns that, although marriage (and human relationships in general) can be difficult, she has found her calling as a mother; Mark learns that, like Juno, he still has a lot of growing up to do, and that Juno may be even more mature than he; Juno herself learns that sometimes, adulthood will be thrust upon you when you least expect it. And Paulie shows her that it doesn’t have to be endured alone.

The movie is chock full of moments both tender and sobering. In a private moment, Juno, who has handled her pregnancy with wit and smart-alecky comments, pulls over to the side of the highway while driving in her parents’ van and sobs. Juno and Paulie lie in bed, arms wrapped around each other, looking as innocent and bewildered as the baby they have conceived. Many of the best scenes in the film are devoid of dialogue.

Peppered throughout ‘Juno’ is a smattering of indie folk songs, some playful, some contemplative, all in step with the feel of the movie they accompany. With all of these elements working so well together in sync, it’s no wonder that ‘Juno’ has been nominated for Best Picture. I hope all of you agree that it is deserving of winning this honor.

One personality trait I’ve always admired is the ability to make fun of oneself when the occasion arises.

That’s probably why I find Disney’s latest film, “Enchanted,” so … well … enchanting. The movie takes all of the cliches of Disney’s animated films from the past 70 years and pokes fun of them a bit while staying true to them at the same time.

The movie tells the story of Giselle (voiced beautifully by Amy Adams), an animated would-be princess whose sing-song voice can place legions of sweet, cuddly animals at her immediate disposal and, like any good Disney heroine, falls in love with a dashing, tight-wearing hunk five seconds after meeting him.

It should be no surprise, then, that Giselle becomes engaged to the handsome Prince Edward (James Marsden) within the first10 minutes of the movie. But Edward’s evil stepmother, Queen Narissa (a staple of any Disney villain is that she must serve as a parent to at least one of the main characters) has different plans for the couple, who surely will usurp her power as queen. Thus, our sneaky queen (a wickedly enjoyable but woefully underused Susan Sarandon) sends innocent Giselle across the threshold of the animated world and into the real world — in this case, New York — where it seems unlikely that she will be able to enjoy a life of being able to eat bon-bons all day and walk on carpets of rose petals strewn about by her many admirers.

Giselle is found by single dad Robert (Patrick Dempsey of Grey’s Anatomy) and his young daughter, who still believes in the magic of fairy tales despite her father’s cynicism. The two take her under their wing as Edward — and Queen Narissa, as well — seek the unfamiliar streets of the Big Apple in search of the perkiest Disney princess-to-be in recent memory. Will Edward find Giselle and bring her back to his world of married bliss? Will Robert’s heart of stone melt and will he keep Giselle for himself? Will Susan Sarandon realize that evil animated queens don’t usually wear platform shoes?

“Enchanted” combines all of the familiar elements of Disney films that audiences have come to love since “Snow White” first hit the big screen in 1937. Here we’ve got a beautiful princess whose mere voice sends every critter of the animal kingdom into fits of housecleaning, a handsome but self-absorbed prince, an annoying but lovable animal sidekick, an evil queen who wears way too much eye shadow, and song-and-dance numbers that are destined to become classics. One especially eye-catching scene involves Giselle flanked by hordes of dancing New Yorkers, from construction workers to brides and grooms. The choreography of this scene is breathtaking and keeps with the upbeat, fun feel of the movie.

“Enchanted,” which grabbed the No. 1 box office spot during its opening weekend, has already cast its spell on children and adults alike. It’s pure fun, and it’s fun with which we’re already familiar. The movie acknowledges its roots in Disney’s classic animated films of the 1930s-60s, and it does so through multiple references, both funny and subtle. Perhaps, after years of living in the shadow of Dreamworks and Pixar, Disney is finally ready to reclaim its audiences again. And “Enchanted” is a fantastic start.

As far back as I can remember, I’ve been enamored of the moviegoing experience.

There’s just something about sitting in the dark with a cache of junk food, watching the problems of fictional characters unfold that makes you forget about your own issues — where you’ll get the money to pay that pesky electric bill, how successful your big presentation at work will be, how you’ll survive another Christmas of gazing slack-jawed at your inlaws’ Paris vacation photos (for the 17th time).

The moviegoing experience is pure escapism, and one that, during the heyday of cinema, also serves as a great feast for the eyes. The first movie I remember watching in a movie theater is “Return of the Jedi” in 1983 — when I was a wee lad of five — and the experience of being in the theater was almost just as breathtaking as the movie itself. It was the Glenwood Theater in Overland Park, Kan. The theater, which opened in 1967, boasted a large neon sign in front of the building and a lobby with high ceiling, a chandelier, a large fountain in the hallway, velvet ropes and employees decked out in basic theater employee regalia — bowties and red vests.

Some of these theaters still exist, of course, but most are going the way of disco and the pet rock. But the pleasure of settling down in a comfy chair and shedding your own worries in the dark remains an attraction for many moviegoers, myself included. Psychologically, it’s a return to the womb, a dark place that is altogether comforting and familiar, except this womb has gum on the floor and sugared-up pre-teens who break the occasional silence with squeals and chatter.

And this is what I find most magical about the moviegoing experience — the element of escapism, of worrying not about your impending winter cold but instead about whether good triumphs over evil, about whether the underdog finds true love, about whether — God forbid — ‘Big Momma’s House’ is made into a trilogy.

This blog will chronicle as many aspects of movies as possible — actors and actresses, scandals, the film industry, the experience of going to the movies and, yes, movies themselves.

So sit back with your buttered popcorn and get your feet off the seats. The show’s about to start.