Your views may differ from those expressed by me (you cheeky b*****!). Although 2001 may not have been a strong year for films overall similar to last year, it definitely had a strong lineup during its finish. The fall and winter schedules presented a wide range of films (especially those that explored the clash of the mind-bending reality/dream worlds in the fantastic MEMENTO, to the horrendous VANILLA SKY), while the summer films were the routine computer generated flakes (PEARL HARBOR) and greed over substance sequels (the woefully bad RUSH HOUR 2). This year also saw the release of two fantasy adaptation giants – HARRY POTTER and LORD OF THE RINGS, both of which pulled strong critical support and record box office totals. But overall, the year belonged to the small-budgeted independent art film noirs like IN THE BEDROOM, MEMENTO, GOSFORD PARK, and THE OTHERS. Here are the best films of 2001 in my opinion, in reverse order:

Runners Up (in alphabetical order – the next ten best films) - BLACK HAWK DOWN, GHOST WORLD, THE GIFT, GOSFORD PARK, HANNIBAL, OCEAN’S ELEVEN, THE ROYAL TENENBAUMS, SHREK, TRAINING DAY and WIT

10. BRIDGET JONES’S DIARY - Renee Zellweger is absolutely hilariousas the self-loathing, chain-smoking, alcohol dependent, and single Bridget Jones. This cheery (and cheeky) adaptation of Helen Fielding’s wildly popular book that followed the life of Jones in search of love between either her gorgeous self-indulgent boss (Grant), or boring rival family friend (Firth), is good fun. Zellweger’s perfect Brit portrayal of Jones is one of an utter and total fool, yet one that everyone loves, just as she is. The film does not attempt for laughs with gross out humor; rather, the situations involving Bridget’s humiliation relate to us because they are quite real. By the way, Zellweger put on twenty pounds in real life for the film, and looks terrific with the extra weight.

9. MONSTER’S INC - While SHREK may have had most of the success this year, critically and financially; it was ultimately this film that was superior in terms of animation, story and heart (although it was also a super hit at the box office). Although the former definitely had the right intentions, Pixar’s latest project ends up being better in all respects than any animated film seen in a number of years. The premise is simple, yet effective – monsters in a parallel world depend on the screams of children to run all things. However, it turns out that monsters are truly more frightened of humans than the other way around, and once a child mistakenly ends up in their world… well, suffice it to say that there’s much ensuing hilarity to take place thereafter. John Goodman and Billy Crystal charmingly lend their voices as the main characters that have to cover up an extremely cute young toddler from getting into the hands of other monsters who could cause her harm. Pixar definitely has an original concept for every one of their computer-animated films to enhance the world they create, and this film is no exception – a stunning achievement in every department. 90 min.

8. MOULIN ROUGE - Yes, it was over the top. Yes, it was at times manipulative. Yes, it was – good lord, of all things - a musical, but it was one that had a lot of spirit and psychotic energy that moved it along at an insane pace. Baz Luhrmann’s non-stop stylization finally (and thankfully) comes to a halt when we come to meet struggling writer Christian (the talented Ewan Macgregor) and dancing prostitute diva Satine (Nicole Kidman, in another excellent performance this year), who fall in love amid the chaos that is Moulin Rouge in the late 19th century. Incorporating songs from the late 20th century, the fantastic art direction and impressive singing by the two leads are just a few of the many things that work extremely well in this crazy show. Although most critics hated its unoriginal (and somewhat predictable) story, it takes a supporting role to everything else; this is, after all, a musical. Let’s be serious… they don’t need a plot. Just enjoy the songs and dances; it’s like watching a Hindi movie... sort of. 127 min.

7. DAYEREH (THE CIRCLE) - Banned in Iran, Jafar Panahi’s controversial film played at the Toronto film festival and in limited release to much positive reception. During a 24-hour period in sexist modern day Iran, we meet three women who are oppressed in their respective roles in society. The birth of a girl enrages the family of the father, who threaten divorce simply because of the sex of the child. Two teenage girls try to escape the police, but are ultimately trapped in every direction they turn. A young girl faces wrath and possibly danger from her family when she finds that she is pregnant. These are just a few of the many issues presented in Panahi’s impressive feature. The film begins and ends at the same point, suggesting a non-linear structure and a cyclical narrative. The encircling and claustrophobic camera shots may frustrate the viewer upon first viewing, but it is clearly logical. Shot on a limited budget and with a cast of mostly inexperienced non-actors, THE CIRCLE is a stunning and shocking film that is not ideally feel-good fare, but an eye opening and powerful experience. 90 min.

6. THE OTHERS - This low-key horror film had extremely low expectations upon its August release; it opened against the creatively challenged AMERICAN PIE 2 with a low but solid $14 million. But then word of mouth spread, and by the end of its run, it collected a most impressive figure of $94 million, and emerged as another possible award contender. Nicole Kidman stars (in her most impressive performance to date) as the single mother of two strangely affected children who are allergic to light (!) in 1930’s England living in an isolated mansion during the Second World War. Her husband has been missing for years, is presumed dead, and the house staff recently disappeared into thin air… On top of all this, the children have been seeing apparitions, and there have been strange sounds late at night. What may seem like another run of the mill cheesy ghost story turns out to be one of the scariest films in years. Director Alejandro Amenabar doesn’t show any gore to frighten us, but exploits our fear of the dark – what we don’t see scares us the most. The tension begins at a creepy low, but then builds through out the slow paced film until a terrifying and mind-boggling ending that will have you wanting to see it all over again to piece everything together. 101 min.

5. A.I. ARTIFICIAL INTELLIGENCE - Perhaps the film that most divided critics and audiences this year – either you loved it or disliked it with a passion. Personally, the film was a bit short of a masterpiece; flawed, provocative and frustrating, A.I. was one of the most intelligence pictures released this year. Stanley Kubrick’s project finally sees the light of day in this fascinating collaboration between two of the greatest directors of the 20th century. Osment stars as a robot child who is placed in a family that has lost their child to a disease. The mother (O’Connor) cannot understand his needs, so she deserts him on the road, left alone to fend for himself. The most terrifying parts in the film take place when David encounters the big bad world, and witnesses the “racism” towards mechas. Jude Law, a robot built to sexually pleasure humans, befriends him, and follows him on his quest to one day become a real boy, a la Pinocchio. Although it runs a little long and the ending should have taken place much earlier, the most fun is trying to distinguish between which sequences the pessimist Kubrick helmed, and which were by the optimist Spielberg. 145 min.

4. A BEAUTIFUL MIND - I hadn’t actually expected much from this potentially overdone sob-fest, seeing it was directed by Ron Howard, who crafted last year’s dull and juvenile remake of THE GRINCH. Usually biographies are a ticky business, but by directing this bio epic as a mystery, he has done a fantastic job in tracing an absorbing journey. This film takes the fantasy/reality motif and makes it fresh and original, even though this genre was completely overdone this year. The film shows the low points of being a genius and the redemptive power of love, and is highlighted by wonderful performances. Howard layers the film in a most inconspicuous way to “trick” the audience, without being condescending or treating them like idiots. This is a picture that is challenging to understand and follow, but it will eventually pay off in the end. Russel Crowe is excellent in the lead role; his portrayal of a mentally ill man is subtle, moving and most believable. He is matched in intensity, scene for scene (and perhaps topped) by Jennifer Connelly, in a most impressive award worthy performance. 132 min.

3. MEMENTO - This is the only other film besides the next two that I would award a perfect rating (four stars) this year. This cult film without a doubt ruled the first half of the year, and is to date one of the most successful independent films ever made (created on a five million dollar budget, and over $20 million in box office). Gritty and black noir is at its best in writer-director Nolan’s intriguing backwards/forwards murder mystery. Pearce starts as Lenny, who suffers from long-term amnesia, and is in search of his wife’s murderer. He is aided in his search by two people he isn’t sure he can trust – one a potential lover and manipulator, and the other a strange and suspicious police officer. Possibly the best-produced mind bender of the year, the film scores in its subtle performances, tight direction and the brain boggling script. The film is structured in a way that the events of the plot take place backwards; thus, to understand a scene from the film, the sequence following it must be absorbed. 113 min.

2. LORD OF THE RINGS: THE FELLOWSHIP OF THE RING - This was another brilliant film of the year, so it was a hard decision to crown the #1 rank to a specific one. The three hours I spent watching this film were powerful, suspenseful, and worth every penny of my horrendously expensive midnight show ticket. The first in the $270 million film-adaptations of J.R.R. Tolkien’s trilogy is destined to make movie history. Peter Jackson has created a Middle Earth in which magic, terror and adventure are prevalent in every dazzling frame. Although the film is threatened by dragging because of the source material’s immense length, it flows and runs smoothly without being boring. Frodo Baggins (Elijah Wood) is called to quest when he inherits an evil mythical ring to control the Earth from his uncle (Ian Holm), and is aided by a fellowship sworn to protect him in his duty. The art direction, Howard Shore’s score and the cinematography are ground- breaking, while the CGI effects are realistic and never intrusive. The all-star cast fits every role perfectly, those standing out being Ina McKellen perfect as Gandalf, Christopher Lee intimidating as Saruman, Viggo Mortensen engaging as Arragon, and finally Cate Blanchett in a great cameo. 178 min.

1. IN THE BEDROOM - Like I said before, I had a hard time determining what would ultimately top my list for the year 2001 – it was a close race between the first three films. In the end, I favored this independent feature over the others simply because it touched me the most – personally. Todd Field (Tom Cruise’s pianist friend in EYES WIDE SHUT) makes an impressive directorial debut studying loss, love and revenge in 1980’s Maine. Tom Wilkinson and Sissy Spacek give the performances of their careers as a mature couple that are faced with tragedy, and must deal with the feelings of anger they possess for one another, as well as the who’s to blame for the life-changing event. Every aspect of this production is subtly done, realistically produced and masterfully directed, not to mention the outstanding performances. Aside from the two leads (who truly shine in one raw and chilling particular sequence where they rip one another apart), Marisa Tomei is wonderfully restrained in her pivotal part, and Nick Stahl who creates a character in what would have easily been a one-note portrayal. This film so honestly shows the reality of dealing with death and feelings of self-loathing and hate, it’s hard to believe this came from a first time writer and director. The subject matter is, of course, depressing, and finishes with an open-ended conclusion that leaves the viewer to determine the underlying thematic message. Although not for all tastes, BEDROOM emerges as a winner in all respects, not only for its phenomenal acting, but for its bold climax and exceptionally written screenplay. 130 min.

And here’s the bad… avoid them all like the black plague…

10. VANILLA SKY
9. AMERICA’S SWEETHEARTS
8. PEARL HARBOR
7. TOWN AND COUNTRY
6. SHALLOW HAL
5. DON’T SAY A WORD
4. RUSH HOUR 2
3. THE MUMMY RETURNS
2. FREDDY GOT FINGERED
1. VALENTINE