You'll be hard pressed to find a critic who doesn't think 2000 to be one of the worst year's for films in the past decade. I'm certainly one of them, as only six of the top ten films here earned their 4-star rating. It was a year of duds and bombs, but amidst them stood some surprisingly vivid and great films. Each of the six 4-star films are the best of their kind ever made, varying from comic book superheroes to anti-drug narratives. But enough is enough, on with the list.

10. O Brother, Where Art Thou?

Comedies were a dime a dozen in 2000, and surprisingly, most of them were actually funny. The Coen brothers' latest film isn't nearly as good as Fargo (still their best film), nor did anyone expect it to be, but the Coen brothers were able to mine uncharted territory and create some of the strangest comedic moments of the year. Varying from the frog to the surprise Ku Klux Klan meeting to the climactic scene at George Clooney's cabin, O Brother, Where Art Thou? is an absurdist comedy in which things just happen, and usually for the benefit of our trio of heroes. George Clooney has never been better, leading the usual Coen Brothers' cast, including Holly Hunter, John Goodman, and the hilarious John Turturro. The script is wry and smart, filled with various subplots that never seem to matter until the final twenty minutes. While not up to par with most of their films, you'd be hard pressed to find a more charming, quirky comedy all year.

A riotous screwball comedy in which Matthew Perry attempts to foil the mob. Perry's slapstick antics are funny enough, but add in the mix of Bruce Willis and Amanda Peet, and you have enough comic momentum to sustain the film through its cliched moments. Peet is especially funny as a cheerful dentist assistant looking for a way to become a hitman. Her exuberant charm and smile is enough to garner laughs, but her physical comedy is delightful. The film's success basically rides on the cast, since the script is sub-standard and the direction is generic. Thankfully, the cast is more than up to the challenge, resulting in one of the year's funniest movies.

Christopher McQuarrie's modern-day Western was relegated to the fall movie slums that produce some of the worst crap of the year. But The Way of the Gun is anything but bad. Perhaps edging too close to Tarantino territory, McQuarrie's film nevertheless is relentless in its own way. Bloody, graphically violent, and also very funny, the film pits smart criminals against even smarter criminals until one of them loses and the other wins. Every single character is developed well, even the wife who doesn't want to be burdened with pregnancy. The composition of McQuarrie's camerwork is stunning, resulting in some quite memorable images. Benicio del Toro and Ryan Phillipe lead the cast as our anti-heroes, and do exceptionally well. Philippe, in particular, is fantastic in his first actual performance. If you can't handle Tarantio, skipping this film would be advisable. However, those who can stomach the violence are in for a treat of filmmaking.

The funniest film of the year, hands down, is also one of the most charming teen comedies put to celluloid--probably the best of its kind since 1995's Clueless. First-time director Peyton Reed manges to craft his film in such a way that by the climax, you realize you actually care who wins. Kirsten Dunst heads a wonderful cast in a bright and uproarious comedy that deals with the stresses of being a cheerleader. There is really nothing new here (except for the best portrait of a homosexual in any Hollywood film to date), but the film exudes enough charm to power past any flaws. Best of all, the relationship between Dunst and Jesse Bradford is romantic without resorting to cliches. The silent toothbrushing scene is one of the year's best moments. y the final kiss, you've realized that not only do you care about the two teams involved, but you've seen the most intense sports competition film in years.

The best film I saw at Sundance last year is also the most cathartic and tragic film of 2000. Topped off by a great performance by Dan Futterman, Urbania tells the gritty story of a gay man seeking closure to his last relationship which ended badly. In and of itself, the film tells a simple story, but as with all films, its in the details that makes this film great. The urban folk tales that are scattered throughout the film add to the film's atmosphere, which oozes mystery and suspense. Director Jon Shears handles the timeline very well, revealing details when they need to be. The state of our main character's mind makes the fantasy and reality lines blur, and you begin to wonder if what you are seeing is real or not. The darkly comedic moments are quite funny, helping to alleviate the overly serious tone of the film. However, the final twenty minutes are so emotionally charged that you might not be prepared for them. This is perhaps the best anti-homophobia film to date, and it will stick with you for days afterwards.

Curtis Hanson, off the film scene since his 1997 hit L.A. Confidential, returns with one of the most low-key films of the year. There are no big twists, no action scenes, no massive special effects. Instead, Hanson gives us a character study of the highest caliber. Michael Douglas stars in what may be his best role ever, Wonder Boys presents its story so well that when it ends, you can't help but leave the theater feeling good all over. Writing is one of the most visually boring events you can film, and yet Hanson manages to create characters that you not only relate to, but would love to actually meet. The characters are what drive the film, and all of them are well-rounded and original. The film didn't perform well at the box office, even after its re-release, but it should have a healthy video release. This is one film that shouldn't just be hidden in a remote corner of "Blockbuster".

The Cell is a mixed blessing of sorts. On one hand, it's a brilliantly imaginative and viscerally exciting film that blends genres into a haunting portrait of a serial killer. On the other hand, it is exactly how films should not be made. Director Tarsem Singh requested a screenplay to cater to his visuals, instead of finding a screenplay and making it visually arresting. He is, as a result, no David Fincher. So credit must go to Mark Protosevich for writing a script of intricacies that add up to a smart, overall story. Credit Eiko Ishioka for his astonishing costum design, which if not Oscar nominated (or for that matter, Oscar-winning) will be one of the greatest travesties in the Academy's history. Credit Tom Foden for his brilliant set design, which goes hand in hand with the costume design (sometimes, literally). But credit Tarsem for handling it all so well. His style isn't new or original, but it is certainly not boring. The camerawork is brilliant (particularly the 180-degree arcing view of a baptism) and the acting is superior. The Cell is a very disturbing look at how child abuse can affect a person's life forever.

After hearing so many good things about this film, you might expect to be disappointed by the film. Not so. Instead, what you get is a remarkable blend of martial arts, romance, and comedy. Director Ang Lee has tackled a massive project here, and his result is the best martial arts film ever made. The fight scenes (obviously the most talked-about aspect of the film) are phenomenal, particularly the first battle between Michelle Yeoh and Ziyi Zhang. It was so good that the audience actually applauded when it ended. The fight scenes are heart-pounding, but merely add to the film's overall effect. The romance between Yeoh and Chow Yun-Fat is subtle and restrained, which creates for some of the most tense scenes in the film. The screenplay is impressive, epic in scope and emotions. The acting is fantastic, particular by Yeoh. But it all still comes back to the martial arts. The amazing choreography of the fights is breathtaking, utilizing the wire-stunts to superb effect. You may be reserved about reading subtitles, but once you see the fight sequences, you'll be pulled into one of the best films of the year.

The most powerful film of the year was also the most difficult to watch. Requiem for a Dream almost took the top spot on my list, but I pushed it to second for one simple reason: the film is so graphic and unsettling that I doubt I'll ever be able to watch it again. Featuring the best performance of 2000 (Ellen Burstyn), Requiem for a Dream caused quite a stir with its NC-17 rating. While released unrated, the film still was stricken with this unfortunate rating. Unfortunate, because this film should be required viewing for teenagers and young adults. To show how misguided the MPAA is, here is a film that shows the brutality and reality of drugs, and how they wreak havoc on the lives of four individuals. It gets slammed with an NC-17 rating. Now take Scary Movie, which promotes drug usage as being funny and harmless, and also filled with sex and graphic nudity and violence. It gets an R-rating. Exactly what kind of world are we living in? Director Darren Aronofsky has created one of the most harrowing anti-drug films ever made. He pulls out all the stops in showing the effects drugs can have. Parents: make sure you rent this film and show it to your kids (however, be there to watch it with them, as there are some scenes you may want to fast-forward). Just be prepared to get bombarded with questions afterwards. Yet again, the MPAA drops the ball and censors a brilliant film.

M. Night Shyamalan's follow-up to his 1999 smash hit The Sixth Sense didn't perform nearly as well at the box office, nor did it garner the praise it deserved. More than likely, the reason was because as a film, it is more unconventional and thought-provoking. Due to the best teaser trailer ever made, Unbreakable was thankfully viewed by enough people to bank a profit, ensuring that Shyamalan will stick around the film scene for a while. Unbreakable is hands down the year's best film. No other film had the audacity or vision of this one, confounding expectations and twisting them for the better. Containing some of the best scenes of the year, Unbreakable is a remarkably subtle comic book film (this makes The X-Men look bombastic and overblown by comparison). In that regard, I would go so far as to call this film the best superhero movie ever made. Better than Superman or Batman combined. In a year of creative flops, Shyamalan proves that originality is just as exciting as ever.