2001 was the year television made a comeback and movies went down the tube. HBO released "Project Greenlight", one of the most impressive documentaries ever filmed (this actually makes filmmaking look exciting). They also produced the movie "Wit", a tragic but thoroughly emotional drama that proves even cable can beat Hollywood films down (it is not eligible for my list, since this is primarily for theater-released motion pictures). And let's not forget "Sex and the City", "Six Feet Under", and "The Sopranos". The real surprise was the standard broadcast channels. After a few years of being thoroughly lackluster, the stations flourished again. Thanks in part to the brilliant spy-drama "Alias" and Fox's suspenseful "24", TV dramas suddenly became more interesting than anything at the theater. And then, September 11th. No year-end summary can be complete without discussing the tragic events that occurred. The horrific time shifted the American psyche. Suddenly, the "reality" TV shows we were exposed to were no longer interesting. The real reality was, at its best, involving and emotional coverage. At its worst, it was manipulative, sophomoric, and oftentimes insulting--not only to the viewers, but to the memory of those that lost their lives in the events. No one will ever forget 9-11, and the awful events may cause a shift in the way Hollywood produces their films.

* List is subject to change - Some respected films have not been released in my city *

10. The Mexican

A hilarious and charming romantic comedy starring the most likeable stars in Hollywood: Julia Roberts and Brad Pitt. Critics slammed the film for not putting Pitt and Roberts together enough, but what made the film shine is Roberts' relationship with her kidnapper, played by "The Sopranos"' James Gandolfini. The magical banter between the two was some of the funniest moments of the entire year. Here is a standard Hollywood film made all the better by wonderful acting and good writing. Sure, the film probably won't be remembered come next year, but for now, a lack of good Hollywood products has this one as a diamond in the rough.

Guilty pleasure alert! Listed on many, many critics' worst lists, this Angelina Jolie vehicle not only was the only summer blockbuster to actually thrill, it also is the only video game-based film to actually work. Simon West's hack-fest direction can't stifle the real reason this film works: Angelina Jolie. Her beautiful pouting lips and strong presence makes everything work. Her bungee ballet is a fantastic display of artistry and beauty, which shows the originality this film occasionally attains. Sure, it's cheesy; sure, it's sometimes stupid, but the exciting nature of the film makes this a thrilling ride.

Peter Jackson's first entry into his Lord of the Rings trilogy is a breathtaking and exciting sword-and-sworcery epic. Not only did he defy expectations by adapting the novel well, he blew even naysayers away by magically crafting a new world and letting his characters explore. In much the same way George Lucas did with Star Wars, Jackson has created a film for the ages. If not for the anti-climactic ending, this film could have been an endearing classic. The visual images are some of the best eye-candy put to the screen all year. Not only that, the film has an epic story filled with great characters and imaginative special effects (look out ILM). Here is an example of substance and style meshing perfectly well together in a film that hopefully will lead in to a great trilogy. For now, it's merely just a very good film.

From the mastermind of Stephen King, here comes a heartfelt and emotional coming-of-age story that is only flawed by a bookended sequence that reveals too much. The direction is haunting and eerie, while the story is a mix of the real and the supernatural. Credit Anthony Hopkins for handling a performance which requires so much internalizing you may think he walks around in a daze half the time. But as good as he is, the film works because of its two young leads, Anton Yelchin and Mika Boorem. Anton creates a likeable hero with a curiosity that many films never seem to get right. But Mika Boorem, in an Oscar-caliber performance, is stunning and tumultuously emotional. Her final goodbye is a tearjerker that doesn't manipulate, so be sure to take some tissues before watching.

The pinnacle dream film of the year (forget the overrated Mulholland Drive). Tom Cruise gives one of his best performances ever, meshing his real world persona with his performance from Eyes Wide Shut. The result is a movie that keeps you guessing, revealing tidbits that don't seem important, only to pull the rug out in the end. The ending has been much criticized for explaining everything, but the way it deals with the revelations prevent it from being insulting. The use of music and sound is key to the film's success, and the film should be nominated for some technical awards. However, not to be outdone are the actors, in particular Cameron Diaz, who just seems to get better with every role. After so many great performances, one can only hope she can get an Oscar nomination for this film. Sooner or later, she deserves one.

Not so much a film as an experiment, Waking Life is Mindwalk animated. Our hero comes to the realization that he is dreaming after walking around talking to various sorts in his dream. There is no plot, there are no real characters apart from our hero, and there is no conclusion. The film is comparable to walking into a philosophy class, only to watch the room shift around, and seeing yourself floating into the air. The lucidity of the film is brilliantly handled by filmmaker Richard Linklater who even shows up in the film to explain everything to the dreamer. How do you know you are dreaming if you can't wake up? Due to the constantly moving images (Linklater utilized the latest in rotoscoping--animating over live action images), it is advisable to take some dramamine before the film starts. It might have the same effect as The Blair Witch Project. But it's worth it. This is one intelligent and remarkable film.

The third film in a row on this list that deals with second-guessing reality, A Beautiful Mind tells the true-life story of John Forbes Nash Jr. Ron Howard's most accomplished film to date (after his disastrous Grinch movie) is also one of the most interesting real-life stories I've ever seen. The subtle bisexual tendencies may have been removed from the film, but those may have actually distracted from the overall story. Russell Crowe gives a brilliant performance (and he won the Oscar for Gladiator??), disappearing into the role--even at 70, he never slips once. Jennifer Connelly, who has always been one of the more underrated of actresses in Hollywood, turns in yet another great performance that has the makings of Oscar glory. Hopefully, she'll get it this year.

Thora Birch stars in one of the best teenage portrayals ever put to the silver screen. Her sarcastic and brutal examinations on life are hilariously funny. Director Terry Zwigoff has created an honest and oftentimes sad look at the loneliness our modern world causes in people. Thora Birch deserves an Oscar nomination for her very real and very funny musings. Steve Buscemi also surprises in a performance as he creates one of the most isolated characters of the year. His sad outlook is at times funny and at times truthful. By the very end of the film, you will be so endeared to the characters you probably won't want it to end. Sadly, the film has seemingly been forgotten and hopefully will get the recognition it deserves.

What a difference a few years can make! Baz Luhrmann, who hit the rock bottom with his faux-Shakespeare adaptation of Romeo + Juliet, has turned right around and created one of the most alive pictures of the year. The images bounce off the screen, dancing right in front of your eyes. Moulin Rouge has not only reinvigorated the musical genre, it may be the best musical ever made. Taking place in 1900, the film uses pop-culture hits, varying from Madonna's Like a Virgin to Dolly Parton's I Will Always Love You. The opening of the film is a bit garish and hyperkinetic, but once Nicole Kidman enters the film, it never falls short. Ewan McGregor and Kidman are astonishing together; Kidman in particular gives the best female performance all year. If the Academy doesn't award her work here, they are glaringly out of touch.

After seeing Tom Tykwer's Run Lola Run two years ago at Sundance, I was convinced he was an artist to be reckoned with. Nothing, however, prepared me for the power of his follow-up feature which amazingly is superior to Run Lola Run in almost every way. Featuring Tykwer's favorite actress, Franka Potente, The Princess and the Warrior flows at such a clipped pace you may have to see it again just to absorb all the artistry here. Tykwer uses cliched moments of bank robberies, tracheotomies, and insane asylums, and then twists them around to make them new. The heartfelt romance between Potente and Benno Fürmann is palpable without being insulting. The climactic Thelma & Louise-type ending will have you gripping your seat, and the surreal denouement closes the film without being sappy. Tykwer's Run Lola Run may be more popular, but this film is even better. And believe me, it's hard for me to say that.