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CineScene's best of 2001

We rate our favorite films of the year
(and some not so favorite)
Contributors: Mark Ashley, Michael Buck, Melissa B. Cummings,
Don Larsson, Lovell Mahan-Moutaw, Mark Netter, Ed Owens, Pat Padua,
Nathaniel Rogers, Shari L. Rosenblum, and Sasha Stone.
Plus contributions from readers.

Lovell Mahan-Moutaw
Top Ten - ten you say? I think not. There aren't ten...at least not that I've seen. But I'll give you my top eight.
1. Amélie (Jean-Pierre Jeunet)

I'm big into fairy tales (see #4) and never tire of them, especially if they are told well. This little French gem wins the year. It brought laughter to my lips, tears to my eyes and hope to my heart.

2. The Fellowship of the Ring
(Peter Jackson)

Magnificently rendered, thoughtful and yes, even majestic. A fantasy world like we movie goers have not been treated to in many, many, MANY a year. Extraordinary.

3. Snatch (Guy Ritchie)
Funny, fast-paced and wild with a great soundtrack and a well-told, interesting story.
4. A Knight's Tale (Brian Helgeland)
See #1. Making the old new again with rock and roll and a budding heartthrob. The story isn't original but somehow seems fresh, watchable and re-watchable.
5. The Royal Tenenbaums
(Wes Anderson)
Dysfunction made funny and touching and in the end everyone gets what they deserve. Wacky, strange and utterly charming.
6. Bridget Jones's Diary
(Sharon Maguire)
Would that every everygirl had a Mark Darcy to run toward, through the snow, in her ridiculous underwear. Oh boy, I sure hope the good boys kiss like that.
7. Ocean's Eleven (Steven Soderbergh)
Slick, sharp and gorgeous fun at the movies.
8. Memento (Christopher Nolan)
Finally, a movie where you not only have to pay attention, but you want to - and when you do, you like what you see.
Ed Owens
When I started looking at my favorite films of the year, I realized that trying to rank them was going to be an extremely difficult task. There were many that I liked equally, but for entirely different reasons. I struggled through to the ranking you see here, which, of course, will have changed by the time you read this. And I still haven't seen many that I wanted to, including Monster's Ball, In the Mood for Love, and others.

1. Mulholland Drive (David Lynch)
The Hollywood dream cum surrealist nightmare. Arguably Lynch's best film to date. There is nothing more to say other than - see it.
2. Amélie
(Jean-Pierre Jeunet)
Jeunet's dazzling visuals and darker tone compensate for the saccharine final reel, resulting in a film that is charming without being overly sweet.

3. The Fellowship of the Ring (Peter Jackson)
Jackson deserves a great deal of credit for not alienating the book's cultish fan base, and even more for making new converts.

4.
Gosford Park (Robert Altman)
Intelligently written and smartly directed, Altman's ensemble piece plays to all of his strengths with few of his weaknesses.

5. The Man Who Wasn't There
(Joel Coen)
Billy Bob Thornton's wonderfully understated performance, Roger Deakins' gorgeous black and white cinematography, and Tony Shalhoub's gloriously over-the-top support make this one well worth seeing...and that's before you get to the Coen Brothers' writing and direction.
6. Hedwig and the Angry Inch
(John Cameron Mitchell)
Despite a disjointed finale, Mitchell's virtuoso turn as writer/director/star of this tale of the glam-rock antics of a botched transsexual has an energy and exuberance that sticks with you long after it's over.
7. The Pledge (Sean Penn)
Jack Nicholson's finest performance in years, directed with pitch perfect precision by Penn.
8.
With a Friend Like Harry...
(Dominik Moll)
This darkly comic thriller boasts a likable cast and even-handed direction. Comparisons to Hitchcock aren't entirely without merit.
9. Memento (Christopher Nolan)
A playful and intriguing film, with Guy Pearce's solid performance as a man with no short term memory anchoring some otherwise tenuous developments.
10. The Royal Tenenbaums (Wes Anderson)
Although Anderson's latest quirky dramedy suffers from some tonal problems that keep it from being as good as it could have been, it's a marvelous bit of work just the same - visually and aurally stunning.
Also-rans:
Amores Perros (Alejandro González Iñárritu)
Iñárritu's bloody meditation on love and dogs intrigues while it flirts dangerously with cliché. Ginger Snaps (John Fawcett)
An exceptional genre film about two sisters, one of whom transforms into a werewolf.
A Beautiful Mind (Ron Howard)
A masterful performance by Russell Crowe and unusual restraint by Howard (at least up until the final half hour) save this from falling headlong into maudlin sentimentality.
Series 7: The Contenders (Daniel Minahan)
A dark satire on reality TV that was too quickly eclipsed by the real thing. Still worth checking out.
Most overrated:

Shrek : Not as clever as it thinks it is, and ultimately suffers from the same problems it tries so desperately to criticize.
Black Hawk Down : Gives us just enough character development to make us aware that it desperately needed more.
Moulin Rouge: Flash and dazzle direction may cause seizure without masking gaping flaws in maudlin narrative.
Ocean's Eleven : The cast and crew obviously had a good time making it, which fails to explain why I didn't have one watching it. Steven Soderbergh takes the style over substance trend he started last year to the extreme.
Training Day : Boom! Switching sides doesn't equal showing range. Denzel Washington's performance is more of the same, only...(gasp)...as a bad guy.

Biggest Disappointments:

Vanilla Sky : aka When Good Directors Go Bad. Cameron Crowe seems painfully (or is that blissfully) ignorant directing Cruise's vanity project. Do yourself a favor and rent the original - Amenábar's Open Your Eyes.
Ocean's Eleven : I know I mentioned it before, but I used to like Soderbergh.
Ghosts of Mars: I keep hoping for one more great film from John Carpenter, but dreck like this doesn't make it easy.
Novocaine: Boom mikes abound in this turgid waste of good potential.

And, finally, the worst:
Freddy Got Fingered : I know it's an easy target, but never has a film demanded abuse so heartily. Some say that was the reaction Tom Greene wanted - if so, then I'll happily oblige him.

Don Larsson
As usual I feel incomplete in my listings. Unknown possibilities include The Royal Tenenbaums, Gosford Park, Amélie, Black Hawk Down, and In the Mood for Love. It also has been a difficult year to enjoy. Until the last month or so, I didn't know if I'd be able to come up with ten. Even so, a good half of my list succeeds more on the basis of style than substance.

TEN OF THE BETTER: 2001 (in alphabetical order):
Bridget Jones's Diary (Sharon Maguire)
Overlooked on a surprising number of lists (because it was released so early in the year?) - this is the most successful romantic comedy I've seen this year. Thank the cast (especially Renée Zellweger) and Jane Austen, whose Pride and Prejudice provided the model.
Ghost World (Terry Zwigoff)
A surprisingly fresh, often funny, more often wistful, examination of aging and change, love and friendship, alienation and meaning in life. Steve Buscemi is especially affecting as a shy, withdrawn loner.

In the Bedroom (Todd Field)
One of the most mature American films of the year, perhaps even a bit too mature for its own good, but marked by the very strong performances of Sissy Spacek and the underrated Tom Wilkinson. I have to confess to a personal bias, since I could almost feel and smell the coastal Maine settings - places like those where some of my relatives have lived and that are branded into my memory.
The Fellowship of the Ring (Peter Jackson)
Of course a quest to defeat a far-off source of evil will have special resonance this year. But this is one of the best big-screen epics to come along in ages. Every element of Middle-Earth looks almost as real in its own way as those coastal Maine towns in In the Bedroom. That the story is also a cautionary fable about the attractions and dangers of power gives it even more substance now.

The Man Who Wasn't There
(Joel Coen)
The Coen Brothers' loving tribute to film noir, their most stylish film to date, with Billy Bob Thornton as restrained and laconic (aside from his narration) as any James M. Cain character.

Memento
(Christopher Nolan)
Almost all flash, but bright enough to dazzle with its manipulation of time and narration.
Moulin Rouge! (Baz Luhrmann)
The single most dichotomy-inducing film of the year, likely to wind up on as many Ten Worst as Ten Best lists. The non-stop spectacle, the sheer revelry in their roles by Ewan MacGregor, Nicole Kidman, Jim Broadbent, and John Leguizamo kept me hooked. If a film is to be empty of meaning, as least let the emptiness astonish!
Mulholland Drive (David Lynch)
Lynch returns to his twisted roots, probing perception, reality, memory and time in his strongest offering since Twin Peaks. Alternately funny, violent, erotic, and just plain weird.
Shrek (Andrew Adamson & Vicky Jenson)
Edging Monsters, Inc. as best animated film of the year, this one takes the honors for its faithfulness to William Steig's reverse fairy tale, where the monster is the hero, while throwing in some delicious jabs at Disney and other purveyors of filmed fairy tales. Eddy Murphy's donkey is one of his best roles in a long time too!
Yi Yi (Edward Yang)
A beautiful film about love, family, hopes and regrets, with no neat conclusions. Like the little boy's photographs, it tries to show us what we normally cannot see (which may be why there are so many long shots).

Some Honorable Mentions:
Monsters, Inc.
(Pete Doctor, David Silverman
& Lee Unkrich)
Ocean's Eleven (Steven Soderbergh)
But see below!
The Princess and the Warrior
(Tom Tykwer)
Shallow Hal (Bobby & Peter Farrelly)
The first Farrelly Bros. film I've actually liked!

Special Awards:

Simple Competence Award
(Movies that don't live up to their cast but still managed to entertain, which is more than a lot of others did):
Drama: The Score
Comedy: Serendipity
Dumb Comedy: (aside from Shallow Hal, and competing with Jay and Silent Bob Strike Back): Made
Kids: Spy Kids
Best Bull Session Disguised as a Movie: Waking Life
Best Production Design Disguised as a Movie: From Hell
Second-Worst History Lesson (for the Worst, see right column):
Kate & Leopold
Most Overrated Film of the Year:
Ocean's Eleven

Noteworthy Performances in Films I Haven't Already Mentioned:
Nicole Kidman in The Others
Haley Joel Osment in
A.I.: Artificial Intelligence
Julia Stiles and Mekhi Phifer in O
Russell Crowe in A Beautiful Mind

Hardest-Working Person in Movies:
Once again going to Gene Hackman!

The Don't Get Around Much Any More Award: To the guy in back of me at the theater, who, when the trailers started with an on-screen car ad, said, "Uh, they have commercials at movies now?"

Finally (drum roll!), a change in the name of the award for Worst Film of the Year: It is now time to retire the name of The Pebble and the Penguin Award, in order to return that eponymous bit of dreck to its well-deserved obscurity. Instead, it is time to dis-honor the team that has made this year's Worst Film as the culmination of a progression from one bad movie to another: from The Rock to Armageddon to this year's loser; a team that has elevated the art of Blowing Things Up to precedence above everything else; a team that has managed continuously to strip away meaning, ambiguity, and depth, and that has now even mangaged to sabotage sheer spectacle. In short, the team of Producer Jerry Bruckheimer and Director Michael Bay. The Worst Film of the Year Award shall now be known as The BayBruck Award, and the first award under that name goes to (what else?) Pearl Harbor.

Sasha Stone
Unfortunately, any attempt at a Top 10 is imperfect because of the films I haven't managed to see. Thus, for example, my list doesn't have The Fellowship of the Ring (which I'm sure I'll enjoy). But here is a list of the best films I've seen this year.

1. Monster's Ball (Marc Forster)
This cleverly designed, unexpectedly great film reaches its heights not by its examination of racism in the deep south, but rather by its unconventional love story - which takes place between a southern white prison guard and the black wife of the prisoner he just put to death. The film stars Billy Bob Thornton and Halle Berry, who give easily the two best performances of the year. Forster's work is so remarkable because he sets up the film to be predictable -- yet it ends up completely surprising. It treats its audience with respect.

2. No Man's Land (Danis Tanovic)
A Bosnian war satire that is as tightly written as the best Mamet play. It's brilliantly funny, yet horribly sad at the same time. Tanovic has said that he wanted to use the colors of Van Gogh, which he does to beautiful effect: so much war and pain in such a lovely place.
3. A Beautiful Mind (Ron Howard)
Russell Crowe is to acting what John Nash was to mathematics - he studies the specifics, then expresses the whole. His portrayal of Nash's battle with schizophrenia is a wonder to behold. And Ron Howard has finally come into his own as a director, learning how to trust his instincts - which manifests as an ability to hold back from the audience what they may discover on their own.

4. Moulin Rouge! (Baz Luhrmann)
Here is a film that may end up being the film of the Millennium, though many have not yet realized its greatness. It's a vibrant, wild dream - and the work of Baz Luhrmann, an artist who stuck proudly to his vision, no matter how weird. Nicole Kidman and the rest of the cast know no bounds when it comes to the director's requests, and that makes for desperately fabulous work.
5. The Deep End (David Siegel)
Suture was a bizarre, underrated exercise in arsty fartsy cinema, but Siegel and co-producer Scott McGehee hit it on the head with this film, starring the wonderful Tilda Swinton as a tightly wound mom trying to cover up the crime she thinks her son has committed. The film is as perfectly contained as the water in the story that is always threatening to spill out. It is a film about symbolism and imagery as much as anything else.
6. Mulholland Drive (David Lynch)
However it began, as a TV pilot or whatever, and never mind that it is thematically a rehash of Lost Highway, Lynch's last film, and forget that it's meant to be the beginning of a long story that goes nowhere - this is a great film. Even if accidentally so. With the supernova powerhouse Naomi Watts in the lead, how could it fail? But it also succeeds because it is a celebration of the numerous talents of Lynch, who, despite it all, has his own unique vision. Hollywood is a desperate, sad and haunting place - this film sums it all up in all of its glorious absurdity.

And the runners-up:
7. A.I.: Artificial Intelligence (Steven Spielberg)
8. Memento (Christopher Nolan)
9. Ghost World (Terry Zwigoff)
10. Sexy Beast (Jonathan Glazer)

Nathaniel Rogers
In the animated film Waking Life there’s a scene where two men are conversing and one of them talks about what it means to have a “holy moment.” It’s a beautifully imaginative and transporting scene, and as I watched it occurred to me that I was having one, and that I have them several times a year at the movies. When I make these lists of "best of the year" that’s what I’m really talking about anyway. The films that were the most transporting. The movies that enveloped me in their spell.

Honorable mentions: I don't believe in mixing narrative features with documentaries, film essays, television, shorts, or anything else in listmaking (my list, my rules)... it's just not something I do. But if I believed in mixing and matching, solely based on my love of the moving image - these three treasures would rank high.
The Gleaners and I (Agnès Varda). This moving and unexpectedly riveting documentary on the scavenging culture in France becomes a fascinating personal essay on aging and filmmaking. One of the finest docs I've ever seen.
The Heart of the World (Guy Maddin). An experimental short film that had my jaw on the floor when I first saw it early in 2001. It immediately ascended to the number one slot on my favorite shorts of all time. “Kino! Kino! Kino!”
The Body / Once More With Feeling (Joss Whedon). Over in TV land, there is one television series that continues to be as good as the best motion pictures. The final WB season of Buffy the Vampire Slayer climaxed emotionally in the formalistically daring and harrowing episode The Body which found Buffy and her friends mourning the death of her mother. And just when you thought Joss Whedon could never top himself, along came the UPN debut season with an all musical episode Once More With Feeling. Buffy and her gang kept singing/asking “Where do we go from here?” Nobody connected with the series that’s most in love with constant evolution knows the answer, not even Whedon, its principal creator/writer/director. But one thing you can count on is that wherever this show takes you, you'll be glad you went.

RUNNERS UP to the TOP 10:
16. Waking Life (Richard Linklater). Something of a “holy moment” itself.
15. Last Resort (Paul Pavlikovsky). From the sadly defunct Shooting Gallery series.
14. The Others (Alejandro Amenábar). An elegant ghost tale, starring Nicole Kidman, that was one of the year's most controlled and collaborative movies. Everything seemed beautifully of one piece.
13. Ali (Michael Mann). This study of a pivotal figure in American history runs out of steam before the end, but it's still a sophisticated, intelligent, and complex film. The year's best biopic by far.
12. Sexy Beast (Jonathan Glazer). In a year overstuffed with heist films, this tightly scripted filmmaking debut made a lasting and humane impression.
11. Series 7: The Contenders (Daniel Minahan). Minahan's first feature (with a centerpiece star turn from Brooke Smith) was an hilarious and savage exorcism of America's reality fever - a nasty attack on an empty society where everything seems “dipped in plastic.”

THE TOP TEN:

10. No Man's Land (Danis Tanovic)
This acclaimed Bosnian film is a startling visceral comedy about the lunacy of war.
9.
The Royal Tenenbaums
(Wes Anderson)
A film that flirts with greatness and becomes all the more touching by missing the mark. There is one great scene after another in Anderson's fairy tale about a family of failed geniuses. There’s a beautiful team spirit shown by its bevy of fine performers.
8. In the Bedroom (Todd Field)
Field's studied debut may not be the masterwork some have claimed it to be, but it's a damn good film nonetheless. Its most remarkable feature is honest deceptiveness. You think it's a love story. Bang. It's not. You think it’s a portrait of grief...no, wait, it's a thriller. Bang. It's not. It's not that the film is lying, but that we are so accustomed to certain plot trajectories that it's difficult to see the film's harrowing turns coming, or to immediately understand how thoroughly it undermines traditional film notions of revenge or catharsis. Bonus points to the cast for illuminating the emptying effects of grief, and the rage of the broken.
7. Together (Lukas Moodysson)
The sweetest film of the year is also one of the smartest. Moodyson throws a broken family into a 70s commune and the resulting emotional, personal, romantic, and idealistic collisions that ensue expose, illuminate, and energize all involved. “Feel good” is a term often used to describe manipulative simple-minded happy endings and Hollywood style sugarcoating. This Swedish comedy has (thankfully) none of those attributes and actually feels good.
And now,the six films that lifted me highest...the “greats” of the year
6. Gosford Park (Robert Altman)
No movie this year approaches it in terms of its nimbleness and fluidity in mixing character, theme and wit. Wildly entertaining, and a return to form for Robert Altman.
5. Mulholland Drive (David Lynch)
This, the undisputed critical darling of 2001 (although In the Bedroom came close) was the year's most familiar complete stranger. We've seen all the Lynchian motifs, images, and characters before. But this time, the one-of-a-kind auteur fashioned something new and revelatory out of the used parts. This grand picture has tremendous “give” in it allowing for multiple correct intrepetations and thereby prompting the most fascinating critical discussions of the year. But all that aside, the truly smart way to watch Lynch's mindfuck is to just let go and give in to its undeniable and nonsensical pull. From the frenetic overexposed jitterbug opening sequence to the final silencing moment, its undeniably gripping. Just dive into the blue box.
4. Hedwig and the Angry Inch
(John Cameron Mitchell)
An enormously resonant and energized tale of a “slip of a girly boy” from East Berlin who becomes an “internationally ignored song stylist.” A triple threat triumph from writer/director/star John Cameron Mitchell.
3. In the Mood for Love (Wong Kar-Wai)
Wong has outdone himself. This year's greatest foreign film (by far) has the year's best cinematography and weaves a hypnotic spell/meditation on memory, emotional stasis, and romantic yearning. The luminous coupling of Maggie Cheung and Tony Leung astonishes. They're nearly as erotic as Mulholland Drive's "Nancy Drew" lovers - yet without a sex scene - and nearly as glamorous as Moulin Rouge's doomed bohemians - without as many costume changes. In the end they're more emotionally affecting than either of those sensational couplings. The film is glorious. Unmissable.

2. The Fellowship of the Ring (Peter Jackson)
Pure magic. The first review I considered posting was just one word long: “Wow” This film sets the bar high. Released just one month prior to it, Harry Potter looks even more factory-like in comparison. This film recalls the grand Star Wars magic, minus the bad acting. The Fellowship can be compared to many films, but the one it looks prettiest sitting next to is Crouching Tiger, Hidden Dragon. In just two short years, two signature adventure epics for The East and the West have arrived that dwarf everything the genre has offered for years. Both films will likely inspire future filmmakers who are now but starry eyed children discovering the enormous power of the cinema while watching them.

1. Moulin Rouge! (Baz Luhrmann)
This final film in Luhrmann’s red curtain trilogy (following 1992’s Strictly Ballroom and 1996’s Romeo + Juliet) - all of them celebrating "real artificiality" - is his masterpiece. I could (and have) talked for hours about this one-of-a-kind revolution of a film, but the picture sums itself up quite well and accurately in one of its first songs: “Spectacular Spectacular, no words in the vernacular can describe this great event. You'll be dumb with wonderment.” More than any film in 2001 this film hit my nerve center of cinephilia: I got completely lost in the beautiful and daring production values, inspired performances, music, dance, and romance. I was stunned, flabbergasted, thrilled, moved, entertained, and drained all at once. When it was over I could only applaud, buy the soundtrack, and return to the theater repeatedly. To paraphrase another song from the film: Come What May...Come What May, I will love this film - until my dying day.

Mark Ashley
Keep in mind that American movies usually show up later here in England. Also, my memory of dates isn't so good, so there may be films that have slipped in that were released before 2001.

In no particular order:

Bridget Jones's Diary (Sharon Maguire)
Finally got round to seeing this and loved it. I must admit I was worried about Renée Zellweger's accent, but I have to say it was flawless. Hugh Grant and Colin Firth make an excellent combination, and a supporting cast that includes Sally Philips and Gemma Jones adds up to a funny and moving film that I wished would go on longer.
House! (Julian Kemp)
The story of a run down Bingo hall and its young woman manager, who discovers she can predict the winning numbers. A classic British low-budget comedy that deserves a higher profile.

Memento (Christopher Nolan)
A good story told in a great way. Some of the twists and turns are predictable but it still works. Excellent performances from the whole cast.

Requiem for a Dream
(Darren Aronofsky)
Not quite as mind blowing as Pi, but a damned good second film all the same. A chilling image of the global drug culture that puts Traffic on the reserves bench.

Snatch (Guy Ritchie).
Another good second film. Plot is second to character-based comedy, and style is everything.
Billy Elliot (Stephen Daldry)
Another good film I finally got to see. It's a fairly typical British film in the mould of The Full Monty and Brassed Off, showing a struggle for recognition against the backdrop of adversity.
Best In Show (Christopher Guest)
A great comedy about a dog show, in which much of the humor is in the background touches.
Nurse Betty (Neil LaBute)
A multifaceted black comedy that has grown on me. Good performances by the male cast members, but it's Renée Zellweger who really stands out. They say there aren't many good parts for women these days, yet Zellweger seems to have landed two of them within the space of a year or so.
Pitch Black (David N. Twohy)
A simple sci-fi thriller with some excellent performances and great style. Vin Diesel's voice was enough to make this, especially in the opening voice over: "They say most of your brain shuts down in cryo-sleep, all but the animal side. Guess that's why I'm still awake."

THE WORST: Mission To Mars. A very promising cast wasted by a bad story, a dull script, and too much time showing us nothing we haven't already seen before.

Melissa B. Cummings
I saw so few movies this year that my year-end list is, sadly, quite abbreviated. In fact, it is only a Top 3. But these are the only three movies that I saw that were truly worth my time and money, so much so that I saw them each at least twice. I had a difficult time deciding which would be my #1 and #2 films because they are so different, and so good in very different ways, and it isn't really fair to pit them against each other. So #1 and #2 are a virtual tie, but, in the long run, I think my #1 film will remain the stronger of the two.

1. The Fellowship of the Ring
(Peter Jackson)
One of the rare book-to-movie translations that keeps all of the magic and emotion of the written word intact. A superb cast and amazing effects make the story truly come to life. The movie could have gone wrong in so many ways, but Jackson was able to create an incredible cinematic saga that is nearly perfect on every level.
2. Memento (Christopher Nolan)
Memento uses a gimmick to get us hooked, but it is a gimmick that works. This is a whodunit that gives you the answer before you even know the question, and you get to try to piece together the puzzle just as Leonard Shelby does - five minutes at a time. Guy Pearce gives a great performance in the most original movie of the year.
3. Monsters, Inc.
(Pete Doctor, David Silverman & Lee Unkrich)
I will never understand why Disney spends so much time and effort on its Pixar collaborations while not imposing the same standards on its traditional animated films. Once again, the Disney-Pixar team has created a funny, smart, original movie that is entertaining for adults and children.

Movie That I Enjoyed More Than I Expected I Would:
Bridget Jones's Diary - I didn't love it, but it was cute. Renée Zellweger usually annoys me, but I actually liked her in this.

Movie That Didn't Suck as Bad as I Expected It Would:
Jurassic Park III - Which isn't to say it didn't suck.

Movie That Shouldn't Have Sucked as Much as It Did:
The Tailor of Panama - It started out OK, but then I got so bored that I actually turned it off.

Biggest Disappointment:
Atlantis: the Lost Empire - I appreciate Disney's attempt to go in a different direction with its animation style and storytelling, but what started out as an intriguing concept just fell back into the same old tired formula.

Most Overrated:
Shrek
- This movie pretended to be something it wasn't, and for some reason everyone fell for it.

The Travel Channel Award for the movies that made me want to visit their locations: The Score (Montreal) and The Fellowship of the Ring (New Zealand)

The Anti-Travel Channel Award for the movie that made me never want to visit its location:
The Shipping News (Newfoundland)

Do you think we're done? No way. Go to
PART TWO
CineScene, 2002