Top Box Office Movies - Top 10 Movies 2001

Top 10 Movies of 2001

Movies are undoubtedly at the center of our culture. Alongside music, books and other elements of the entertainment industry, cinema is probably the most influential 'pop culture' element and will continue to provide an external and alternative viewpoint of our society. From lining up outside your favourite multiplex to roaming around your local video store, it seems that movies pertain a protruding quality of togetherness and unite many in hopes of a laugh or a thrill, and escapist action flick or a warm romantic comedy.

Whether you choose to experience a film with the finest sound and picture quality at home on DVD, or decide to feel your buttocks vibrate with the powerful Dolby Digital bass at your multiplex. Movies have a profound effect on our culture. So much so that after walking out, one might feel adventurous, sad, happy, or even nostalgic. That is the form that cinema provides.

The cinematic year of 2001 proved to be a better year than its predecessor, and while the following top 10 list has been complied with my opinions in my mind - I am sure many will disagree and agree with some choices. While I have not seen all the films released and have yet to still catch some greatly praised films through the magic of DVD, these are the 10 most influential, and truly great films that have caught my eye during the year of 2001.

1. A.I. - Artificial Intelligence [click for review] Steven Spielberg's highly misunderstood and underrated film opened to mix critical reviews in the summer of 2001. Crammed with subtle innuendo typical of Kubrick's writings and films, Spielberg takes Kubrick's highly imaginative project and delivers the most thought provoking and intellectual film of the year. Haley Joel Osment delivers a great performance as does Jude Law as 'Gigolo Joe'; a male robot lover. With its' profound directorial style by Steven Spielberg, this film manages to make a commentary on our world while delivering a befuddled film that will either attract or deter one's attention. In my case, this film left a deep root within me and me appreciate Spielberg all the more as America's Premier director.

2. Ocean's Eleven [click for review] No other film this year provided the most mindless, classiest and absolutely greatest entertainment within two hours. Steven Soderbergh's crafty heist flick was taken from the 1960's lacklustre flick 'The Rat Pack'. Lifting only its' theme of 12 men robbing casinos, Producer George Clooney managed to cast major stars for half of the price while giving them back end deals for the assembly of the most ambitious pairings yet. Soderbergh's heist flick boasts a renewed and graceful George Clooney that leads the charge in this absolutely terrific film. People often forget that the movies that often have the most bearing wanted to have none at all.

3. Vanilla Sky [click for review] Never before have I had such a response from readers concerning reviews than with Cameron Crowe's brilliantly bleak drama/sci-fi/thriller. Tom Cruise's performance will probably not be nominated for an Oscar because perhaps many of the Academy voters probably won't know what the hell he was playing. Cameron Diaz is an obsessed brokenhearted woman who plays a critical role in the year's most disturbing and interpretive film. For this film it is simple - either you 'got' the film or you did not. If you did understand this film, then you will agree with its' ranking.

4. Harry Potter and the Philosopher's Stone [click for review] Many might criticize this mindless literary adaptation, but within Christopher Columbus' imaginative film lies magic and serenity as we track the adventures of a young sorcerer in training. With its' dark vision and broad scope, the film caters to both children and adults as one can see with it's surprisingly ultra dark ending. Furthermore, when was the last time a film 'portaled' you back to being a child and become enchanted and lost within a film. This is what 'Star Wars' and 'Lord of the Rings' wasn't, a complete escapist film that made me yonder for those days when we as young children used to become easily enchanted. With my age, it is quite difficult to attain that, yet Harry Potter superseded expectations and delivered a fantastical journey that leaves me looking forward to the sequels.

5. Memento [click for review] Chris Nolan's revolutionary style of storytelling caught many by surprise to become one of the most sought after films in the independent circuit of 2001. Starring Guy Pearce, this dramatic thriller tracks a husband searching for his wife's killer only to discover a dark secret that even he did not know. With its regressive style that sees the film start from its' climax and work its' way forward, this film placed Nolan as one of the most lucrative directors at the present time and made 'Memento' a truly great film because of its' style and visceral feel.

6. Snatch [click for review] Guy Ritchie's poorly masked 'lift' off his first film, 'Lock, Stock and Two Smoking Barrels' is still one of the most bold and quick paced films of the year. This greatness can be attributed mainly to Ritchie's character development and frenetic, slanted camera angle sequences along with great dialogue that places this film in this top 10. My only suggestion is that many will find Ritchie's style repetitive if overused, therefore if he wants to stay fresh, he must reinvent himself.

7. Requiem for a Dream [click for review] Aranofsky's dark, nihilistic and brutally raw film is laced with what he refers to as 'hip hop' montages as well as the most seemingly empty characters ever that add to the surreal and raw look of this film. Revolving around drugs, life and a search for a better one, Aranofsky makes it a point not to hide the ugliness, which surrounds us within society and that in which we turn a blind eye to. Yet, he takes us deep into the root of an addict's life and makes us feel for a character society says we were never supposed to feel for.

8. Monsters, Inc. [click for review] Pixar/Disney bring us a warm and endearing film of how relationships can easily be formed and broken. With the greatest animation seen to date from Pixar, this film casts the voices of John Goodman and Billy Crystal as our two antagonists who capture screams in the real world in order to create energy in their world. With its' colourful slate of characters and imaginative surroundings, this is Pixar/ Disney's best and sets a new milestone for Pixar to attain upon their next offering.

9. The Royal Tenenbaums [click for review] Wes Anderson's alternative take on a dysfunctional family will not appeal to the masses, but with it's eccentric style and superbly realized family saga -this leaves nothing to be desired to those who appreciated the film. Gene Hackman plays a father trying to reunite with his estranged family while his unconscious racist, societal and uncaring remarks drive his family away further. Therein lies the true beauty of the film as we see the most dysfunctional family saga in years brought together by strong performances.

10. O Brother, Where Art Thou? [click for review] The Coen Brothers' literary adaptation of 'The Odyssey' is a true delight. Containing several elements that capture the essence of this Southern dramatic musical comedy, with filters, style and music - it is a little gem.

The worst film of the year can be seen with just one film 'Freddy Got Fingered' [click for review]. This inept and ridiculously horrible film managed to be green lit by a studio and attain a release. While disappointing films include 'Pearl Harbor' [click for review] and 'Ali' [click for review] .

Therefore, with these films in hand, make the best of viewing these films for their quality and apprehended greatness. While one can see that this year the major studios did manage to churn out some impressive films, 2002 seems to be a year destined to shatter box office records with films such a MIB2, Star Wars 2, Minority Report and Spiderman. Yet the question is, with all the focus put on sequels, will god quality films manage to sneak under the radar and capture our attention for the films that really matter?

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Giancarlo De Lisi
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