Nicole Kidman
True, Kidman can't sing very well, but there's no denying this film must have been exhausting to make. "Moulin Rouge" seemed like a big, fat, empowering "Screw you, Tom, can your sweet Penelope do this? Well, what about this?" Kidman bared her legs, her teeth and her soul, risking her reputation for a potentially nauseating musical. And guess who came out victorious!

"Black Hawk Down"
I detest war, and I hate any movie that glamorizes it in any way. But somehow, "Black Hawk Down" avoided clichés and brought the realities of combat to viewers. These successes come courtesy of Ridley Scott's direction, which can make the basest elements of humanity seem natural, like documentaries on animal behavior.

"Amélie"
Dialogue and sequence are totally important in making a film become a snapshot of reality. In regard to these two minimal criteria, "Amélie" has it all over the other contestants in this category. Even though the movie's subject matter is fantastical, the screenplay makes this foreign-language flick simultaneously accessible and enjoyable to audience members all over the world.

"Moulin Rouge"
By far the best spin on a musical I have ever seen. This film should win by innovation alone; who would have thought a musical could be so fun? There is your basic love story, interpreted through songs that everyone already knows, and Jim Broadbent is classic. Its fun, in-your-face style makes the experience worth having over and over again.

Nicole Kidman
Kidman gets this one hands down for her singing alone in "Moulin Rouge" (Sorry Renée, your version of "All By Myself" didn't do it for me). Not only does she pull off the funny, sexy temptress, but she has the pipes to back it up. This movie was a comedy, musical and a drama, and she was able to change perfectly with each new scene.

"Black Hawk Down"
The reason this film did so well was that it put each audience member in the hot seat. We were feeling terror with each new camera shot. We spiraled downward in a hail of smoke with each soldier. And, as we sat on the edge of our seats, the only question that came to mind was, "What happens next?"

"Amélie"
This is a tough category with choices among some of my favorite movies. But Jean-Pierre Jeunet is by far the best writer. He creates surrealistic worlds and characters that are funny and dark, and he reinvented black comedy for French audiences. With classics like "The City of the Lost Children" under his belt, I think some credit is overdue.

"Moulin Rouge"
This picture deserves to win, since Baz Luhrmann didn't get nominated for best director. "Moulin Rouge" is a bizarre, seizure-inducing film and the most original thing to come out of a big studio in a while. Nicole Kidman, Jim Broadbent and John Leguizamo all have fine performances, and Ewan McGregor does a fine job of doing what he does best: looking hot.

Will Smith
First of all, I hate, hate, hate Russell Crowe, and he certainly doesn't deserve a Tom Hanks-esque Oscar streak. Second, Will Smith needs to be told he's a great actor, so maybe he'll stop making music. Speaking of which, somebody please nominate Jennifer Lopez for a Grammy so she won't make another movie.

Nicole Kidman
She wasn't nominated for "The Others," so they should give it to her for "Moulin Rouge." Plus, 2001 must have been a tough year for her, what with all those people reminding her how weird it is that Tom and Penelope already have the same last name. Besides, she can actually sing and act. Do you hear me Jennifer Lopez?

"The Lord of the Rings: Fellowship of the Ring"
Give the award to Peter Jackson now, and the Academy won't have to nominate him for the other "Lord of the Rings" movies. Anyone who decides to take on such a large project deserves some sort of recognition. Anyway, directors never win for directing fantasy movies, something I hope to change when I direct "Magic: The Gathering - The Musical!"

"The Royal Tennenbaums"
I think it would be hard to top, or even equal, "Rushmore," but Owen Wilson and Wes Anderson have come pretty damned close. Also, as a former child prodigy myself, I found the script remarkably accurate in portraying how hard it is being smarter than everyone else. Except, when I was young, it was called being "special."

"The Lord of the Rings: The Fellowship of the Ring"
"A Beautiful Mind" was a strong movie, but I hate movies that rewrite or circumvent history to sell a product. "Gosford Park" was witty but put me to sleep. "Bedroom" and "Moulin Rouge" were different and entertaining, but "Rings" was the movie. For three full hours, I was a child again, transported to the world of Middle Earth.

Will Smith
As an avid Fresh Prince junkie back in the day, I have a true appreciation for Smith's acting career. From rapper to television icon to "Bad Boys," he has constantly reinvented himself. With "Ali," he is now on par with the true greats. He was Mohammed Ali. Crowe and Washington have nothing on him.

Halle Berry
Hands down the most amazing performance I've seen in recent years. Usually I don't look to supermodels for high-caliber talent, so Berry was a true dark horse. In "Monster's Ball," she has broken free of the "Swordfish," "Last Boy Scout," " X-men" genre and made a movie with a message. I felt every step of her character's journey through extreme loss and redemption.

"The Lord of the Rings: The Fellowship of the Ring"
It would have been easy to make an "Episode I" disgrace out of LOTR. It was beautifully shot and executed, and the casting was right on. As a tough critic, I was hard pressed to find any real faults with this movie. The director deserves major kudos for not whoring out the books to Hollywood and fighting for their integrity.

"Monster's Ball"
Anyone who saw this movie went on a journey. The story tackles issues such as racism, interracial relationships, parent-child relationships, acceptance and depression. Every single line in the film fits perfectly without being a cliché. The script constantly defied audience expectations. It was a solid film with a positive message and a poignant delivery.

"Moulin Rouge"
Hilariously anachronistic sampling of popular songs? Check. Frenetic, MTV-style editing? Check. A dwarf with a taste for absinthe? Check. A wildly decadent and Bohemian turn-of-the-century setting? Check. Two star-crossed lovers belting ballads about love and freedom, reveling in the kitsch of it all? Check. Best Picture Oscar? Check. What more could anyone ask for from a film?

Denzel Washington
Following Russell Crowe's hissy fit at the BAFTAs after his poem was edited out, I've composed one for him: Roses are red/ Violets are blue/ You've already got one Oscar/ You ain't gettin' two. Denzel starred in a lousy film but did it so well. And it's been a long time since Sidney Poitier.

Sissy Spacek
Nicole, I'm sorry. I'm really sorry. You had a wonderful year, and I would give you the Oscar simply for going on "Rosie" - post-divorce - and saying, "At least now I can wear high heels." But you've done better work (i.e. "To Die For"), and despite the triumphs of "Moulin Rouge," it was a cheesy role. To Ms. Spacek ("In the Bedroom") what a comeback!

"The Lord of the Rings: Fellowship of the Ring"
To David Lynch: What was that? To Baz Luhrmann: Why aren't you on this list? To Peter Jackson: You're a relative unknown who took a dense novel and molded it into a poignant and finely crafted film. Think how dreadful these kinds of adaptations usually are, and you'll realize what a feat Jackson has pulled off.

"Memento"
This Mobius strip of a script goes backward and forward and sideways and back again, finally meeting itself at the center. It's a true original, surrounded by the traditional Oscar fare. It'll be overlooked for Julian Fellowes' "Gosford Park" script, but no other script challenged our notions of the way a narrative film proceeds than "Memento" did.