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I'm a bit perplexed by the fervently enthusiastic reception this film is receiving, but maybe that's just a reflection of what a dud 2001 has been for quality films. This is not to say that "The Royal Tenenbaums" is not a good movie. It is a sweet diversion, though meandering at times. The story plays like one of John Updike's more lighthearted novels, with its caring depiction of the intricate dysfuntions of a family of geniuses. Kudos to the actors, who all are cast perfectly. Were these roles written with each of these folks in mind? Seems like it. Gwyneth is especially fine as willfully neglected and secretly rebellious Margot Tenenbaum. Music choices are great, as usual with Anderson's films (more of Mark Mothersbaugh's tickly score cues would've been nice). My only real beef is that it didn't quite make my moviegoing heart sing the way "Bottle Rocket" and "Rushmore" did. Maybe if Anderson had focused a bit more on one or two characters, as opposed to trying to give each family member equal time, it might have been more emotionallly affecting. Make no mistake, this is good. But if you want great, return to Anderson's earlier work.

"Mulholland Drive" is one of the most understated, inscrutable, and satisfying films in David Lynch's inestimably complex career. An involving mystery, a surprisingly passionate love story, and a double-edged indictment/celebration of Hollywood superficiality, it's also one of the most involving films of the year. It's particularly gratifying to see Lynch successfully utilize some of the head scratching plot devices -- mysterious puppetmasters, multiple identities -- that failed him so grandly in "Lost Highway." This time, anyone complaining that the story doesn't make sense just wasn't paying close attention. It's also nice to see him carry over some of the subtle touch that he brought to "The Straight Story." Elevating the whole affair is the solid, at times spectacular work of leads Naomi Watts and Laura Haring. Watts should be singled out, especially, for deftly shifting from good hearted innocent to embittered sensualist without missing a beat. She, like the film, simply rocks.

"You Can Count On Me" is easily one of the best films of 2000, a simple, straightforward story of family. The movie is notable for steering clear of easy sentiment in favor of emotional honesty. Laura Linney and Michael Raffalo register award-calibre performances as a brother and sister getting reacquainted as adults, while Matthew Broderick, Kieran Culkin and Jon Tenney offer skilled support. Great script and supple direction from Kenneth Lonergan. If you are tired of cinematic excesses at the multiplex, seek this one out.