Hollywood is known for manipulating audiences into crying and laughing at colorful streams of celluloid projected far above their heads. The ultimate Hollywood manipulation, however, is the release of their finest films at the tail end of each year. Whether it's for award consideration or buckets of money, the movie industry always saves the best for last. How else does one account for the sheer superiority of December's releases? Forget Santa Claus. The real gift bearer this Christmas was Hollywood.

Want proof? Take a look at our critics' reactions to 10 holiday releases, starting with the one film that ruled them all.

"Lord of the Rings: The Fellowship of the Ring"

5 shamrocks (out of five)

Go see this movie. Now, later, today, tomorrow, whenever — "The Lord of the Rings" is a worthy film at every turn, and especially thrilling on the big screen. Director Peter Jackson and the combined genius of concept artists, cinematographers and computer graphics render the New Zealand landscapes as fantastic portraits. The film virtually sings of magnificent kingdoms, unearthly creatures and feats of daring-do.

Jackson's cast only serves to enhance the enchanting scenery in which they play. Sir Ian McKellen brings a sober vitality to his complex role as Gandalf, and Elijah Wood is equally acute as the protagonist Frodo. While the rest of the cast is also noteworthy, perhaps the most engaging supporting role comes from Sir Ian Holm in his rendition of the hobbit Bilbo. Holm's scenes reveal a tormented soul teetering on the brink of madness and oblivion, darkening the narrative and yet enriching it at the same time.

Above all, the substance of the film, J.R.R. Tolkien's books, shines through as the most prominent and essential aspect. Tolkien fans may be surprised by a few additions and subtractions, but Jackson and his scriptwriters manage to preserve the overall integrity of the original story line. Even Tolkien's Christian overtones are embedded in the narrative and remain intact. "The Lord of the Rings" is truly that rare thing: a great story made into a great film. -- Mario Bird

"The Royal Tenenbaums"

4 and a half shamrocks

Director and writer Wes Anderson operates in a genre all his own, combining idiosyncratic comedy, tragedy, detached humanity and melodrama into an indefinable category.

The Tenenbaums are a family of fallen child prodigies: Chas (Ben Stiller), Richie (Luke Wilson) and adopted Margot (Gwyneth Paltrow). The children, still protecting the scars of their childhood, all play victims to father Royal (flawlessly portrayed by Gene Hackman), who fakes an illness in order gain back the endearment of his family and wife, Etheline (Angelica Houston).

Anderson and co-writer Owen Wilson have crafted "The Royal Tenenbaums" like a novel. Each segment begins with a chapter title and a snippet of a book. More importantly, the movie flows like a novel. The story itself is based in a timeless Manhattan, where popular culture and fashion never seem to advance. These discrepancies present us with a completely original and fictional world we are not accustomed to.

For fans of Anderson's previous films, "Tenenbaums" bursts with the same bittersweet notions of adolescence present in "Rushmore" and "Bottle Rocket," but here he pushes his skills past that of an independent filmmaker and forges his way into Hollywood as an imaginative and hilarious writer-director. "The Royal Tenenbaums" will please any college filmgoer: its idiosyncrasies will keep you thinking and make you laugh even harder each time you see it. -- Meg Ryan

"A Beautiful Mind"

4 and a half shamrocks

Director Ron Howard bridges excellent chemistry with an intriguing plot to make "A Beautiful Mind" one of the best films of 2001. In a year that was mediocre at best until the holiday rush, this movie sets itself apart with its psychological twists and turns that delve deeply into the mind of a schizophrenic.

The film tells the true story of mathematician John Forbes Nash, Jr. (Russell Crowe). While studying arduously at Princeton, Nash finally succeeds in finding an original theory of equilibrium, laying the foundation for the game theory of economics. His subsequent dealings with the government in its Cold War efforts have a mysterious effect and question what Nash is really up to. During this time, he marries Alicia (Jennifer Connelly) and soon she becomes pregnant.

Nash's fall from grace commences as he is diagnosed with schizophrenia, loses his job and is put on intense medication. His courage to return to a normal life despite his disorder is the focus of the remainder of the film. Ultimately, Nash becomes a character who possesses not only a keen intellect, but also a sense of compassion, bravery and dedication that transcend the mathematical equations for which he won the Nobel Prize.

The chemistry between Crowe and Connelly is first rate, as Connelly plays a wife coming to grips with a schizophrenic husband and a newborn baby. Crowe's intense performance showcases his acting ability and goes far beyond the epic hero he played in "Gladiator." It would not be surprising if both were nominated for Oscars. -- Liam Dacey

"Ali"

3 shamrocks

With "Ali," director Michael Mann chooses to focus in on only one decade of the boxer's epic life story. The years between 1964 and 1974 were the most turbulent of Ali's career and it is no overstatement to say that Mann succeeds in creating a film that celebrates Ali's determination and steadfast beliefs, two qualities that made him one the most revered figures in history.

For an actor, portraying Muhammad Ali is the trickiest of roles. A balance must be found between giving an emotionally honest performance while also evoking the sounds and mannerisms of a man whom has been documented all his life. Thankfully, Will Smith nails Ali's distinct mannerisms and boxing style to near perfection.

The fight sequences, though, are the film's highlights. The rapid-fire editing and quick bursts of blurred slow motion stand in visually for what it must have been like to be in the ring.

Considering the pressure and high levels of expectation Mann probably felt as he began to tackle this project, it's not hard to see why the film is ultimately so unfulfilling. By attempting to juggle everyone's expectations, Mann shows his expertise by still making a mildly pleasing film that, unfortunately, never lands a knockout. -- Matt Nania

"Vanilla Sky"

2 and a half shamrocks

"Vanilla Sky" is a thriller in which the audience is not participatory in piecing together the mystery.

In the film, Sofia (Penelope Cruz) entices David (Tom Cruise) to forgo his vain, womanizing existence for a chance at true love.

David immediately dissolves his relationship with the volatile Julie (Cameron Diaz), who upon hearing the news of the dissolution suddenly decides she wants to explore the kinetic energy distribution between her car (with David inside) and a brick wall.

After the crash, the pace of "Vanilla Sky" crawls with lackluster scenes exploring David's deteriorating mental condition. His shattered vanity catalyzes a dangerous psychological fixation, and David begins to project Julie onto Sofia. David's emotional stability is threatened by this switching, which has no apparent motive, but whose genesis might be solely in David's mind.

"Vanilla Sky" unites two underdeveloped romances with a conclusion that is anticlimactic instead of thrilling. The film explores too much ground, trying to incorporate into a single film the impingement of technology on the moral and social order, the problems of life as a dream, and the discovery of true love. In the end, it does not add new or interesting ideas to any of these premises. -- Jude Seymour

"The Majestic"

2 and a half shamrocks

"The Majestic" is the story of Peter Appleton (Jim Carrey), a screenwriter who is blacklisted by the major studios during the 1951 House Un-American Activities probe. While out bemoaning his excommunication, Peter drives his car off a bridge, only to wash up on a beach in a small town with no memory of who he is. The residents of the town mistake him for Luke Trimble, the lost (and presumed dead) son of Harry Trimble (Martin Landau). While Peter attempts to rediscover his past, he walks into the lives of several townspeople, including Luke's only love, Sandra (Amanda Detmer).

"The Majestic," directed by Frank Darabont ("The Shawshank Redemption"), is littered with problematic moments, including its attempt to revise historic events in order to promote its message of freedom and bravery. However, any audience that is willing to suspend their disbelief for the 150-minute running time will find a cozy Frank Capra-esque universe that is comforting in its construction.

In the end, the plot presents little more than a hackneyed structure about the amnesia condition, but Carrey and Landau do their best to make the characters they portray likeable. -- Jude Seymour

"Ocean's Eleven"

3 and a half shamrocks

Director Steven Soderbergh ("Traffic") assembles an elite force of popular American actors for his adaptation of the 1960 Rat Pack feature. Danny Ocean (George Clooney) is released from jail and immediately begins to mastermind a casino heist. Ocean's hubris usurps the plans however, and soon enough Danny finds himself in need of eleven men to rob three casinos simultaneously. The actors who make up the eleven members are a running list of past and present acting talents: Elliot Gould and Carl Reiner are found to be in cahoots with Brad Pitt, Matt Damon and Don Cheadle.

"Eleven" blends the structure and flow of a "Mission Impossible" movie with the feel of previous Soderbergh features "Out of Sight" and "The Limey." This time the director forgoes imaginative cinematography for a slicker look, reinforcing the smooth operation of the heist itself.

The movie pays off all of its tense moments with its brilliant re-imagination of the 1960s plot, adding computer wizardry and a comedic cast to make things both action packed and well scripted. Ultimately, "Ocean's Eleven" doesn't challenge the intellectual properties of the mind, but it's still a fun way to spend a couple hours. -- Jude Seymour

"Gosford Park"

4 shamrocks

It is November of 1932, and Sir William McCordle (Michael Gambon) has invited several guests to his countryside mansion for a pheasant shoot. The eleven who accept are accompanied by their own personal valets, making director Robert Altman's newest film similar to a game of Memory. Over 25 characters are introduced in the film's first 20 minutes, challenging the audience to take mental notes on names and status. Then, after singular introductions, Altman gleefully reverts to addresses such as "Lady" and "Sir."

The confusion adds to the overall excitement of the film, which takes a twist when the host of the party is murdered twice. A bumbling detective (Stephen Fry) interrogates the houseguests (played by some of Britain's finest actors, such as Kristen Scott Thomas, Maggie Smith, Helen Mirren and Jeremy Northam).

Altman takes special care to make each character dynamic, despite the arduous nature of such a task. Smith and American Ryan Phillippe are outstanding in their respective roles.

Borrowing both from Agatha Christie's "Ten Little Indians" and Jean Renoir's "Rules of the Game," "Park" not only solves its murder, but also provides a rewarding critique of caste systems while challenging the true understandings of propriety. "Gosford Park" is a movie to be explored and dissected not with only one viewing, but with many. -- Jude Seymour

"Amelie"

4 and a half shamrocks

Amelie Poulain (Audrey Tautou) is a charming romantic who lives alone in a deteriorating old apartment. She discovers a keepsake box belonging to a former resident that inspires her to embark on a series of adventures in which she fulfills the longings of co-workers, family members and exploited friends. In the midst of her crusades, she finds herself attracted to a peculiar stranger, Nino (Mathieu Kassovitz) who collects discarded photo images. Amelie begins a flirtatious game with Nino, which highlights both her imaginative capabilities and her extremely shy disposition while around romantic interests.

"Amelie" is not only extremely charming but also wonderfully directed by Jean-Pierre Jeunet, who handles the movie like the break operator on a roller coaster. Jeunet fiddles with the pacing of the film, making the experience more playful and visually stimulating.

Although it is primarily a romantic comedy, the film does not overindulge in the genre's customary allotment of sappiness, making this a date movie that is accessible to both men and women. -- Jude Seymour

"In the Bedroom"

4 shamrocks

"In the Bedroom" is an emotionally charged story about a couple confronting the schism that is slowly developing within their relationship. Tom Wilkinson and Sissy Spacek turn in two outstanding performances as Dr. and Mrs. Matt Fowler, whose quiet existences are thrown into turmoil when their son Frank (Nick Stahl) starts dating the recently separated Natalie (Marisa Tomei). Mrs. Fowler is wary of Natalie's past, including her dysfunctional and abusive ex, Richard (William Mapother). Frank is unable to control Richard when he invites himself over to visit Natalie, and their conflict soon escalates beyond the two of them. The Fowler parents invest their love singularly into their only son, and therefore try to facilitate a resolution between their boy and Richard.

However, that investment in loving Frank has long provided a cover for loving each other. When Frank is absent, the parents struggle to reopen the severed lines of communication, often exploding into catastrophic and painful arguments.

Director Todd Field does a remarkable job capturing the emotions of the Fowler couple, oftentimes doing such an authentic job that the movie becomes difficult to watch. The film succeeds remarkably because of its poignant scenes and well-written characterizations.

Despite notions that films like this exist without any purpose except to make the audience feel empty by their conclusion, "In the Bedroom" challenges its audience to participate in a manner not seen in most Hollywood films these days. -- Jude Seymour

Over the next few weeks, American audiences will see the wide releases of several other 2001 holiday films that are currently playing in select major cities. These include the Ridley Scott's gritty war epic "Black Hawk Down," Sean Penn's "I Am Sam," the genre blending "Brotherhood of the Wolf" and the race drama "Monster's Ball," starring Oscar buzzers Halle Berry and Billy Bob Thornton.

Contact Scene's movie critics at mbird@nd.edu, wdacey@nd.edu mryan4@nd.edu, mnania@nd.edu and seymour.7@nd.edu.

• Expanding horizons
  
• To Moviegoers, From Hollywood