The Top 25 Films of the 1990s
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Starring Ray Liotta, Robert De Niro, Joe Pesci, Lorraine
Bracco, and Paul Sorvino. |
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It's difficult to say which is Martin Scorsese’s finest work, Goodfellas or Taxi Driver. Though both examine the seamy underbelly of life in and around the Big Apple, Goodfellas replaces Taxi Driver’s quiet brooding and slow burn with explosive kinetics. Henry Hill (Liotta) is a petty man with an over-romanticized view of his own life. “As far back as I can remember, I always wanted to be a gangster,” he narrates in the film’s opening. Scorsese’s ambulatory cameras trail along as Hill describes how he falls in with a local mob boss (Sorvino) and two small-time con men (De Niro and Pesci), marries the feisty girl (Bracco), and hits the jackpot, living out his dreams despite serving a stint in jail. Alas, everything soon comes crashing down, yet through it all, Hill is never able to step outside his myopic, self-deluded perspective.
Notwithstanding the ambitious narrative and active pace, Scorsese does not rush the story. He has never directed with more assurance, expertly blending narration, period music, and his own dynamic tableaux to create an energetic, darkly funny, and unforgettable portrait of life among the Mob's bottom feeders. As the talkative, volatile Tommy DeVito ("You think I'm funny? How am I funny? What the fuck is so funny about me?!?"), Pesci earned a Best Supporting Actor Oscar™, but the Academy overlooked Goodfellas in favor of Dances With Wolves in other categories, decisions that look remarkably unenlightened in hindsight. –Carlo
Academy Awards™ Other Major Awards |
Starring Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline
Goodal, Jonathan Sagall, and Embeth Davidtz. |
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Haunting and profoundly moving, Schindler's List is Steven Spielberg's greatest triumph. Spielberg’s opening montage sketches a portrait of Oskar Schindler, a peerless and unscrupulous manipulator who sees World War II as a business opportunity. With Jews stripped of their right to own property, he invests their money on their behalf, uses their labor to manufacture war goods, and keeps a chunk of the earnings. As the Jews’ plight worsens, Schindler feels unexpected pangs of conscience and applies his skills to a nobler purpose: saving those lives he once treated as profitable commodities.
Unlike the glossy boyish fantasies that make up most of Spielberg's filmography, List is a work of unsensational realism, resonating with truth from start to finish. The movie may be shot in black and white, but Spielberg's treatment of the subject is far from it. Diving into the particulars, Spielberg creates fully formed, multidimensional characters without shying from the humanity of his villains and the shortcomings of his heroes. The actors ably assist this effort–in particular Liam Neeson at his most assured and Ralph Fiennes’ shockingly soulful portrayal of a monster, Commandant Amon Goeth. List is not another movie lecture about the horrors of the Holocaust. What is ultimately most memorable about List is not the tragedy of the lives lost or even the number of people Schindler saved, but how such an imperfect man could have done something so perfect. –Carlo
Academy Awards™ Other Major Awards |
Starring Gabriel Byrne, Albert Finney, Marcia Gay Harden,
John Turturro, and Jon Polito.
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Set in a late-1920s/early-1930s alternate universe where colors are muted, drinks are stiff, and the primary struggles of gangsters are moral, Miller's Crossing is a world unto itself. It is a movie like they used to make–only more so, informed by gangster conventions and Western archetypes, sporting a postmodern cynicism surrounding a marshmallow heart.
The Coen Brothers' mobster masterpiece is neither like Coppola's operatic Godfather series nor Scorsese's GoodFellas’ (#1) rock and roll. It is pure jazz underscored with a haunting Irish air. Stylish, complex, and mournful, this is one of those rare films that not only bears repeat viewings, but demands them.
The intricate story of a ruling mob boss' right-hand man is a labyrinthine grift on the audience, filled with double crosses, backroom scheming, and rubouts both rhapsodically orchestrated and brutally nonchalant. It is only once the crackling dialogue and sumptuously threadbare surroundings settle into one's ears and eyes that the story's simple core–loyalty, honor, and the hard pain and cold comfort of doing what's right–becomes clear.
The Coen Brothers' facile, slyly witty language, hyperreal characterization, artful storytelling, and reverence for films and times past make every trip to Miller's Crossing a film lover's delight, and provide something new for even the longtime habitué to discover. –Alison
Awards |
Starring: Leonardo DiCaprio, Kate Winslet, Billy Zane,
Gloria Stuart, Kathy Bates, Frances Fisher, and Bill Paxton. |
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Think back before the hype. Remember being transported to the strange undersea world where TITANIC rests. Think of how you were drawn in, first by the mysterious remembrances of an ancient woman who, through the magic of technical wizardry, then became the luminous Kate Winslet on a bustling dock next to a living recreation of the grandest man-made tragedy-waiting-to-happen in modern times. Recall the wonder of discovering, as Rose discovered, that life is to be lived, not by what society or family expects, but by what one feels within oneself.
James Cameron's story took its time unfolding, sketching with broad strokes to help us identify with the characters and painting with fine details to help us love the doomed ship. The simple love story allowed for the many small losses and large themes of this tragedy to come through. Titanic was a truly monumental achievement in filmmaking.
Epics aren’t to everyone’s taste. The hyperbole and overexposure caused many to grouse that the Big Boat Movie should never have been made. Perhaps it would be a good thing if it hadn’t. Then we'd all get to go back to TITANIC for the first time. – Alison
Read Carlo's full-length review.
Academy Awards™ Other Major Awards |
The standard against which all other thrillers are judged, The Silence of the Lambs is no common follow-the-clues, get-the-bad-guy movie. Rather, Lambs is an intensely psychological film, exploring the psyche of both killer and hunter, and the guide on this journey is Dr. Hannibal "The Cannibal" Lecter (Hopkins).
Few will ever forget Lecter's first appearance. Young FBI Agent Clarice Starling (Foster), walks a gauntlet of criminally insane prisoners to interview him because he may hold the key to solving a series of gruesome murders. When she arrives at the last cell, she finds Lecter waiting for her, the harsh overhead light casting demonic shadows across his face, hollowing his deep-set eyes. He stands motionless, as if locked in the same position for hours, rigid but coiled to strike even from behind the thick plexiglass. Will he will help Starling catch her prey, or is she the prey herself?
The essential conflict of Lambs is not the search for the serial killer on the loose, but Starling vs. Lecter, the serial killer already behind bars. That conflict sets Lambs above all other serial killer thrillers, and its feminist dimensions provide extra depth. In a man’s world, Starling is surrounded by predators. Yet she will prevail in the end, and she will do so without the help of any man. Not by choice, not because she has anything to prove, but because she must. –Carlo
Academy Awards™ Other Major Awards |
Starring: Samuel L. Jackson, John Travolta, Bruce Willis,
Uma Thurman, Ving Rhames, and other assorted bad-asses. |
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Pulp Fiction was a shot of adrenaline felt around the world when it debuted at Cannes in 1994. Quentin Tarantino mined the riches of cinema past (no Godard was left un-homaged) to construct a dazzling prototype for cinema today. It’s only been six years, but the film has already lodged a series of quotes and scenes in the cinephile’s lexicon. The briefcase. The Royale with Cheese. The foot massage. The watch. The twist at Jackrabbit Slim’s. Each is an indelible image associated with the film, rapidly mythologized and canonized.
Pulp Fiction deserves its regard as a modern-day classic. On a superficial level, it is the supremely entertaining vanguard of Neo Noir. Its non-linear storyline, piquant dialogue, and sudden bursts of violence keep you engaged. Though Tarantino has borrowed heavily from earlier sources, Pulp Fiction feels brand new, even after a dozen viewings. More rewardingly, the film transcends its pulp origins with its mystic and religious overtones. Jules' speech in the last scene about “looking at all this shit from wrong angle” and wanting to live his life as a righteous man carries more weight than any sermon I’ve ever attended. In the end, Pulp Fiction is about no less than our concern for our souls, our complacency in life, and the path toward redemption. It's structured so deftly across the interlinking stories that it’s more poetic than pretentious. –Jeff
Academy Awards™ Other Major Awards |
Starring Sean Penn, Susan Sarandon, Robert Prosky, Raymond
J. Barry, and R. Lee Ermey. |
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To understand what makes Dead Man Walking so remarkable, imagine if another fine actor, Tom Hanks, had been cast in the lead role. We'd be instantly predisposed to sympathize with his death-row inmate character. With the casting of the mercurial Sean Penn as Matthew Poncelet, we must overcome our initial distrust and prejudice of the character to recognize the humanity that lies beneath. Such is the journey undertaken by Sister Helen (Susan Surandon), who exemplifies Christian models of charity and love. Dead Man Walking never missteps into mawkish melodrama or strident didacticism. It's not an issue movie, but a philosophy movie.
Sean Penn and Susan Sarandon give the two best performances by any actors in any movie in the 1990s. In Penn's eyes, facial expressions, and posture, we see a man struggling to save his soul. His pride has the upper hand at first, but his heart's void is steadily filled. Sarandon's Sister Helen is the epitome of compassion. Though at first dutiful and curious, she becomes the forgiving angel that Poncelet needs. She even gets through to the father of one of the victims, opening his mind to life. It's a stunning testament to the power that resides in love, forgiveness, and a respect for humanity–all of which shine through every frame of Dead Man Walking. –Jeff
Academy Awards™ Other Major Awards |
Starring Guy Pearce, Russell Crowe, Kevin Spacey, Kim
Basinger, Danny DeVito, and James Cromwell. |
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A question: How do you mesh an ensemble cast of established and rising stars seamlessly in an Oscar-friendly epic, without the preening and speechifying that normally attaches to such projects? The answer: Um, not sure, actually. This is why I don't make movies, and Curtis Hanson does. L.A. Confidential is that rarest of birds, a stylized masterpiece that stretches the audience for each of its 136 minutes, refusing to dumb down its multiple plot lines, killing off lead characters when least expected, and trusting in the viewer's willingness to follow along and piece things together. Well, it does until the last scene anyway, when all is explained in great detail just in case–but that's okay, as it does get a bit confusing along the way.
Spacey, Crowe, Basinger, and Pearce all give strong performances, but the dynamics between them are what define the film. It may take a second viewing to appreciate the subtlety of the pair-ups from scene to scene: Spacey-Crowe in one, Crowe-Pearce in the next, Pearce-Spacey after that, with Basinger going toe-to-toe along the way. One complaint: Danny DeVito is in this film. Otherwise, it's just about perfect. –Kris
Academy Awards™ Other Major Awards |
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