Best 90s Films Rated

 Best Films of the 1990s

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on October 15, 2009 at 11:10 pm | ReplyBob Clark

I’ve written up a paragraph for each film on my list, so I’m going to do this 10 at a time, just to avoid the post being too short, or crashing the site, whatnot. Anyway:

50: The Double Life of Veronique– Kieslowski, 1991

“The Decalogue” was his masterpiece of the 80’s, perhaps his career. His “Three Colors” trilogy is often held as his masterpiece of the 90’s, and the last great work he completed before his premature death. But for my money, Kieslowski shines far brighter in this strong, single feature that offered as inventive and experiment in multi-part storytelling and character work as either one of his more famous long-form cinematic efforts. Irene Jacob is mesmerizing as both the passionate Polish singer and the more remote French photography student who shares her face and name, and the strange relationship that Kieslowski spins between the two characters, who never even meet face to face, remains one of the most haunting explorations of self in all cinema, and certainly his body of work. I might’ve placed it higher if it had an actual plot that hinged upon more than just the vagaries of mere coincidence.

49: Johnny Stecchino– Begnini, 1991

After his later global hit “Life is Beautiful”, which somehow combined the Holocaust and humor in a way that offended many, yet not quite enough to get canned entirely like Jerry Lewis’ “The Clown That Cried”, Begnini has slowly but surely become a dreaded punchline to a lot of people, an annoying commedia-del-arte figure who’s long outstayed his cultural welcome. But some of his earlier stuff is still a joy to watch, especially this 1991 comedy, which spins a surprising amount of laughs from the rather rote identity-switcheroo cliche of its plot. As both a dreaded Sicilian crime-lord and the ambling, well-meaning fool who’s lured into impersonating him, Begnini is fun to watch, and the long-term interlocking jokes he stitched throughout the movie pay off pretty well.

48: The Silence of the Lambs– Demme, 1991

One of those rare triple-crown threats of critical acclaim, mainstream success and award-winning sweep, Jonathan Demme’s suspenseful yet sensitive adaptation of Thomas Harris’ thriller made for a hit that was both artful and authentic. Ted Tally’s script was a big help, as was Jodie Foster’s award-winning performance. But this was Anthony Hopkin’s show to steal all along, and it’s largely thanks to him that Dr. Hannibal Lector is as big a movie-bogeyman as Dracula or Frankenstein’s creature– a modern monster for more sophisticated tastes.

47: Fear and Loathing in Las Vegas– Gilliam, 1998

The 90’s were a productive era for Terry Gilliam– or at least as productive as he ever can manage, waging a one-man war of attrition against the Hollywood system. “The Fisher King” was a mostly fine use of both Arthurian myth and Robin William’s manic tendencies in New York City. “Twelve Monkeys” did the unlikely and made a big, twisty but logical sci-fi flick out of Chris Marker’s “La Jetee” with a little help from David & Janet Peoples and big-name stars like Brad Pitt and Bruce Willis. But his strongest effort of the decade, maybe even the last twenty years, was his period-perfect adaptation of Hunter S. Thompson’s classic piece of Gonzo Journalism to the big screen. Featuring Johnny Depp, Benecio Del Toro and a bevy of pharmacutically enhanced visions of 70’s-era Las Vegas, Gilliam’s film just about perfectly captures both Thompson’s drug-fueled imagery, passionate voice and melancholy view of an America that had lost the fire and drive of the 60’s. It’s also the first film the director helmed in the more expansive 2.35:1 aspect-ratio, and with one-eyed cinematographer Nicolla Pecorini at his side, he doesn’t waste one milimeter of the scope. A film that lives up to the book.

46: Fiorile– Paulo & Vitorrio Taviani, 1993

There are a fair amount of multi-generational dramas like this, where the same actors play various ancestors and descendents in different time periods, helping to trace the history of a nation through that of a single family– Istvan Szabo’s 1999 “Sunshine”, starring Ralph Fiennes, comes to mind. This film by the Tavianis focuses on Italy’s storied past with the Wagnerian MacGuffin of a seemingly cursed treasure that is passed down from generation to generation, with a pair of young children in the 90’s curious to both hear the tale of their bloodline and discover the whereabouts of the gold. A familiar, seemingly sentimental tale that works marvels thanks to its superb direction and talented actors.

45: The Ninth Gate– Polanski, 1999

When it first came out, most audiences and critics voiced profound disappointment at Roman Polanski’s film version of Arturo Perez-Reverte’s “The Club Dumas”, finding neither the doses of pure “Rosemary’s Baby”-esque supernatural terror or “Chinatown”-style detective thriller they might have expected. That’s because “The Ninth Gate” is neither a horror movie, nor a film-noir– instead, it’s a comedy. Sure, it’s a dark comedy involving the mysterious goings-on of Satanic elite in America and Europe, all followed by the dogged pursuit of a dead-pan antique bookseller out to find a volume that’s purported to raise the devil, but once you see how much the grand guignol affair is played for laughs, it all becomes much easier to piece together. Working together with old collaborators like screenwriter John Brownjohn, composer Wojciech Kilar (who also penned the marvelous scores of Polanski’s “Death and the Maiden” and Coppola’s “Dracula”) and muse/wife Emmanuelle Seigner, as well as new hands like cinematographer Darius Khondji (who also shot Fincher’s “Seven”) and Johnny Depp, in one of the last roles before he took to mumbling his way through Disneyland rides, the director’s work shines with a devilishly cynical shine. And why not, after all? Who better than Polanski than to know the best road to go to Hell?

44: Short Cuts– Altman, 1993

A impressive ensemble cast of character actors and an epic running-time help make Altman’s cinematic translation of the literary storytelling of Raymond Carver a majestic feat, and a uniquely American film. Altman stitches together his diverse array of characters and storylines in an effective manner, intertwining the lives of about two-dozen or so citizens of Los Angeles together over the space of a week. One of the few times he ever really took full advantage of the 2.35:1 aspect ratio as a means of doing something other than cramming a lot of people in the frame at once, his visual storytelling here is as studied in its observations of human behavior as it is of pictorial composition. His best film, hands down.

43: Crash– Cronenberg, 1996

In bringing J.G. Ballard’s epochal novel “Crash” to the big-screen, David Cronenberg made a great many changes– moving the location from London to Toronto, subtracting the vital Elizabeth Taylor subplot, and downplaying the protagonist’s sexual relationship with the mad atrocity-exhibitionist Vaughn. What remained was little more than a series of sexual-acts between disturbed individuals and the car-collisions that turned them on. In the hands of a lesser director, and with a less capable cast, that might result in a mere cross between staged-snuff film and outright pornography, and indeed to many audiences and critics who didn’t know how to take the Ballardian cross between sex and death, that’s pretty much what it was. But thanks to Cronenberg and a cast including the likes of James Spader, Holly Hunter, Deborah Kara Unger and Elias Koteas, it is something much, much more– a positively haunting exploration of fetishes and the people driven by them, no matter what the cost. Shot handsomely by Peter Suschitzky and scored sparingly by Howard Shore, it’s a great film that deserves better than being confused with the absolutely mediocre Oscar-winning ensemble-nonsense of several years ago.

42: Trainspotting– Boyle, 1996

One of the great adrenaline shots of 90’s filmmaking, and a first-rate example of the high-octane energy that drives the best cinema of the decade. Danny Boyle’s take on Irvine Welsh’s standout novel of heroin addiction is never boring, a movie that hits the ground running and never looks back. A canny soundtrack, clever editing and a top-notch cast headed by Ewan McGreggor are all forefront reasons for the film’s success. I’d place it higher, but it derives most of its cinematic momentum from my number 2 spot, like a few other choices from this countdown. Still, an unforgettable ride.

41: Run Lola Run– Tykwer, 1998

Last year Tykwer’s “The International” came and went in theaters without much notice, which I thought was a shame. Aside from Clive Owen standing off against machine-gun bad guys in New York’s Guggenheim museum, there wasn’t enough in this shadowy tale of international banking to attract a lot of audiences, but I couldn’t help but be impressed. In a lot of ways, it seemed to make good on the promise of potential that his big hit “Run Lola Run” showed ten years ago, a wildly original take on the crime genre that took the “Sliding Doors” approach of multiple-choice narrative and ran with it, showing us all the possible outcomes of a girl’s attempts to save her boyfriend from a robbery bound to go bad. Tykwer’s got talent, and I hope he gets the chance to show it off again in a big way soon.

(To be continued…)

on October 15, 2009 at 11:18 pm | ReplyJamie

Bob, these are fun and enjoyable to read. I am already realizing the breadth of the 90’s before I even start my list when I see great stuff like ‘Crash’, ‘Short Cuts’ and ‘The Double Life’ in the 40s.

I really applaud the inclusion of ‘Ninth Gate’ it’s a modern horror masterpiece, and very very underrated in this horror fans eyes.

As far as ‘Crash’ goes are you a Ballard fan? Your literature taste (at least for post modern stuff) seems to be somewhat similar to mine. I am a rather large (if perhaps new) fan of the late Ballard. I was just curious. I actually recently got Bank’s ‘The Wasp Factory’ from amazon that seems in similar taste, I can’t wait to read it. Are you familiar?

on October 15, 2009 at 11:20 pmJamie

Oh and the ‘The International’ set piece in the Guggenheim was one of THE action set pieces in 21st century action film thus far.

on October 15, 2009 at 11:29 pmBob Clark

I read some of “Crash” a very long time ago, and a few of his short stories as published in the New Yorker, I think. There are some authors who I let sit on the shelf for a while so I can save them for the proverbial rainy day. At the moment I’m drawing near the end of Suskind’s “Perfume”, and perhaps after that I’ve been thinking of revisiting Ballard in the form of “The Attrocity Exhibition”. A good modernist pallate-cleanser for all that 18th century olfactory gluttony.

on October 16, 2009 at 1:05 am | Replybobby J.

Bob, I never make any comments on others choices, but I’m going to have commend you on the detailed snap-shot of why they are special for you. Fascinating and brave. You gave ample reasoning, and one can ask no more. I also had a Bond in my top 25, but for the ’60s (‘From Russia with Love’).

on October 16, 2009 at 1:34 amSam Juliano

I second what you say here Bobby! Bob Clark has really outdone himself, and I wil reserve comprehensive comment until I get through all the writing.

on October 16, 2009 at 2:33 amBob Clark

Bobby J, “From Russia With Love” is a great choice not only for the Bond franchise, but for 60’s cinema as well. Overall, EON’s productions have varied from absolute classics to absolute duds (I don’t care for much of the Moore years, neither of Dalton’s forays have much staying power, and the less said of Lazenby the better). Of all 007’s adventures so far, these are my top seven:

1. Casino Royale (Campbell, 2006) : The best possible blend of classic old-school wit & suspense and modern-day action and romance, not to mention the closest the series has ever gotten to the dark, bloody deeds of Ian Fleming’s blunt instrument of a character.

2. From Russia With Love (Young, 1963) : The epitome of Bond as the dashing seducer on a mission that sets him off across the quiet battlefields of the Cold War. It strays pretty damn far from Fleming’s book, which ended with Bond’s supposed death (just as “The Final Problem” marked the supposed end of Sherlock Holmed), but still, a blast from the past that works just as much today as it did way back when.

3. Goldfinger (Hamilton, 1964) : Without a doubt the most famous of all the old-school Bond films, and an easy contender for popular-favorite. Pitting the world-class secret-agent against an international crime-lord, rather than a ring of spies makes for an interesting change, as does the creative new blood of director Guy Hamilton, whose inventiveness helps turn Bond’s most unusual adventure into one of his most memorable.

4. GoldenEye (Campbell, 1995) : I’ve already written up what I think of this picture, and I very well may go into even greater detail in the next few weeks, but suffice to say that the first film to feature Pierce Brosnan as Bond and Martin Campbell as director helped update the series for the 90’s and stay alive in a world which could have just as easily gotten along without the one-time relic of the Cold War. In resurrecting Ian Fleming’s creation and making him relevant to a post-Glasnost world, Campbell and Brosnan kept the series going strong, and thus performed a minor cinematic miracle.

5. Dr. No (Young, 1962) : In revisiting the first film of the series, it’s remarkable to witness just how much EON and company got right. Director Terrence Young’s mis-en-scene is both stylish and realistic, depicting with maximum clarity and panache a world in which assassins, masterminds and bikini-clad girls can all decide the fate of the world with the push of a button, the pull of a trigger or the kiss of a lip.

6. Diamonds Are Forever (Hamilton, 1971) : Returning to the role in the official series for a final time (we’ll all just pretend that “Never Say Never Again” didn’t happen) Connery ably demonstrates why he will very likely be the man we always think of when the name “Bond” is uttered. Hamilton’s direction is incredible, offering what is likely the most playful, yet surprisingly down to earth of all the series. I especially like how Connery chokes a girl with her bikini-top to find Blofeld, and in Mr. Wint & Mr. Kidd, we have what may be my favorite of all Bond’s villains…

7. The Man With the Golden Gun (Hamilton, 1974) : …well, okay, except for Scaramanga. Christopher Lee is so impressive as a master assassin trailed by Roger Moore’s country-club Bond, I often wish his character had survived to plague the British agent in more than just one entry. Lee is perhaps most prolific and essential of all villainous performers, throwing his black-hat into every ring from “Star Wars” to “Lord of the Rings”, to say nothing of his many entries in the Hammer horror-movies, most especially as Count Dracula. He even makes John Landis’ “The Stupids” surprisingly fun in his off-the-wall cameo as the evil Mr. Sender. “RELEASE THE DRIVE BEE!”

on October 16, 2009 at 3:10 ambobby J.

Bob, my breakdown does something like…

1 – ‘From Russia with Love’

2 – ‘Goldfinger’

3 – ‘Dr. No’

4 – ‘On Her Majesty’s Secret Service’ (it does have John Barry, Louis Armstrong, tragedy, and Diana Rigg. Even G. L. is far more preferable than Moore).

5 – Casino Royle – Woody Allan, Orson Welles, ect…….just kidding 😉

on October 16, 2009 at 3:17 amBob Clark

“On Her Majesty’s Secret Service” has its good points. It’s just that Lazenby makes absolutely no impression on me whatsoever. Granted, I can understand how that can be preferrable to Moore’s overly-casual approach to the role, but his somewhat vacant presence makes the idea of tragedy there about as palpable as it was in “The Godfather Part III” (sorry Sofia, but your death would’ve meant more if you were played by an actual actress).

No mentions for 6 & 7, though?

on October 16, 2009 at 4:05 amJamie

Good Bond discussion here guys. I was, once upon a time, quite a Bond fan (I guess I still am for the most part).

I may actually list ‘Casino Royale’ as my favorite too, with either ‘The Man with the Golden Gun’, or ‘The Living Daylights’ as personal subjective favorites. I also think ‘From Russia with Love’ and ‘Dr. No’ are the best ‘classics’.

I sort of scratch my head at the ‘GoldenEye’ love as I liked that film in the theater, but I revisited it about 2 years ago and was appalled at the amount of cheese going on with some of the dialogue. I think ‘Tomorrow Never Dies’ or ‘Die Another Day’ are my favorite Brosnans.

I’ve thought about one day trying to write an offshoot to the Bond universe (since the Broccoli’s have such a strong hold), maybe about a fictional 008, or something. I just adore the idea of blowing up the anglophilia of it all that’s been lost the last few decades.

on October 16, 2009 at 4:17 ambobby J.

6 – You Only Live Twice (my fav Bond song)

7 – Thunderball (changable with 6)

There’s something about the fragile nature of Diana Rigg in that movie that affects me. I hate most of all the Bonds after ‘Live and let Die’ (Moore best) until the arrival of ‘Casino’. I prefer Bond as a cold-blooded killer with an edge.

on October 16, 2009 at 5:29 amBob Clark

I’d really like to go further in this discussion, but I think I’ll save the rest of my thoughts for when I write up “GoldenEye”. Suffice to say, any series that lasts as long and goes through as many creative teams as the Bond films will have something interesting to offer for many different audiences.

on October 15, 2009 at 11:11 pm | ReplyBob Clark

40: Schindler’s List– Spielberg, 1993

When critics appraise Steven Spielberg’s storied career, they tend to champion one of his big creative-periods at the expense of all the rest. To some, the television-movie “Duel” or his early blockbuster “Jaws” remains the height of his cinematic achievements, sometimes unsophisticated but always unpretentious, canny pieces of craftsmanship that overpower their occasionally threadbare cliches. To others, “E.T.” or “Empire of the Sun” stand out as his most haunting and personal efforts, capturing childlike wonder and horror in a manner that he knows best. Hell, some people even dig late-period question marks like “A.I.” or “Munich”, proclaiming them as triumphant blends of his youthful innocence and maturing sensibilities. Lately, it’s his mid-period turnaround pictures like “Saving Private Ryan” and “Schindler’s List” that get the shaft– I myself have been critical of the former’s gung-ho sentimentality for the Greatest Generation and the glut of World War II pornography that’s filled our cinemas, televisions and video-game consoles ever since. In the case of the latter, however, I must raise a cautious note of defense. To me, his ’93 holocaust film is his most confidently adult film yet, a movie that isn’t afraid to show us the horrors of war or, in its earliest portions, the pleasure of profiting from it. Spielberg may have started taking himself a bit too seriously afterwards, but with this film at least, he earned it.

39: The Kingdom– Von Trier, 1994

This is what happens when you let a madman run the asylum. Von Trier’s experiment on Danish television is a wonderful punch to the stomach, a fine outlet for his cinematic madness in the form of a more-or-less traditional ghost story set in an aging hospital, with an eye for all sorts of subtexts spiritually, morally and psychologically. Superbly cast with more than a few capable actors who are no longer with us (denying us the closure greatly desired for this forever “to be continued” story), Von Trier weaves a collection of characters created by himself and early collaborator Niels Vorsel in a down-and-dirty shooting style t