1998's Top 10

The combat scenes in this film are expertly directed, but it's in the most subdued, reflective moments that the artistry of Terrence Malick is most prominent. A tapestry of human thoughts, experiences and feelings, this is an exquisitely poetic piece whose themes transcend its setting. As is to be expected in a Malick film, the photography is some of the best you will ever see. Cinematic poetry.

This is a movie that breaks so many rules, its reactions are naturally divisive. By asking his audience to follow a character who isn't easy to like or even tolerate, Gallo is doing a brave thing. Photographically speaking, the unconventional approach to the material will turn off traditional cinema purists too. On the other hand, I love this story, and I love this movie. I love the way the character arc doesn't plot out neatly, I love the bizarre composition and editing. Gallo's performance, both in front of and behind the camera, make this an essential indie classic.

Aronofsky gives modern cinema a needed kick in the ass with his ingenious, madhouse vision. A dizzying film about obsession, it makes extraordinary use of a shoestring budget and brings about some of the most important visual concepts of our time. Absolutely mindblowing.

I've read a lot of feedback to this film, which is by and large rather negative. I've noticed that people who dislike the characters occupying Hurlyburly often criticize the film itself as a result. We are not intended to embrace the lifestyles of these characters. This is a picture that encompasses a sub-culture and the neuroses of certain types of people. It is an intelligent, articulate piece with a venomous sense of cynicism and blunt sensibility. The men focused on are self-obsessed chauvinists, but they are not reduced to amplification of their flaws. Their pain and dilemmas are familiar, and they serve towards an unnerving portrait of emptiness. I loved this movie because I love great acting. Watching what some of these actors do with the script is so exciting and astonishing, particularly the brilliant Sean Penn. The writing and performances are phenomenal, but this is a movie that probably only appeals to people who like stage-oriented pieces.

Gilliam's directorial force is so strong here that he brings a sense of literary brilliance to two hours of drug-addled nonsense. Depp and Del Toro are remarkable, and the visual images are wildly exhilarating. This is among the most entertaining and ridiculously fun films I have ever watched, as well as one of the smartest and most inventive. The script provides the illusion of a haphazard whirlwind, but in reality it's a sharp satire and a unique character piece.

Perfection in all aspects. Spielberg adapts a new style of cinematography for the mind-blowing battle sequences in this epic milestone. An incredible ensemble and perceptive screenplay add to the appeal of this classic.

An extraordinarily intelligent satire, directed with extreme skill and far ahead of its time. This film's screenplay is a true marvel - one of the landmarks of the decade, without a doubt. It is Jim Carrey's performance that makes it truly great... his work here is awe-inspiring. Hilarious and heart-wrenching.

This fantastically quirky art house flick is a demonstration of Bill Murray's brilliant talents as an actor. Strong, witty screenplay with loads of touching subtext.

The subjects of this film exist not for the benefit of a moral statement, but for a unified and deeply upsetting portrait of loneliness. Todd Solondz writes his characters like he writes the rest of the script... that is, with disregard for convention. That's what makes this movie work. Its incorporation of several genres is exciting, but it is never at the forefront of its appeal. As a dissertation of relationships between desperate people, this is a powerful and important film. The depravity and moral abyss at the core of it all is what sets it apart from a typical ensemble piece more than anything. Happiness is legitimately shocking, and there are scenes that will make even the most desensitized viewer squirm. I didn't want to turn away, because I never felt that I was in bad hands and I appreciated the film's achievements.

Another ingeniously bizarre success from the Coen brothers.