Best of the 90s

Best film of the 90s. Hugely influential and technically brilliant. Addictive to watch.

A Zen masterpiece on war. Malik has returned with such profound perspective and insight. The viewer gets three movies in one. First, it's a riveting story with elements of suspense and intense action revolving around "seizing a bunker." Second, there's such a collection of strong actors and characters that linger with you long after the film is over. The unconventional narration helps identify emotionally with each soldier. Third, Malick takes us on an odyssey for the ages that is both meditative, spiritual and aesthetically beautiful. From man to nature to animals, we are constantly reminded of beauty and horror co-existing. After my fifth viewing, the film still feels fresher that most everything else in recent memory. Ultimately, this is a strong contender for the greatest war film ever made.

Among the finest European filmmaking of the 90s. Captivating, intriguing and enigmatic. What a trilogy!

Few films have made such an impact on me in my lifetime. Spiritual and unforgettable. Jeff Bridges' character goes on a existential journey that effects my soul on a deep level. Peter Weir is a filmmaker who always deals in substance.

My favorite western. A deconstruction of the western myth among incredible characters and brilliant screenwriting. Eastwood hits a home run with his swan song to the west.

The funniest film I've ever seen. Coens best and smartest work. Ingenuis and totally captivating with the ultimate statement on humbling the artist/writer.

Deeply moving and very heavy. Technically as accomlplished as Citizen Kane. Spielberg proves himself as a "serious" filmmaker and produces his finest work of art.

This isn't just a movie about men swearing at each other and trying to sell real estate. There is so much subtext in every line of dialogue. First and foremost, it's about power. In fact, you could change the setting to medieval times and the salesmen could be warlords or kings fighting over land instead of selling property. There's also an absence of women in the film, yet their presence is constantly felt. It's as if the feminine nature inherent in men is considered a weakness among these characters. Both women and children represent feelings and compassion, both of which have no place in this particular dog eat dog world. Masculinity is the dominant force which is both powerfully seductive and tragically pathetic. Ultimately, this is Mamet's finest work and the actors are impeccably cast with their verbal fireworks complimented with cinematic flair from Foley. It is the ultimate actor's film and a pen-ultimate adaptation from stage to screen.

Proof that Scorsese has range. Outstanding adaptation with fantastic casting. The form compliments content perfectly.

The epic film for the 90s. Complex and brilliantly made. Scorsese is working on all cylinders.

A dark character study that dares you to empathize with the monster that stands at the heart of this masterpiece. The music perfectly captures the relentless energy of Johnny - he may be smart but it's his loathing of humanity that literally cripples him in the end. The image that does in fact show a bit of tenderness, somehow suits the story and its characters to a tee; Johnny on the floor, sick to his stomach with his ex around his arms. They crouch by the toilet, trying to mend their own shitty relationship (the cleaner sits on the lid) and a cheap wine glass rests, filled with dirty tap water. How romantic! A brilliant image for a brilliant film.

An epic crime masterpiece. De Niro and Pacino face off in this intelligent and flawless accomplishment.

An excellent and gorgeous love story with a dark heart. Hypnotic and emotionally complex. With a wonderful contribution from composer Michael Nyman.

Coens most mature and intelligent script. Sophisticated, poetic and humorous all at the same time. The story is as layered as a house of cards. The perfomances are a joy to watch. What is it about Gabriel Byrne in this role? It fits him like a glove. You gotta love the unifying filmic device of the Fedora. All in all, this film is sheer perfection.

Hou Hsiao-hsien's masterpiece. Mesmerizing, entrancing and totally unforgettable. Taiwanese cinema reached a zenith in the 90s and HHH remains at the forefront.

The greatest film dealing with gay lovers. Universal, heartbreaking and funny. Instead of relying heavily on plot, Kar-wai gives us a series of simple, honest, and painful moments that ring true and create a mosaic of what it's like getting over a destructive relationship. What's wonderfully fresh about this film is how the gay relationship is totally not the point. Anyone who has ever loved and lost and then tried to move on, can totally relate to this film. Certain shots say so much with just a little punctuation and music. The subtext is constantly there, always treating the viewer with utmost respect. It goes without saying that the cinematography is astonishing. Godard's influence is felt and the overall emotional feeling the movie leaves you with, is one of complete and utter acceptance, ironic wisdom, and blissful hope. Perfect cathartic filmmaking.

Quintessential Wong Kar-wai. Kinetic, touching and visually imaginative.

A modern masterpiece. Dark, heavy and brilliant. Fincher creates such a complete world. One of the most influential films of the decade.

Definitive Kubrick. Eerie, unsettling, hypnotic and completely original. Years ahead of film today.

How can one be a true hero in our contemporary times? It's truly remarkable how riveting this film is. In the hands of a lesser filmmaker, it might have come across slightly dull. Right off the bat, it's the emotional attachment we feel for the charactes that keeps us engaged. The obstacles become insanely difficult for both Pacino and Crowe, that we can not help but marvel at their dedication and integrity. Incredible consummate filmmaking. Simply put: Michael Mann at his best and Russell Crowe delivers the performance of his career (even his body language is pitch-perfect.) Lisa Gerrard contributes nicely as well.

One of the most underrated epics. The 5 hour cut is mind-blowing. A truly unique experience of sight and sound. It's actually a trilogy!

An acid western unlike anything else. The outstanding cast is lead by the brilliantly dumb Johnny Depp. The stunning black and white cinematography is complimented nicely by Neil Young's haunting score. This film only gets better with each viewing. Strangely, it's very moving in its existential approach. The deer shot is touching, the first nations message is admirable and the ending is a fine homage to On the Waterfront. Ultimately, this is Jim Jarmusch's masterpiece.

Pitch perfect black comedy. Coen brothers knock another one out of the park. The sparse location is matched by the vacant lead characters. Brilliant stuff. Unsettling, yet surprisingly profound and humane. It's a dual protagonist story where both Jerry and Marge are in denial and they're world views are shattered. Jerry by the consequences of his actions and Marge by the realization that Mikey lied to her in the restaurant (leading to her doubting Jerry.) Even the brilliant score sums up the sweet banality of the small town with an extreme impending violence that explodes under the surface (much like Taxi Driver.) The repressed societies are often the most violent. Clearly, the non-communicative Swede is the most frightening character in the film. Fargo is the kind of film that is unsettling, yet gets better with each viewing. Every scene is brilliantly hilarious.

If you want to see where Magnolia got a lot of its inspiration, then look no further. Altman's epic film brings together multiple lives in LA and shows just how unstable we all are. Brave performances across the board make this one unforgettable and disturbing movie. This was undoubtedly Altman's comeback, as well as the beginning of a new renaissance in independent filmmaking. The genius of the film lies in the way the multiple stories interweave. There's no real conclusion and that's the point - life goes on. It's also a wonderful love poem to the blues. Lovesick jazz comes across like a Greek chorus and both comedy and horror manage to co-exist. And any film with Tom Waits has got to be awesome!

Winner of the Palm D'or, this Greek masterpiece helps answer the question, what does it mean to live? Visual hypnotic with an exquisite score, this existential experience lingers in one's mind long after the film is over.

The greatest animated film ever made. Incredibly bold of Disney studios to attempt Victor Hugo's novel. They have never gotten this dark and mature since. It also happens to be their last definitive musical.

One of Allen's most hilarious and brilliant films. The cinema verite style was a challenge for him, but he keeps things grounded with fully-developed characters, clearly inspired by Bergman's Scenes from a Marriage. It is amazing how well it holds up after 15 years. In many respects, this marked the end of the masterpieces for Allen.

A powerful, bold and enigmatic feminist film. This is what true independent cinema is really all about. Julianne Moore gives what is perhaps the performance of the decade. The absolute brilliance of the story is how Haynes doesn't presume to have the answers. His humility shines through and the various interpretations keep this masterful art film extremely relevant. Creepy, haunting, sad and highly complex. Antonioni would be proud.

Part III often gets a bad wrap but I think this is clearly unfair. True, it is not as good as the first two, but it remains a great and worthy film nonetheless. Pacino is remarkably sad and world weary. (This is where the King Lear influence is most pronounced.) Repentance is the theme here. From Michael's confession, to his son's stage debut, from the church's dealings with the Godfather, to the disguised and lethal assassin, everything is intertwined with religion. The film is both operatic and sweepingly tragic with Coppola making his most personal mark in this final entry. It's interesting how Michael Corleone's and Coppola's sacrifice are slightly mirrored. In both cases, Sofia Coppola is the price that's paid. Ultimately, the first two entries help elevate this film, with the saga reaching its satisfying conclusion. Simply put: the Godfather trilogy remains among the top five finest trilogies ever made.

Kurosawa's most visually striking film. Eight hypnotic and eloquent short segments. Spielberg presented this film in Europe, while Lucas' ILM company did the effects and finally, who wouldn't want to see Scorsese playing Van Gogh? It's the pacing and experiment in time that makes one experience this film in a particular fashion. Like staring at a painting for an extended period of time, we are slowly drawn into each dream world. Beautifully captivating.