Best of the 90's

by Erik, Greg, Jose

PART II

Goodfellas (Martin Scorsese) - Perhaps the best mob film ever made (tough to say between it and The Godfather 1 and 2). The beginning of the decade saw Scorsese’s talents culminate into another masterpiece, and his best film in a CV loaded with brilliance. Goodfellas is a great example of a film that manages to be overwhelmingly entertaining, but still completely artistic. Watching Ray Liotta’s (in a career performance) real-life mobster-turned-witness Henry Hill—the Irish-Sicilian sucks us into his story by telling us, “as far back as I can remember, I wanted to be a gangster”—is like watching a crash-course on filmmaking, mob history, living in New York, and the American dream. Scorsese, with co-writer Nicholas Pileggi (who wrote the book Wiseguy on which the film is based), crafted a film that uses narration in a completely original way, shifting between different characters’ perspectives. The soundtrack is amazing, and every sequence of the film tops the last in execution, hilarity, instant violence, insanity and paranoia. BEST SCENE: Henry takes his future wife-to-be to the Copa, and in one amazing take, Scorsese uses the steadicam to ensnare the audience into this fascinating world by going through the basement, kitchen and into the famous nightclub.

Miller’s Crossing (Coen Brothers) -

The early nineties saw a plethora of gangster films, and most were complete schlock, but the Coen Brothers’ best film is another thing completely. Borrowing heavily from Dashiell Hammett’s novels Red Harvest and Glass Key, Joel and Ethan Coen crafted a gangster film that pays homage to the prohibition gangster films of the 30’s and 40’s while also keeping the knowing wit—and brutal violence—of modern-day mobster tales. Beautifully photographed by Barry Sonnenfeld (who’s sadly gone on to direct films like Wild Wild West and RV, but did make the enjoyable Get Shorty) in sepia tones and mood-inducing lighting, and memorably scored by Carter Burwell (a Coen regular) in what can only be described as poetic, and not-so typical for a gangster movie. Filled with a fantastically convoluted plot and the usual Coen double, triple and even quadruple-crossings, Miller’s Crossing is a film that has aged better than any other film made by the brothers from the Twin Cities of Minnesota (my homeland), and necessary viewing for any gangster film fan. BEST SCENE: Most cite the famous scene in the woods where John Turturro begs for his life to would be assassin Gabriel Byrne, but my favorite is the violent, hilarious sequence when Albert Finney’s (in a great performance), as the Irish boss Leo O’Bannon, takes down a crew of Italian mob killers in his house and then out on the streets, all with a single clip from the most iconic of gangster weapons the “Tommy Gun.”

Terminator 2: Judgment Day (James Cameron) - The best damn action movie ever made. Period. End of story. James Cameron’s seminal science-fiction action extravaganza offered—at the time—the biggest movie star in the world with the role of a lifetime as a time-traveling robot who, in the first film, was the villain trying to kill humanity’s last hope before he was born, but in the sequel he’s the hero sent back in time again to protect John Connor from a new threat, the T-1000 (Robert Patrick in an icy, scary performance). The effects were ground-breaking, and they still look good, as Cameron and his techie crew melded puppetry and makeup effects (created by the great Stan Winston) with jaw-dropping CGI. Few action films stand the test of time, but I continue to revisit this classic every year, and never lose my enthusiasm for it. The story is exciting, Arnold was born to play a robot (his infamous accent and speech patterns were used to brilliant effect), and Cameron knows action. BEST SCENE: The T-1000 chases John Connor through the sewers of L.A. in a superbly-crafted sequence pitting a dirt bike against a semi-truck; that is until Arnold shows up in his hog with a shotgun.

Reservoir Dogs (Quentin Tarantino) - In typical Tarantino fashion, Reservoir Dogs (the title is derived from two films: Louis Malle’s Au Revoir Les Enfants, to which the filmmaker always referred as “that Reservoir movie” and combined it with Sam Peckinpah’s violent opus Straw Dogs) is the summation of many, many other films put together into a whole that is part reference, tribute and wholly original on its own. Dogs main plot and ideas concerning an undercover cop infiltrating a gang of thieves for a diamond heist were taken straight from the 1987 film City On Fire starring Chow Yun-Fat, Tarantino’s trademark black suits from the Rat Pack and John Woo’s A Better Tomorrow II, naming the criminals after colors was taken from 1974’s The Taking of Pelham One Two Three, the torture scene mimics a similar one in The Good, The Bad, and The Ugly, and other references include Rio Bravo, Dillinger, The Wild Bunch and French Connection to name a few. Knowing all this, the film only gets better in my eyes because of Tarantino’s love and passion of cinema. The film inspires people to make movies and seek out old movies, making all of us smarter and more astute to the language of film. It’s also a kick-ass criminal film that’s cool as hell. BEST SCENE: Hard to pick one, but my favorite is the flashback scene when Laurence Tierney gives each character their colored name, resulting in a hilarious spat between Steve Buscemi’s Mr. Pink and Tierney’s deadpan delivery of a great line: “Why do I gotta be Mr. Pink?” “Because you’re a faggot, alright!”

Unforgiven (Clint Eastwood) Eastwood is cementing his status as a great filmmaker these days, and I like but don’t love his new output. Unforgiven is his best film by far, and even though he won the Oscar for Best Director and the film won Best Picture, it seems to be overshadowed by Mystic River, Million Dollar Baby and Letters from Iwo Jima. The film is a classic western, at once a love letter to the genre and a harsh morality tale on the nature of violence and how it affects different people. Anyone curious as to why Eastwood is so beloved in Hollywood needs look no further than this film. Even his haters typically refer to this as his masterpiece. BEST SCENE: The bookmark beginning and end shot of a house, a withered tree and a single grave are as beautiful and poetic as anything in the western genre.

Schindler’s List (Steven Spielberg) - This is the most important film in Spielberg’s career, and not because of the Oscars it won or being the best film he’s made. It is the moment in his career when he matured and refused to buckle to his blatant sentimentality that too often shrouds his films in a blanket of safety and goodness. Spielberg’s career is split in two now, pre-Schindler’s List and post-Schindler’s List. The difference in the split is as simple as light and dark. Early Spielberg is for the most part light and entertaining, but still artistically brilliant. Current Spielberg is made up of dark and at times disturbing content and characters. This is all because of the change he went through while making this film. Let us not forget that it is a truly remarkable film experience that is tragic, sad, and uplifting. Spielberg regular Janusz Kaminski shoots the film in beautiful black and white, and the historical story is brilliant because it doesn’t feel like a something you have to watch because it’s supposed to be good for you. Spielberg never forgets that he is making an important film, but he doesn’t preach to us either. Instead he gives us a documentary-like film that feels as if you are simply viewing these events unfold through an objective eye, and that’s his greatest accomplishment. BEST SCENE: The little girl in the red coat wandering the streets is the best use of film symbolism in the 1990’s. It manages to be beautiful and ugly all at once.

Heat (Michael Mann) -

Michael Mann’s best film is mainly remembered for its famous scene in which De Niro and Pacino finally shared a scene together, and it is a great scene that manages to comment on acting and film. Watching the two legends go head-to-head is a lot of fun indeed, but Heat has more to offer. This is epic storytelling put into the context of a character study. It reaches heights of artistry rarely scene in typical cops and criminals films. Mann’s ambition gets him into trouble sometimes (Ali and Miami Vice come to mind), but here it only helps the talented filmmaker. He’s not interested in simply entertaining us, he wants us to believe in the themes of characters with different ideologies, but similar lifestyles. By setting the film in the world of cops and criminals, he takes the basic idea of good and evil and expands on it. De Niro is not just evil, and Pacino is not just good. They are real people that exist in a realistic world. In the end, Mann tells us that these two characters can only exist with each other, and that seems simple but it’s a universal truth told in a new way. BEST SCENE: It would be wrong not to mention the amazing bank heist scene in the films second act, and that is an unbelievable sequence of pacing, technical work and action. But for me it doesn’t get any better than the closing shot of Pacino holding De Niro’s hand. As De Niro’s character dies, Mann photographs a beautiful medium shot in an airport landing strip that is so appropriate and perfect in that it tells us everything by saying nothing.

Braveheart (Mel Gibson) - Mel Gibson’s violent, emotionally satisfying epic tells the story of Scottish legend William Wallace. The director isn’t concerned with being historically accurate, but he hits all the right notes in crafting an epic that’s more like a mythological legend than a retelling of the past. The battle scenes are amazing, the story enthralling, the bagpipe-heavy score is beautiful, and the climax is heartbreaking but not manipulative. The final minutes of the film are beautiful, and even the most manly of men are brought to tears by Gibson’s tale. Braveheart is a film made in the tradition of old Hollywood epics, but with a spirit that is all 1990’s. The film alludes to Gibson’s predilections that would show up in his later work: extreme violence, torture, hatred, bigotry. A masterpiece nonetheless. BEST SCENE: The battle scenes are great, and even more amazing because they weren’t done with the aid of CGI, but I like the more intimate moments in the film, in particular the scene where Hamish Campbell (played by the great character actor Brendan Gleeson) watches his father die and breaks down in to tears. Gleeson plays the scene perfectly, choosing to avoid the big tear-filled breakdown, and instead going for a more subtle approach, a choice that makes me cry every time I watch it.

Flirting With Disaster (David O. Russell) - One of the funniest movies ever made. At times it’s a screwball comedy, then it’s a road movie, then it’s an existential look into a character’s search for his real family, then it’s a drug comedy. David O. Russell (Three Kings, I Heart Huckabees) balances all of this into a cohesive and intelligent comedy. His talent can’t be denied. And neither can Ben Stiller be denied, playing the role he always plays but with a subtler approach. Stiller is always the guy who gets shit on the whole movie, but here we actually care about him because he feels real. A truly hilarious film that makes me feel good about modern cinema every time I watch it. BEST SCENE: the last half hour is so off-the-wall funny that I sometimes miss bits because I’m laughing so much. Stiller finally meets his parents, and they turn out to be former Grateful Dead-loving hippies that still sell LSD. What follows concerns a jealous brother, a wrongfully misplaced drug, a gay couple that happen to be police partners, crazy step parents, a brilliant infidelity storyline, and two words: armpit fetish!

Fargo (Coen Brothers) - The clever brilliance of the Coen Brothers is evident, as well as their scathing sense of humor, in Fargo’s opening sequence. We’re told that this film is based on a true story, and that the characters’ names were changed to protect the living. This is of course not true. The Coens just wanted to show that they could get away with anything by telling us this is a true story, and simultaneously comment on the nature of watching a film: can we believe everything we are told by filmmakers? Why do audiences tend to believe that films based on truth are accurate? After that the screen opens on a desolate northern Minnesota highway blanketed in snow. Then the music begins. The beginning is so enthralling, it pulls you right in. When Carter Burwell’s beautiful, string-heavy score begins you know you’re in good hands. Trust Joel and Ethan Coen, they will not lead you astray. The usual kidnapping plots and double crossings abound, Fargo is a true masterpiece, tightly edited into a 96 minute film with no filler, baggage or useless information. BEST SCENE: Things don’t go smoothly for the characters in this film, and it all begins when Steve Buscemi and Peter Stormare’s faux kidnappers are pulled over by a good natured sheriff, only to have Stormare blow a whole in his skull the minute he suspects something is wrong. This scene sets in motion the rest of the film, introducing us to the film’s hero Marge Gunderson (Frances McDormand in a remarkable performance, iconic in its brilliance).

Boogie Nights (P.T. Anderson) Paul Thomas Anderson skyrocketed to filmmaking reverence after Boogie Nights, becoming a talent to watch by film buffs and critics. It’s safe to say that he’s now one of the best young auteurs working today. The film tells the epic tale of Dirk Diggler, based off real-life porno star John Holmes, as he finds stardom and family in the porn industry circa late 70’s, early 80’s. The film isn’t about porn, instead it’s about family, and how times change but people usually don’t. Diggler’s (Mark Wahlberg, excellent) rise and fall is handled with deft precision, and his ultimate redemption feels true and realistic, mainly because after being accepted back into his pseudo-family near the climax he still believes he is a huge movie star, when in reality he is nothing but a faded porn actor. The character Dirk Diggler harkens to Joseph Campbell’s The Hero with a Thousand Faces, most famously referenced as a huge influence to George Lucas for Star Wars and The Wachowski’s The Matrix. In Campbell’s book, he discusses the archetypal hero common in all myths that is thrust into a new world as a hero after dreaming of being something more. Anderson takes on this archetype with scalding, dark reality; focusing on dark side of fame and riches that come from greed and celebrity. BEST SCENE: When Dirk, Reed (the great John C. Reilly) and Todd (Thomas Jane) decide to rip off a rich drug addict (the great Alfred Molina), the scene is a masterwork of paranoia and nerves that come when you know you’re doing something you shouldn’t, and all you want to do is get the hell out of that situation.

Rushmore (Wes Anderson) - Wes Anderson is one of our most important new American filmmakers. His voice is unique, and his films have something all great directors’ films have: a sense of style that immediately tells the audience who made the film. It’s rare these days, but Anderson’s films are unmistakably his. Rushmore, his second film after Bottle Rocket, is a brilliant deadpan farce about a boy called Max Fischer (Jason Schwartzman) who loves his school, Rushmore. Max falls in love with Mrs. Cross (Olivia Williams), and intends to woo her. What could be ridiculous and dumb becomes intelligent, funny and touching in the hands of Anderson (with co-writer Owen Wilson) as he gives us a film that is stylish without being pointless. Oh yeah, Bill Murray also gives one of his best performances of his career here, playing the pathetic, rich tycoon Herman Blume, who befriends Max and in turn falls in love with Mrs. Cross as well. Their friendship is the heart of the film, and their competition for the heart of Mrs. Cross is great, leading to the redemption of all the main characters. The British invasion tunes on the soundtrack are fantastic too. BEST SCENE: Max’s plays are the highlight, giving us the best high school version of Serpico ever, as well as a Vietnam play inspired by Murray’s character after Max asks him: “You were in Vietnam. Were you in the shit?” To which Murray replies in a deadpan style, “Yep, I was in the shit.”

Pi (Darren Aronofsky) - Aronofsky’s brilliant debut has a great concept and even better execution—all on a meager $60,000 budget. Stark black and white photography from genius cinematographer Matthew Libatique (who has served as director of photography on all of Aronofsky’s films) and a fast-paced techno score by Clint Mansell (another typical Aronofsky collaborator) create the mood for a clever story about a genius mathematician named Max (played by relative unknown Sean Gullete) who creates a kind of super computer that computes a number that can explain the nature of all existence. Wall street people are after him because the number can help predict the market and thus make anyone in the know rich as hell, and a band of Hasidic Jews are after him because the number could reveal the true name of God and other mysteries of the Torah. As interesting as the story and concept are, the film wouldn’t work without Aronofsky superb handling of the material, and his quick, paranoid editing and pacing of the plot. We are put in the head of Max from the beginning, and we feel his perspective of being alone right away in the film. The conclusion is frighteningly dark but all too appropriate and memorable. BEST SCENE: Max is being hunted by all who want his secrets, resulting in more paranoia and isolation for him. After figuring out the meaning of the number, which gives him a growth on the side of his head, he takes a drill to his cranium, living the rest of his life in blissful ignorance.

Being John Malkovich (Spike Jonze) Films that deal with the idea of reality are often the most intriguing. Originality is so rare in film today that anything different is often brilliant. Being John Malkovich falls under both categories. Charlie Kaufman’s absurdly unique script was the catalyst for the film, but it’s also hard to imagine the film being as brilliant without the clever visual and tonal direction of Spike Jonze. It also feels like a match made in heaven, Kaufman’s crazy originality and Jonze’s idiosyncratic approach to filmmaking. Together, they crafted a film that comments on celebrity, puppetry (or better yet, control), aging, the human need for love, and voyeurism. This film gives everyone a chance to literally see things through eyes of another person, and the intoxicating effect it has on all of us. BEST SCENE: Near the climax of the film, the chase in Malkovich’s mind is an incredible chase sequence that shows Jonze’s technical skills as the camera flips around up and down and side-to-side through several doors in his mind.

The Matrix (Wachowski Brothers) -

Another film that used the idea of reality as its concept, The Matrix was the perfect film for the video game generation. Infusing heavy philosophical elements with amazing special effects and kung fu fight sequences, the film has no downfalls. That’s a tough task when the star of the film is Keanu Reeves, who isn’t exactly the top thespian of modern cinema. Nonetheless, the role of Neo was perfect for Reeves, as his blank facial expressions and stale delivery perfectly served the purpose of playing a man who has no idea what is going on around him. The casting of Reeves was one of a thousand brilliant masterstrokes by Andy and Larry Wachowski, two filmmakers that knew exactly what this generation wanted for a new science-fiction spectacle. The Matrix was so groundbreaking and awesome that it resulted in unrealistic fan expectations for the subsequent sequels (both of which I loved as well), but whether you love or hate Reloaded and Revolutions one thing is for sure: The Matrix is our generation’s Star Wars. BEST SCENE: The whole movie kicks ass.

Greg

Groundhog Day (Harold Ramis) - There's a few arguments related to this film that you could make pretty easily: 1) Saturday Night Live has been the most important source of comedic talent in this country over the past 3 decades, 2) Bill Murray is the best performer SNL ever produced, and 3) Groundhog Day is the best film ever made by an SNL alum. "Romantic comedy" has become a dirty couple of words to most film fans in recent years, but Groundhog Day is one of the few terrifically written, funny, and touching exceptions that all us film-snobs can agree on.

The Big Lebowski (Coen Brothers) - This Coen Brothers farce is one of the most bizarre movies I've ever seen, but also one of the most hilarious. Jeff Bridges in the role of "The Dude" is easily one of the most memorable movie characters ever, a feat all the more impressive when you consider how memorable every character in this film is. I've also got to give the movie credit for opening my eyes to the bliss of the white Russian.

Saving Private Ryan (Steven Spielberg) -

Easily the best war movie of the decade, Saving Private Ryan changed the way battles were shot in everything from World War 2 to Ancient Rome to post-apocalyptic warzones. Spielberg had previously tackled the Holocaust and period adventure with Nazis as villains, but Saving Private Ryan marked the first time our best filmmaker took on our greatest battle head on, and the results were nothing short of spectacular. The 90's were full of Oscar upsets that made us look at the TV cross-eyed, but Saving Private Ryan's loss to Shakespeare in Love still has me scratching my head nearly 10 years later.

Dazed and Confused (Richard Linklater) - Sometimes I'm amazed how much I love this film. Richard Linklater, ensemble films, and teen comedies are all things that are hit-or-miss for me (and usually more miss than hit) but somehow this perfect storm of uncertain expectations came together and popped out possibly the best film about high school I've ever seen. Now, I didn't grow up in the 70's, but just about every scene in this film represents a vivid memory for me. Some of those memories are more pleasant than others, but either way, a movie that can transplant me so perfectly into a specific time and place that I never lived through but feel like I did gets my highest recommendation.

Swingers (Doug Liman) - A decade before "Entourage" defined the way we look at Hollywood and L.A. metrosexuals, Swingers gave us a taste of that world with a similar spin on male relationships. Vince Vaughn may be one of the top comedic actors today, but in my opinion this still stands as his best performance ever. Never has his fast-talking felt so natural and genuine, and while he's not exactly the most sympathetic character, you can't help but enjoy seeing the guy on screen. Then there's Jon Favreau in the lead role. His sad-sack character would be annoying if it didn't ring so true. I'm not so eager to admit this, but there are plenty of times in the film where I feel like Mike is based on me. I don't know if I should feel bad about that, or if Favreau just did a great job creating a relatable character, but I know that I love seeing the guy finally come into his own by the end of the film.

The Nightmare Before Christmas (Henry Selick) - There are a lot of films on my list whose parties I arrived late to, but I will never get tired of telling people what an old school fan of this movie I am. Ever since the first time I saw The Nightmare Before Christmas in theaters, it has been one of my all-time favorite films. I've never been a big fan of musicals, and no I do not think every animated movie with a few songs qualifies as a "musical", but I waver on both those sentiments when it comes to this film. The songs therein are among the most infectious I've ever heard in film. And I've said nothing yet of the visuals. It's not an accident that today's generation of teenagers has chosen this film to plaster on everything they own. The world created by Tim Burton and Henry Selick has to be one of the most wondrous cinematic landscapes ever crafted.

Jurassic Park (Steven Spielberg) - In general the 90's tend to be best known for crime fiction and the indie film explosion (both of which make plenty of appearances on my list), and let's face it most of the popcorn cinema of the decade was pretty lightweight, but for my money Jurassic Park's overall influence often gets overlooked in favor of films in the two aforementioned genres. Many of us have mixed feelings on the proliferation of CGI, but you have to credit it for making it so that no image one can imagine is out of the reach of film. Nowhere is this more evident than the world created by Steven Spielberg where dinosaurs still roam the Earth.

Fight Club (David Fincher) - It's funny, the big reveal in Fight Club is often considered one of the biggest cheats in fiction, but in the case of this particular film (and the novel it's based on) it makes for one of the most original and inventive stories of the past decade. What's even more amazing is that despite the rabid affection for this film from just about any lover of film, none of author Chuck Palahniuk's other fantastic novels have made the leap to the big screen. But enough of my whining, my time is best spent explaining what makes this film great. We've got iconic performances from Ed Norton and Brad Pitt, eye-popping visuals that could win over the biggest CGI-detractors, and dialogue that makes you laugh out loud one moment and sends a shiver up your spin the next.

Seven (David Fincher) -

If I find out you haven't seen this movie, prepare to get an ear-full. Just don't expect me to spill any of the movie's secrets. There are four principle actors in the film: Morgan Freeman, Brad Pitt, Gwyneth Paltrow, and *ahem* someone else. All four performances are my favorite that each (phenomenal) actor has ever given. Then there's the end. I won't spoil anything about it, but it is possibly my favorite scene in a film ever.

The Usual Suspects (Bryan Singer) - Bryan Singer may be the only filmmaker who comes to mind who made one of the best crime films of its era and then left the genre completely directly afterward. I'm a huge X-Men fan so I won't complain too much, but I am plenty excited to hear that he's returning to crime cinema in his next feature. This is another one where I always try to tread lightly with plot points, but what I can say is that every face in the cast delivers a knockout performance especially Kevin Spacey in the part that kick-started his career and won him his first Oscar. A lot of the films I've listed demand multiple viewings, but this one you may just start over again the minute it finishes.

Pulp Fiction (Quentin Tarantino) -

My adoration for Quentin Tarantino is well documented. I'm head over heels for every single one of his films (except Death Proof which hasn't had time to grow on me yet), but even I can see that Pulp Fiction stands head and shoulders above the others. Every last line of dialogue is the absolute coolest thing that could have been spoken in that given scenario, and every single shot is the absolute best way that each image could have been put to film. I give this movie a lot of the credit for turning me into a film geek in the first place. And is there anyone on Earth who makes better use of music in film than Tarantino does here?

Chasing Amy (Kevin Smith) OK, so Clerks is hands down the more important film, but Chasing Amy has always been my personal favorite of Kevin Smith's catalogue. It's funny, it's heartfelt, and it focuses on my other passion besides film (comic books, not lesbians). Ben Affleck does some of his best work and Joey Lauren Adams is absolutely adorable, but Jason Lee steals the show as Banky. Years before America knew him as Earl, Lee had me in stitches with his way-too-candid confessions and observations here.

The Fugitive (Andrew Davis) This may be a tough concept to wrap one's head around, but there was a time when movies based on TV shows weren't automatically terrible. I know, I have trouble believing it too, but then I watch this movie, which is one of the most exhilarating thrillers I've seen. You don't hear The Fugitive namedropped a lot when it comes to the decade's best films (even though it was nominated for Best Picture and won Tommy Lee Jones an Oscar), but if you're looking for a movie that's going to have you glued to your seat for 130 minutes, you can't go wrong with this one.

Good Will Hunting (Gus Van Sant) - Matt Damon may have been in movies before Good Will Hunting, but this film put one of the past decade's best actors on the map, along with career-best performances from Robin Williams, Minnie Driver, and Ben Affleck. Director Gus Van Sant loved the film so much, he decided to make it a second time (Anyone remember Finding Forrester?). Joking aside, the film hits all the right notes in both the humor and drama departments. And while we're on the subject of notes, you've gotta love a film with music provided by the best songwriter of the decade of its release (in this case, Elliott Smith).

Out of Sight (Steven Soderbergh) - Need evidence of why George Clooney and Don Cheadle are two of the coolest men on the planet? Watch this movie. There are a lot of movies on my list that are a little bit on the obvious side, but I've always been proud to recognize this overlooked gem from director Steven Soderbergh. The film certainly owes a lot to Pulp Fiction, but we can't hold that against it any more than we can dismiss every gangster movie inspired by The Godfather. Still on the fence? Well if J. Lo is scaring you off, let me assure you that this was before the "singing" career and the tabloids, back when she was just an actress and actually did a pretty good job when that was what she focused on. Besides, when you've got one of the hottest seduction scenes ever put to film, having Jennifer Lopez involved is definitely a plus.

Jose

The Silence of the Lambs (Jonathan Demme) -

Anthony Hopkins plays Hannibal Lecter, a murderous cannibal in jail, whose intellectual abilities assist beginner CIA agent Clarice Starling (Jodie Foster) in the pursuit of a serial killer. Director Jonathan Demme seems to be delivering a simple thriller; but beneath this disguise lies a complex character study that creepily seeps under your skin. In the end it’s less about the procedural investigation and more about the dynamics between Lecter and Starling whose “quid pro quo” relationship results haunting, fascinating and disturbingly romantic. All the while Demme makes you feel as if he was inventing the very concept of fear.

Howards End (James Ivory) - Very few filmmakers had such a flawless, continuous run as the team of Ismail Merchant and James Ivory. They single-handedly created a particular style of epoch or costume dramas, by adapting novels set in Edwardian England in which the different social classes clash and the characters become carriers of messages that point out everything that was irreconcilable and ironic about the values and morals of the period. In this film, Emma Thompson gives a brilliant performance as a spinster who marries a wealthy man (Anthony Hopkins) and through their relationship becomes witness to all that was corrupt and hidden in social dynamics. Its views on Imperialism, highlighted by a stunning visual design make this the kind of literary adaptation that actually complements its source.

Titanic (James Cameron) - A decade after its release, this film has become a punch bag for serious cinephiles, who, now, consider it to be a manipulative tearjerker with shallow characters, a thin storyline or a visual effects exploitation extravaganza. What’s ironic is that this is still unsurpassed as the highest grossing motion picture in history and given the historical context in which it was made, its success, with all of its flaws, makes its appeal all the more fascinating. How James Cameron made classic Hollywood values work near the end of the twentieth century remains one of the most compelling mysteries in cinema history.

Shakespeare in Love (John Madden) - “Romeo and Juliet” has been interpreted in every single way imaginable: as a musical, as a martial arts film, as an opera etc. Very few people however have tackled what was behind the inspiration for the famous play. John Madden’s film, tells the events that got young Will Shakespeare (Joseph Fiennes) out of a writer’s block and inspired him to write what is arguably the most important screenplay of all times. The radiant Gwyneth Paltrow plays his muse, as well as three other characters. Lush design, a magnificent ensemble and one of the best scripts of the decade made this film a reinvention of the romantic comedy, that won it a very deserved Academy Award for Best Picture.

The Talented Mr. Ripley (Anthony Minghella) - The pedigree film of 1999 boasted a young cast that included an array of recent Academy Award winners and nominees. Matt Damon starred as a bisexual sociopath who becomes infatuated with Jude Law (both with his character and the life he led), making for an unusual, honest portrayal of obsession and the dynamics of the unconscious. Gwyneth Paltrow and Cate Blanchett (who steals most of the scenes she’s in) evoke Hollywood sirens worthy of Hitchcock. Mostly set in Italy, director Anthony Minghella infuses his film with a classic mood, which make it work as an entertaining suspense movie while the ravishing, mysterious beauty of the ancestral settings becomes a wonderful metaphor for the contradictory inner lives of the characters.

Safe (Todd Haynes) - Julianne Moore stars as Carol White, an LA housewife whose existence begins to crumble under the presence of a mysterious environmental disease. Shot in a completely clinical way (reminiscent of Kubrick’s style), Todd Haynes’ film seems to be afraid of coming too close to its characters, in fear perhaps of contracting their disease (whose causes remain a complete mystery throughout the running time) making for an effective allegory of the 80’s consumerism, existential crises, the appearance of sects, loneliness in the midst of technological advance and even AIDS.

Velvet Goldmine (Todd Haynes) - Todd Haynes takes the structure of Citizen Kane and transports it to the 70's, where a reporter (Christian Bale) searches for a glam rock star (Jonathan Rhys Meyers) who disappeared after being extremely famous. The main characters are partly based on the public personas of David Bowie and Iggy Pop, but the film really has no interest in biographical facts, trying instead to evoke the feeling of an era and how popular culture shaped a whole generation’s awakening. Dazzling musical sequences and a funky visual design make this basically a sensuous experience that’s able to make us feel nostalgic for a lost era.

The Piano (Jane Campion) - Ada McGrath (Holly Hunter), a mute Englishwoman, is sold into marriage to a frontiersman (Sam Neill) who lives in New Zealand. She is shipped with her daughter (Anna Paquin) and her piano to a land that’s in the process of being conquered. Once there, she is forced to leave her piano on a beach where a stranger (Harvey Keitel) takes hold of it, asking Ada for sexual favors in exchange for time with her beloved instrument. Jane Campion’s masterpiece can be read differently taking in consideration all its layers. It’s a lovely elegy for colonialism which singles out the inadequacies of trying to take over something that doesn’t belong to you. As a feminist essay it’s a mesmerizing account of women’s uprising in a male world, even if their methods are unorthodox. And as a love story it’s a sweeping account of finding what you needed in the place you least expected. All of this is of course channeled through Hunter’s iconic performance which hauntingly asks the question “can you be removed of your voice twice?” as she tackles freedom of expression both in an artistic and deeply felt manner.

Three Colors: Red (Krzysztof Kieslowski) - The culminating piece in Krzysztof Kieslowski’s Three Colors trilogy deals with the friendship between a model (Irene Jacob) and an old judge (Jean-Louis Trintignant) whose meeting is accidental, but somehow destined to happen as their past defines their present and somehow predicts their future. Inspired by the meaning of the French flag’s colors, Kieslowski takes on the theme of fraternity and shapes it into something less moralistic and more about the way everybody is connected. The film moves in subtle ways, dealing with the invasion of privacy, beauty and obligation; all leading to a finale that gives the trilogy a breathtakingly poetic touch which doesn’t try to justify its creation but unites its concepts making them effectively relevant instead of merely symbolic.

Breaking the Waves (Lars von Trier) -

The first part of Lars von Trier’s Golden Heart trilogy is set in 1970's Scotland where Bess (Emily Watson in her film debut), a young naïve woman, marries an oil rig worker (Stellan Skarsgard). After an accident that leaves her husband paralyzed and unable to perform sexually he urges her to have sex with other men and then share the details with him. Exploring some of the Dogme 95 methods, along with what was to be one of his first female martyrs; von Trier delivers a polarizing essay on faith vs. conscience. Watson is absolutely stellar, making Bess’ innocence not only believable, but essential in the realization that we live in a hypocritical world where the “righteous” are condemned for putting true faith into practice.

Central Station (Walter Salles) - Latin American films usually tend to move in one of these directions: romanticizing the ideologies and obvious cultural differences of the continent, or self-conscious victimization made in order to justify the area’s economic and political underdevelopment. Very few films come to memory where the context isn’t the theme, but is already inherent to the spirit and values of the characters and situations. In Walter Salles’ masterpiece, Fernanda Montenegro stars as a bitter old woman who trying to get an apparent chance at redemption tries to help a young boy (Vinicius de Oliveira) find the father he’s never met. The film has them traveling through Brazil, where the vastness of the landscapes brings heartbreaking contrast to the small but infinite troubles of its citizens.

Funny Games (Michael Haneke) - A family’s vacation is suddenly halted when two young men hold them hostages and force them to take part of the title games, which include psychological aggression, torture and eventual death. Michael Haneke’s polarizing film came in a time when the media was being accused of inciting people, especially teenagers, to violence. Haneke takes every sociological concept and manipulates it to his “pleasure” making the audience realize that not only we live in a cruel world, what’s worst we seem to like it and even invite violence into our homes. It’s a must see, if you can make it through.

Everyone Says I Love You (Woody Allen) - Before the “reinvention” of the film musical at the beginning of this decade, Woody Allen made one of his most unique films by taking classic songs (mostly jazzy standards) and confecting a joyous dance and song spectacle where each cast member does their own singing. Allen visits his usual themes: dysfunctional families, unrequited love, neurosis, existential dramas and the Marx Brothers; but by adding songs to them, not only did he show off his cultural knowledge (as well as his classy filmmaking style), in the process he also refreshed the idea of what a “Woody Allen movie” was all about.

Babe (Chris Noonan) - In the middle of the 90's, this film about a talking pig who wants to become a shepherd dog became a phenomenon. Rarely had family aimed films been so witty, without the need to patronize its audience. The design of the film evokes fables and myths, which usually include tragedy. But the lead’s spirit, which combined innocence with partial denial, made for a hero anyone could identify with: from kids to adults. James Cromwell turns in a terrific performance as Babe’s owner, whose bittersweet “that’ll do, pig” became a catchphrase that like the rest of the film was effortless and touchingly sincere.

Pretty Woman (Garry Marshall) A superstar was born when Julia Roberts played a “prostitute with a heart of gold” who gets her Prince Charming (Richerd Gere) while strutting the streets of LA. Combining the Cinderella story, with rather sexual moments, the movie defined what would be the romantic comedy of the decade. Boy meets girl, boy loses girl, boy gets back with girl; add or take a few details. What results marvelous about this one is how fresh it feels, even after it’s been remade in tons of different ways, greatly in part to Roberts, whose smile became even more of a star than her owner.