My Top 50 Films of the 90s

I previously wrote my top 50 list for the 00s and decided it'd be nice to do it again for a different decade. The only rule is I must have actually watched the film rather than ranking it on reputation. Feel free to comment on any exclusions/inclusions/rankings you agree or disagree with.

Firstly, some Honourable Mentions for films that didn't make the cut but deserve some recognition. Dark City is flawed by its unnecessary opening voiceover; The Limey is just a little too incoherent; Luhrmann's Romeo and Juliet is a smidge too overeager to be different; while Three Kings loses its way after an hour and has been surpassed by later films, and Topsy Turvy is probably number 51.

50.              Con Air

Big, stupid action films had their day in the 90s and few were bigger or stupider than Con Air. But it beats out The Rock, True Lies, Under Siege, Demolition Man and many more to get into this list because of its pacing, its humour, and the quality of its action. There is real craft here and the film is perfectly pitched as a fun film where a lot blows up and nothing is too serious. It sounds simple, but few recent films have managed to be anything like as much fun. Meanwhile, Buscemi's cameo as Hannibal Lecter rip off Garland Greene helps drive the film into an off kilter, twisted reality, while Nicolas Cage, John Malkovich, and John Cusack are good enough actors to over act satisfyingly.

49.              Cop Land

Sylvester Stallone is, to put it politely, not a natural actor; but what makes Cop Land such a good film is the way it uses his awkward sullenness to tell a story. Playing against type, Stallone is a compliant, weak sheriff in awe of the cops who manipulate his kindness and abuse his adulation. The subtlety of the performance is as impressive as it is unexpected and backed up by a stacked cast of actors familiar with portraying New York police. Stallone gained considerable weight for the role but it’s the sadness in his eyes that leaves the impression, he looks and feels beaten up and broken down. It’s Stallone’s best film by a country mile and it’s particularly disappointing that he never tried a similar role again. Unfortunately, history has not been kind to Cop Land, largely because Stallone blames it for a mid-career malaise, but it deserves a second chance and remains one of my favourite crime films.

48.              The Muppet Christmas Carol

Look, firstly, it’s worth pointing out that this is my list. Secondly, I still regard this as the best adaptation of the novel. Adaptations shouldn't be replicas of the original, otherwise what would be the point? They should interpret the material to new audiences and new media. The Muppet Christmas Carol does this superbly because it uses the history and established world of the Muppets to draw out the exaggerated emotions of the book and connect to children. For instance, the sweeping change in tone from the joy of the Ghost of Christmas Present's entry to the dread of Scrooge's encounter with the Ghost of Christmas Yet to Come, is far more chilling than any more serious adaptation could muster because it exists in the normally light and fluffy world of the Muppets. Is there any other group that could show the contents of a fruit and veg stall singing the chorus of a song, and a man being taken to his own grave as a last warning to change his ways in the same film? Its astonishingly good film making, made all the better as Michael Caine so clearly relishes making his Scrooge cartoonishly evil, while Robin's Tiny Tim makes the mawkishness fade into adorableness. The songs also add punch when necessary, and deliver emotion to children in ways they'll connect with far better than Dickens' prose (as wonderful as that is). Ultimately, if your Christmas does not involve watching this film you're doing it wrong.

47.              Office Space

This comedy would make it on the list even if it solely consisted of the scene with several office workers destroying a printer with baseball bats. Luckily, the film is also a nuanced deconstruction of the all-pervasive rise of corporate bullshit that has drowned workers in all sectors. It draws on the shared negative experiences of the workplace; idiot bosses, stupid rules, and over enthusiastic colleagues, to build a wish fulfilment comedy about an office worker who just stops caring. The fact it survived box office failure to become a cult hit shows how correctly and completely it nailed corporate culture.

46.       Run Lola Run

A German curio and quite the oddest film on this list. Franka Potente’s Lola has 20 minutes to save her boyfriend, except we see three different versions of her attempts; each different and building on the last. It combines just about every cinematic technique to tell its stories and the result is a ninety mile an hour thrill ride that ignores most rules about film making. Intensely different and worth watching because of it.

45.       Primary Colours

Adapted from an anonymous novel based on Clinton’s campaign and election victory, Primary Colours, and John Travolta, capture the spirit of the former president incredibly well. Showing his charisma and the spirit of hope that surrounded him, as well as the eventual sleaze that would engulf him and the ruthlessness that would lose him the support of many Democrats. The film now works as a period piece, particularly as 90s American politics is so different from the following decade. It’s good to watch and remember how Clinton was perceived, even by his own side, before Bush’s rank incompetence rescued his legacy. Larry Hagman is also superb as a Stanton’s wholesome opposition with a tragically human past.

44.       Festen

The first and, by some distance, the best film from the Dogme 95 movement. The Dogme rules make it a pared down, pure film that emphasises the damaged characters at its heart. Dogme was never to be a successful movement overall, either critically or commercially, but Festen is a good film regardless of the pretensions. It tells an odd, unpleasant tale well and the characters react believably to an unbelievable situation. Compelling and uncomfortable viewing.

43.       Pi

Darren Aronofsky has never been a conventional film maker, but almost all his work is a step more commercial and careful than his debut. A genius mathematician tries to solve the stockmarket and may or may not accidentally discover something much more important, something that no human should know. Its dazzling, adventurous stuff that couldn't be made by a settled, or experienced director. It’s the work of an untamed original before he learnt to apply his talents more commercially and, as such, should be treasured.

42.       Pulp Fiction

It’s less a film than a statement of intent, which is why I perhaps rank it not as highly as on other lists. It’s really a loose series of sketches, some brilliant (the watch), some average (spider just caught a couple of flies), and it’s hard to describe the result as a film. However, it is still an entertaining, if slight, experience. For better or worse, its influence casts a huge shadow over contemporary American film making.

41.       The Insider

Al Pacino has been so bad for so long it’s important to cherish the few films he’s turned up for in recent years. He consumes his role as Lowell Bergman, the legendary producer of 60 Minutes, and dominates the screen in this fascinating tale from the battle over tobacco. It’s basically a story of trust between two men, Bergman and industry whistleblower Jeffrey Wigand; whose way of life is threatened by the companies he seeks to expose. Pacino bullies, manipulates, protects, and defends Wigand as he tries to get his story on TV. An underrated gem of a film with two strong leads in good form.

40.       The Hunt for the Red October

Straight up good entertainment as Tom Clancy, Sean Connery, and Cold War paranoia combine to make a really good action thriller that is genuinely gripping. One of those old fashioned action films with believable stunts, good leads, and a twisting plot. It might be cliché to say they aren't made like this any more  but they’re genuinely not. CGI and comic books have killed these kind of films, and that’s a real shame.

39.       The Full Monty

Classic British film making. Robert Carlyle establishes himself as a real star and makes Americans vaguely aware of Sheffield. In all seriousness, this is good film making which, unfortunately, helped create a number of stereotypes that have subsequently dated the film a little. In many ways, The Full Monty has been a bit of a victim of its own success; the cult around it somewhat hiding the quality of its story telling and its comedic timing, but it should be watched, and appreciated, with fresh eyes.

38.       Empire Records

A slight, breezy and somewhat short film, but it is also a perfect time capsule of 90s teen culture. For a film to be this content light but still be this enjoyable it has to have considerable style and confidence, luckily Empire has that in droves. It might not be the most affecting, or the best constructed, but if you’re talking about 90s films it has to be mentioned.

37.       Men in Black

One feature of the crushing rise of Comic Book films in the 00s is the near total death of original family blockbusters which used to be a regular feature of each summer. The king of this genre is obviously Will Smith, and Men in Black is his best effort. Smith’s easy charm and natural charisma combines with Tommy Lee Jones’s knowingly buckled down straight man to make the kind of double act that all directors dream to work with. When film making is really good, it looks this supremely easy.

36.       The Fifth Element

'Costumes by Jean Paul Gaultier' may be one of the greatest credits any film has ever had and it sums up the off kilter nature of this far-future set Sci-fi. A film so good it genuinely convinced people that Milla Jovovich would be a future star. A Six Degrees staple for featuring Ian Holm, Bruce Willis, Chris Tucker and Lee Evans; the film slides from bizarre set piece to bizarre set piece with the audience completely en tow - just ignore Tucker’s DJ doing his best to ruin the film’s denouement. Sci-fi at its best is a chance to present characters and situations you’d never get the chance to portray in a realistic film: Besson takes that notion to its extreme and it’s a great watch.

35.       American Beauty

I wasn't a huge fan when this film originally came out. I thought it too smug and, like a lot of American films, overly obsessed with sex as a metaphor for freedom. However, over time, I've come to appreciate Kevin Spacey’s brilliance, the twisted power plays and the subtlety of the various characters as they pursue erroneous dreams that will ultimately make or break them. Perhaps not quite as sensational as contemporary reviews would lead you to believe, but still one of the finest films made in the 90’s and, in Spacey, one of the decade’s best individual performances.

34.       Rushmore

An odd little gem of a film with no real nice guys, which is odd for something structured like a romantic comedy. Almost impossible to describe but it’s definitely a certain kind of genius. Just watch it and make your own choice.

33.       Babe

Dick King Smith may be one of the greatest children’s writers ever and it takes a supreme effort to capture the heart, imagination and warmth of one of his books. Babe is about as perfect as a pure children’s film can get. Unlike many films for for younger viewers it is aimed squarely at children, with barely any knowing jokes for adults, the film succeeds on heart alone. It also features a notable, brilliant, and almost silent performance from James Cromwell as the farmer and about the happiest happy ending ever filmed.

32.       Apollo 13

Solidly entertaining film drama is actually quite hard to make, not that you’d know it from this consummate film. The scenes on Earth are amongst the most involving you could imagine. Ron Howard gained a reputation for being little more than a solid film maker but Apollo 13 is an underrated little gem.

31.       La Haine

Urgent, vital film making that defined a Banlieue aesthetic for French cinema which has been replicated time and again since but never bettered. It’s just a fantastic film that captures an intense anti-state, anti-police, anti-society mood and runs it for all its worth. French film making can slip into extreme torpor and introspection at times, but La Haine is cut from different cloth and a genuinely exciting cinematic experience.

30.       Toy Story

Few could have predicted the future of animation when Toy Story debuted. Pixar was to go on to dominate the genre to the point where Disney became completely surpassed by the 00s. Toy Story was a marker for Pixar, surprising everyone with its quality, humour and especially its warmth. Few imagined that computer animation could rival hand drawn for heart but the characters of Toy Story shone through. Woody and Buzz are so well drawn that they sustained three films on the strength of their key relationship. Not just a good film but era defining.

29.       Falling Down

Michael Douglas, a machine gun, a fast food restaurant. Cinema Gold.

28.       The Usual Suspects

Films in the 90s liked to play with chronology and narrative but none do it better than The Usual Suspects. Held together by a magnetic performance from Kevin Spacey and a central mystery that sustains to this day. I don’t think the simple action of a character stopping limping has ever connoted so much storyline significance and it’s probably the most outrageous ratio of on screen action to audience reaction that has ever been captured. Outrageously good for what should be a gimmick film and, frankly, will probably never be replicated.

27.       Terminator 2: Judgment Day

One of the all-time classic sci-fi action films. Maybe a small step down from the original, but the quasi father-son dynamic brings something new to the franchise while the icy glare of Robert Patrick makes a brilliant screen villain. The imaginative action sequences rank alongside anything that has been produced since, and it’s one of the few things to make a positive out of Schwarzenegger’s lack of ability.

26.       Twelve Monkeys

It’s not uncontroversial to say that Terry Gilliam is at his best with relatively strong studio control; it concentrates his creative powers and forces him to play some attention to commercial sensibilities. It’s under those conditions that he produced Twelve Monkeys, which is arguably his best work. Convoluted, confusing and witty, the film takes every opportunity to bewilder whilst still delivering a strong narrative. However, it might still be just too weird for some.

25.       The Hudsucker Proxy

The Coen Brothers spent most of the 90s on the kind of career hot streak that other film makers can only dream of. Proxy is one of their most fun efforts, containing any number of quotable gags and some magnificent scene stealing from Paul Newman having the time of his life. About the only film to make Tim Robbins’ idiot persona actually watchable. Great stuff.

24.       Out of Sight

Steven Soderbergh was to later say that making Out of Sight was a conscious decision to move into mainstream movies and get out of his indie career. The result is one of the most stylish and lazily cool films of the decade, which established George Clooney as a legit star when his film career had previously faltered. Often voted one of the sexiest films of all time, you only need to think “Clooney, Lopez, Car Boot” to understand why.

23.       The Talented Mr. Ripley

I find this film surprisingly unheralded. It’s a deeply psychological tale of sexual obsession, hatred and escalating violence that can be heavy going. I think part of the problem was its spectacularly poor advertising campaign which failed to prepare audiences for the horrors within. Matt Damon plays a monster with an angel’s face rather well, Jude Law is as insufferable as the character demands, Philip Seymour Hoffman makes his every second on film deeply uncomfortable and Jack Davenport breaks your heart, again. A supremely different film, it deserves to be seen and appreciated by many more but has been unfairly disregarded by history, and even openly disowned when a second novel in the series, Ripley’s Game, was adapted years later.

22.       Unforgiven

It takes a man who truly understands a genre to de-construct it. Clint Eastwood’s western is one of the best ever made because it so keenly understands both the reality and the myths of the American frontier. In Eastwood’s world, gunslingers are murderers, morality is largely absent, and death is slow and painful. Despite this, it still manages to be respectful to the films before it and complements the western rather than invalidating it. Unforgiven provides a worthy full stop to one of my favourite genres.

21.       Jackie Brown

It used to be blasphemy to call Jackie Brown Tarantino’s best movie, however, appreciation has grown for the most narrative driven work of his oeuvre. In my opinion this is the film where Tarantino best directs his talents and restrains his worst excesses. Dialogue is snappy rather than indulgent, characters are well drawn rather than one dimensional, and the violence is impactful rather than ubiquitous. It’s, dare I say, his most grown up work before the adolescent nonsense that was Kill Bill drove his career into apparently permanent decline. There is so much to like about Brown, from Pam Grier’s jaded and exhausted eponymous character to the 70s-in-the-90s visual style and the sensible, calm, intelligent Max Cherry immersed in a world of idiocy. However, frustratingly, its legacy will remain as the film that shows what QT could have been.

20.       Magnolia

A supreme auteur effort; this is sprawling, unique film making. Unfortunately, it very nearly falls onto the ever increasing list of films ruined by Tom Cruise, but his role is thankfully as limited as his acting. The non-storyline sections at the beginning and end of the film elevate it substantially and are amongst my favourite sequences of the decade. While it is bravura film making (the frog rain, and collective sing-along come to mind), it doesn't quite possess enough engaging characters to get higher on the list. That said, it stands apart as a unique film experience in any decade of film.

19.       JFK

22 years after its release, it’s probably time to end the argument and admit that JFK is not exactly a factually accurate film. Instead, it sits so highly on this list as a work of fiction; powerful, compelling, intense fiction from a one of a kind director at the very peak of his powers, on a subject he cared passionately about. Drawing a career best performance from Kevin Costner as the obsessive Jim Garrison, Oliver Stone’s film comes into its own in the climatic courtroom scenes. The refrain “back and to the left” has become etched into cinematic history and the monologue itself is amongst the most perfectly pitched five minutes in film history.

18.       The Big Lebowski

The Dude remains one of the greatest comic creations of all time, and this is classic Coen Brothers off kilter, distinctly odd comedy. The only reason it’s not nearer to the top is John Goodman’s Walter is unbearable about every other time you watch the film. Conversely, he also delivers some of the film’s best lines. Also higher ranked for having about my favourite ending to a film ever.

17.       Grosse Point Blank

It’s official; John Cusack can make anyone lovable, even professional killers. The smartest, sharpest comedy of the decade is oddly underrated these days but it is incredibly watchable and fun. Cusack is on top form, Dan Ackroyd is brilliant as usual and the whole thing just works.

16.       The Matrix

Please ignore the sequels. The original marries philosophy, science fiction concepts, and the best representation of computers on film with era defining action sequences. Keanu Reeves finds his perfect role while Hugo Weaving is a revelation and one of the great on screen bad guys in Agent Smith. The storytelling via action is as good as any film has managed. The Matrix will remain one of the defining films for its time and its action has lost none of its zip.

15.       The Shawshank Redemption

What is there left to write about one of the most popular films ever made? It’s perfectly calibrated to pull at the heart strings, and constructed with such perfection that it can wander off into other tangents and subplots without breaking the flow of the movie. What I love about Shawshank is how it manages to be an epic film despite being set in such a confined location; there’s a certain film magic at work to make that possible.

14.       South Park: Bigger, Longer and Uncut

I think everyone had reservations about the infinitely silly show South Park being made into a film, but the result is one of the best comedies of the decade. Unlike so many TV show to movie adaptations, the storyline fits the scale of a film and, as a result, the film doesn't outstay its welcome.  The addition of Saddam Hussein to the regular cast is a master stroke but the highlight is the songs, the glorious, brilliant, memorable songs. Outrageously good work from Trey Parker and Matt Stone.

13.       The Lion King

On the other end of an arbitrary animation scale from South Park lies Disney. Disney started the 90s on a spectacular role of success and The Lion King represents their last great critical and commercial success of the decade. It is everything a truly great Disney animation should be and still stands up as one of the greatest kids films ever. For my generation, the death of Simba's father is our Bambi's mum moment, the kind of vast cultural impact that only the very greatest films attain.

12.       Philadelphia

There’s not a lot to say about Philadelphia, aside from its being one of the best and most important films of the 90s. The process by which Denzel Washington’s Miller overcomes his professed homophobia and the general treatment of AIDS in the film are a testament to the potential power of cinema for good.

11.       Miller’s Crossing

“I’m talking about ethics.” In fact the whole film is talking about ethics or, more specifically, the lack of them. One of the great examinations of the gangster movie’s pretensions and clichés is also a singularly brilliant film and, I would argue, the Coen Brothers’ best. It’s loaded with great performances, ace lines and arresting images.

10.       Heat

When people say “Michael Mann-esque crime drama” they really mean “it’s a bit like Heat”. A film so successful at what it does it became the model and inspiration for an entire genre of films. Like a lot of 90s films, it’s the best possible execution of a limited genre film. Cops and robbers on an epic scale but still, fundamentally, cops and robbers. It’s a casting coup of a film, capturing an on screen meeting between De Niro and Pacino back when that actually mattered and elevating Val Kilmer and Jon Voight in roles well suited to their shtick. Its greatest achievement is to manage the scale of a personal duel with a crime that consumes an entire city and in doing so it becomes the absolute best example of cityscape crime drama and required viewing.

9.         The Fugitive

In many ways the 90s were the last hurrah for action films before cheap CGI ruined pretty much everything. A case in point is the opening train crash in The Fugitive, which was filmed with real trains as it was cheaper at the time. The effect is vastly superior to the more spectacular crashes that would be possible later. The film itself is a model of lean perfection. Take a concept and two engaging characters then build a film round them. There are few better character establishing exchanges than Harrison Ford and Tommy Lee Jones at the dam. It’s infinitely re-watchable and one of the enduring hits of the decade.

8.         Leon

Could Jean Reno be any more perfect in this film? Sublime action blended with the engaging and odd hitman/child relationship. Leon is one of those films you can’t imagine ever being pitched successfully and yet the whole film just works to an unbelievable extent.

7.         Glengarry Glen Ross

“Coffee’s for closers… Third prize is you’re fired… Fuck you, that’s my name.” It might be hard to look past Alec Baldwin act of cinematic grand larceny which opens the movie but, if you can, you’re rewarded with some of the richest, quickest and cleverest dialogue put to screen. There is simply nothing on earth like an on-form David Mamet, and Glengarry Glen Ross is his best film. That’s really all you need to know.

6.         Ghost in the Shell

For my money, this is the best anime film ever made. Not just for its beautiful animation but for being the greatest cyberpunk film ever made. Smart, confusing, and still entertaining. Watch this instead of Akira and you’ll have a much better time, trust me.

5.         Aladdin

The best Disney film of the 90s, and certainly amongst the greatest children’s films ever made. It’s hard to overstate how much the casting of Robin Williams adds to the film, turning it from a merely outstanding film into something almost timeless. The songs are brilliant, the animation is stunning, but most importantly there is real heart there. I cannot recommend it enough, and it’s probably the film that makes me happiest to watch.

4.         Groundhog Day

Does it ever cross your mind to wonder how long Bill Murray is stuck in the one day of Groundhog Day? Long enough to know every person in town inside out, to learn the piano, to memorise every sequence of events of every person’s life, and to find out how to fix them all. How many times does he save a boy falling from a tree only to know he’ll have to do it again tomorrow? How many times did he commit suicide? How many times did he think he’d finally cracked it only to be sent back to the same morning again? How many times did he give up all hope of having a meaningful existence? It could have been a relentlessly dark comedy, it could have been the most depressing drama ever to have been shot. Instead it retains all these themes and questions but presents them in a family comedy. It all works because of Murray’s supreme control of the material, one of the great comedy performances of all time. Should be regarded as one of the essential films of movie history.

3.                  Batman Returns

The best Batman film. From Penguin’s bitter, uncontrollable outsider; to Catwoman’s damaged madness to Batman’s thin veneer of sanity, there are no real villains or heroes in costumes here, only Max Shreck’s ruthless search for profit. The childish fairytale imagery adds to the air of total insanity that floats over the piece and represents a completely different take on Gotham’s apparent saviour. It’s hard to pick a highlight but Michelle Pfeiffer’s unbalanced Catwoman sits alongside Heath Ledger's Joker as the best performances in comic book movies.

2.                  Fight Club

Brutal, bloody, brilliant film making. It’s hugely funny, subversive, compelling and completely unique. There is no film experience quite like watching Fight Club because it’s the work of supreme talents with little commercial concern. Studio execs had no idea what to do with the work, but it was saved by the new DVD format, becoming one of the first to get real Special Edition treatment. Perhaps the most remarkable element of the film is that it never feels particularly preachy as it attacks all elements of modern life. It just comes across as smart, and even right. Also the best ending on this list.

1.                   LA Confidential

“Do you have a valediction, Jack?” For a film decade, and a list, that is dominated by action, cops, robbers and males it is only appropriate that the ultimate crime film is at Number 1. LA Confidential is a multi-layered, multi-handed film with as much subtlety as action, and an almost sprawling plot that continually twists and surprises. Russell Crowe is perfect as the battering ram running through LA like a bull with a sore head and a supremely self-assured morality. Guy Pearce is similarly well cast as a man out to prove himself by any means, with the brains and amorality to succeed in the LAPD, while Kevin Spacey presents a seedier side of law enforcement. It all hangs together supremely, a tapestry that tells the story of a crime, a police force and an entire city within its tightly wound 138 minutes. Once you’ve watched LA Confidential, it is hard to imagine a film with more shades of grey and moral ambiguity that still entertains. A film that stands up to the best of any decade and that remains a towering success.