This is a great movie, which although it pre-dates the Matrix shares many similarities in tone with that more successful film.
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This is a great movie, which although it pre-dates the Matrix shares many similarities in tone with that more successful film.
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I'm gonna say that I went to see this as part of my continuing interest in John McNaughton movies.
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One half of a famous 90s asteroid head-to-head with Armageddon. Watched it again recently and, despite some gung-ho moments, it's easily the more grounded and interesting of the two. Still very enjoyable.
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A lean, tense thriller that wastes nothing. Kurt Russell as an everyman in way over his head, with the great J.T. Walsh quietly menacing in one of his final roles. Exactly the kind of tight, grown-up thriller nobody seems to make now.
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How many movies have their title and theme adopted as common parlance? Joey from Bread never did manage to replicate the impact of his debut, but to have even one film resonate like this is quite an achievement for anyone.
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Directorial debut for Gore 'Pirates of the Caribbean' Verbinski, and another movie where I think I would primarily have been interested in the VFX. Although I wasn't much of a fan of Verbinski's subsequent movies, his latest, Good Luck, Have Fun, Don't Die, is terrific.
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Thirty years ago this brilliant Barry Levinson political satire was smart, funny and clearly ridiculous. However, like so much in this modern age, it now feels more like a documentary.
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Everyone rates this, but it left little to no impression on me. Maybe that's the point. It's Tarantino's most low-key, restrained film.
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IMO Andrew Niccol is one of the most interesting and prophetic filmmakers of the past 30 years, and never more so than in this, his debut. I love this movie. Stylish, heartbreaking, uplifting and thought-provoking, with a wonderful Michael Nyman soundtrack. Top 10.
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Titanic may have won 11 Academy Awards this year, but the leading actor Oscars went to Jack Nicholson and Helen Hunt for this charming romantic comedy from James L. Brooks.
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I thought Titanic was great. Still do in fact. Yes, it's no A Night to Remember, but the money is all up there on the screen, and once you get past the hammy love story the buildup and payoff are peak cinema. Seem to recall I went to see this two days in a row.
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Who knew this was an early screenplay from Tony 'Andor' Gilroy? I seem to recall enjoying it, and from the trailer Pacino's performance looks great fun. For some reason I always think of this and The Firm as the same film.
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Richard Gere, Sidney Poitier and Bruce Willis is quite a cast, so it's disappointing that Michael Caton-Jones couldn't deliver a more compelling thriller for the excellent source material. Sky's recent adaptation was good though.
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The film that put Paul Thomas Anderson on the map and earned Burt Reynolds his only Oscar nomination. Every bit as good as Pulp Fiction for its style, cast and music. Maybe even better. Few films capture a vibe like this one. Great movie.
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Verhoeven following RoboCop and Total Recall in what must be one of the greatest runs in cinema history, and this may be the best of the lot. All brilliant, all utterly unique. Also showing you don't need big stars if the concept and execution are flawless.
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Much like Scream, if I didn't have the ticket I'd swear blind I'd never seen this movie. Interestingly they were both written by Kevin Williamson, who recently returned to write and direct Scream 7, which I definitely have no intention of seeing.
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Just rewatched the trailer and this looks great. Jonathan Pryce's evil media baron is about as 90s as you can get. These days he'd be a tech bro.
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Okay, I'd previously stated that there's no Sylvester Stallone film that wouldn't have been better if he wasn't in it. This is the exception that proves the rule. Stallone is genuinely great in this, more than holding his own against Keitel, Liotta and De Niro.
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I'd wager most people don't know this film exists. And that includes film buffs.
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Britain in the 90s really did feel brilliantly positive, and films like this catching the zeitgeist around the world were a big part of that. Another movie whose cultural influence has endured beyond its initial release.
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As mentioned previously, John Woo's big-budget Hollywood movies never matched the excitement of his earlier Hong Kong efforts. I suspect I was still wowed by some of his flashy tricks in this one, but his style-over-substance approach hasn't dated well for me.
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People talk about 1999 being a great year for movies, but '97 surely runs it a close second. This should probably have cleaned up at the Oscars but lost out to Titanic.
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The Trainspotting team's disappointing third film, and yet another movie I cannot remember much about. Doesn't appear this one has had much of a reappraisal either, so maybe it really was a genuine disappointment.
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The action films really did come thick and fast in the 90s. Some more memorable than others. This one falls into the unmemorable camp, despite the strong leads and the distinction of being DreamWorks' very first release.
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Fincher is back, though this and Panic Room are his least Finchery films for me. Grounded, but full of twists that toy with your sense of reality. Probably better than it has any right to be, thanks to his direction and a great cast.
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You wait years for a volcano movie, then two come along at once. Not sure when someone decided Tommy Lee Jones was action leading man material, but from the trailer this one looks stuffed with enough exciting VFX to keep me satisfied.
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Another top 10 movie for me, and probably my favourite Robert Zemeckis film after Back to the Future. Love everything about this one. Perfect blend of sci-fi, drama, family emotion and cutting-edge VFX serving the story. Watch this one at least once a year.
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Unlike the cruise ship that ploughs into an island, Keanu Reeves did well to swerve this one.
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Not only was Harrison Ford the best Jack Ryan, he also made a pretty good president. My mum and dad loved this film, especially the line "Get off my plane!" Up there with the best action thrillers.
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I think I would have enjoyed this at the time. This kind of Mike Myers comedy was very much du jour in the 90s. I'd probably find most of it a bit cringe now.
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The new cool kids of Hollywood doing exactly what they wanted.
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The Coen Brothers at the absolute peak of their powers. Funny, bleak and unmistakably theirs. A stone cold classic.
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Following on from Se7en, another bleak outing, this time centred on alcoholism and suicide. Oscar nods all round, with Cage winning Best Actor.
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AKA The Professional. Really enjoyed this at the time. Hasn't aged well though — for a number of well-documented reasons. Stylish as anything, mind.
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The film that made me cut my hair short.
Harrison Ford returns as the best Jack Ryan and once again doesn’t disappoint. Rewatched this recently and it still absolutely holds up.
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Meg Ryan as an alcoholic wife and mother would probably hit a lot harder for me now than it did in 1994. Back then booze just felt like something you did on a Friday and Saturday night rather than something that could properly derail people’s lives.
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I love this film, but Schwarzenegger never remotely convinces as an ordinary suburban husband. The whole joke is meant to be that he’s an unnoticed everyman living a secret life, when in reality he looks like he could bench press the family car. Still enormously entertaining though.
Like The Young Americans, this had all the gloss and energy of an American studio movie, just filtered through a very British, very mid-90s panic about ram-raiding, delinquency and disaffected youth.
We’re not going to be able to move for Beatles films when Sam Mendes’ Fab Four quadrilogy hits next year, but they’ll have to be good to top this early 90s take on the Hamburg years. And no one has ever out-Lennoned Ian Hart.
Feels like this was an attempt to turn Ray Liotta into a major mainstream movie star following Goodfellas. Never really happened for him in that way, which was probably for the best as he was such a great character actor.
Debra Winger more than holds her own next to Sir Anthony Hopkins in this eminently watchable tearjerker from Sir Dickie Attenborough.
Robert Altman’s follow-up to The Player featuring another all-star ensemble cast. Seems it was very well received at the time, although its sprawling overlapping stories didn’t really make much of an impression on 23 year old me.
There was definitely a period in the mid-90s where “based on the John Grisham bestseller” was basically its own genre. Big stars, prestige directors, glossy legal thrillers, loads of Washington corridors and morally compromised lawyers.
Spielberg reminding everyone he was capable of much more than blockbuster entertainment.
Back before Mr Bates vs The Post Office, it was films like this that turned miscarriages of justice into mainstream entertainment.
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Oliver Stone’s follow-up to JFK didn’t really resonate with 23 year old me. I was probably a bit emotionally immature for its heavy themes.
My overriding memory of this is an almost unrecognisable Sean Penn stealing every scene in a curly blonde wig. Anyone who’s seen One Battle After Another knows he’s still stealing scenes over 30 years later, albeit without the blonde wig.
You can’t beat a good lookie-likey film, and this is a good lookie-likey film.
Just think how good all Quentin Tarantino films could be if they were directed by Tony Scott instead of Quentin Tarantino.
London, 1993. Before Britpop, Trainspotting and all the Cool Britannia stuff. The Young Americans kicked things off with a slick, American-style thriller that, for the first time, made London look dangerous and cinematic. Plus that David Arnold/Björk soundtrack.
I remember this being the first John Woo/Chow Yun-Fat film to properly cross over in the west - or at least for me. I don’t think Woo ever bettered it with any of his big-budget Hollywood efforts.
I remember this being something of a surprise blockbuster at the time, and that reputation seems to have endured. I don’t recall being quite as taken with it myself.
Part of that late 80s/90s period when Hollywood made adult romantic comedies into genuine mainstream events rather than disposable streaming filler.
My main memory of this is that Ike Turner really didn’t come out of it very well. An uncompromising biopic from a time before music movies became carefully managed brand extensions. Something the recently released Michael could probably learn from.
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If they remade this now it would be an eight-part mini-series dragged out over weeks. Sydney Pollack shows that with a tight script and a great cast you can do it all in two and a half hours.
Clint Eastwood was 63 when he starred in this Wolfgang Petersen actioner, so there’s still hope for me.