Greatest Films of the 1990s
Greatest Films of the 1990s

Greatest Films of the 1990s
1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999


Title Screen Film Genre(s), Title, Year, (Country), Length, Director, Description

American History X (1998), 118 minutes, D: Tony Kaye

Armageddon (1998), 151/153 minutes, D: Michael Bay

Babe: Pig in the City (1998, Australia), 97 minutes, D: George Miller

The Big Lebowski (1998), 127 minutes, D: Joel Coen

A Bug's Life (1998), 95 minutes, D: John Lasseter, Andrew Stanton

Dark City (1998), 101 minutes, D: Alex Proyas

Happiness (1998), 139 minutes, D: Todd Solondz

The Idiots (1998, Fr./It./Denm./Netherlands) (aka Idioterne), D: Lars von Trier

Pi (1998), 85 minutes, D: Darren Aronofsky
Cult director Darren Aronofsky contributed this emotionally-exhausting Kafka-esque work - his debut feature film, shot in grainy, harshly bleached-out B/W. The dramatic thriller and cautionary tale told about the slow disintegration into madness of a paranoid, self-destructive, reclusive NYC mathematician-genius named Maximillian "Max" Cohen (Sean Gullette). Obsessed and preoccupied by numbers and with a homemade super-computer named Euclid, Max theorized like numerologists that there were numerical patterns in everything - including the stock market, the Torah, the Japanese game of "Go," and even the lost true name of God. He was on an endless search for a 216-digit number that might have mystical predictive properties. In his personal life, he was neurotically obsessed with repeating patterns (checking his small apartment's peephole, rinsing his eyes, and injecting drugs with an air compressor), and he suffered from severe migraines. When the pain became unbearable and he ended up totally insane, he drilled into his own temple and constantly-churning brain to seek peaceful bliss - the ending was a symbolic retelling of the metaphorical Icarus myth of flying too close to the sun.

Pleasantville (1998), 124 minutes, D: Gary Ross

Primary Colors (1998), 143 minutes, D: Mike Nichols

Ringu (1998, Jp.) (aka Ring), 96 minutes, D: Hideo Nakata

Run Lola Run (1998, Germany) (aka Lola Rennt), 81 minutes, D: Tom Tykwer
This relentlessly-thrilling, exhilarating, adrenalized hit film from Germany was about fate and destiny. There were three breath-taking and frenetic beat-the-clock attempts, largely shot in real time, of short flaming red-haired, tattooed Lola (Franke Potente) sprinting across Berlin to help her dependent, drug-dealing boyfriend Manni (Moritz Bleibtreu). In each instance backed by a techno-score, she ran to acquire replacement cash of 100,000 Deutsche marks (a drug trafficking pay-off) in 20 minutes so that he didn't have to rob a grocery store - and suffer the fateful consequences. The film's clever and gimmicky twist was that each scenario was slightly altered each time, drastically changing the consequences. The third run-thru had a happy ending, although the viewer had to ultimately ask, which scenario was real?

Rushmore (1998), 89 minutes, D: Wes Anderson

Saving Private Ryan (1998), 169 minutes, D: Steven Spielberg
Steven Spielberg's R-rated war epic opened, in its first half-hour, with the brutal, uncompromising, and graphic depiction of the landing at bloody Omaha Beach on D-Day (June 6, 1944). The film's aftermath revolved around the rescue of a downed paratrooper in the French countryside, Pvt. James Ryan (Matt Damon), whose three brothers had recently been killed in action, by a group commanded by veteran Captain John Miller (Tom Hanks in an Oscar-nominated role). Miller's platoon squad of seven stereotypical characters, brought together as a morale-lifting, propagandistic, PR effort for the military brass (Army Chief of Staff Gen. George C. Marshall (Harve Presnell)) and the homeland, included: hard-nosed Sgt. Horvath (Tom Sizemore), a frightened, militarily-inexperienced translator Cpl. Upham (Jeremy Davies), and five privates (Edward Burns, Giovanni Ribisi, Vin Diesel, Barry Pepper and Adam Goldberg) -- including a cynical hothead from Brooklyn, an introspective medic, a decent soldier, a religious Southern sharpshooter, and a tough Jew. The film was a critical and box office smash, and brought Spielberg his second Best Director Oscar (his first was for his other World War II era film, Schindler's List (1993)).

Shakespeare in Love (1998, US/UK), 122 minutes, D: John Madden

A Simple Plan (1998), 121 minutes, D: Sam Raimi

There's Something About Mary (1998), 118 minutes, D: Bobby and Peter Farrelly

The Thin Red Line (1998, Canada/US), 170 minutes, D: Terrence Malick

The Truman Show (1998), 102 minutes, D: Peter Weir

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