In the early rounds of 90’s Film Frenzy I provided y’all with as much information as I could about each movie, including the big stars we allegedly flock to the theater to see. That is all well & good, but I think there is much more that goes into one’s enjoyment of a film. The old adage is that little things mean a lot, and we shouldn’t overlook all the small things that can add up to a movie really being a fun experience. What’s the setting?? Is it a small town, big city, or foreign locale?? Don’t forget about music. I happen to think that a film’s soundtrack can be a huge contributor to its success. And while everyone focuses on the lead actors I feel like we should give some love to those with supporting roles and even the “character actors” who might only have a scene or two but make the most out of it. These are some of the things I am focusing on in the third round of this competition.
Forrest Gump vs. Die Hard: With A Vengeance
After receiving a first round bye Forrest Gump got past Presumed Innocent in Round 2 in a contrast of two films based on novels. As good as Presumed Innocent the movie is the book is way better. Conversely, I’ve heard mixed reviews of Forrest Gump the book, to the point that I’m afraid to read it and have it ruin my feelings about the movie. The book’s author actually wrote a sequel called Gump & Co., but thus far it hasn’t been translated to film and it probably won’t be, especially since Tom Hanks has expressed misgivings about portraying the title character again. My affection for Forrest Gump is such that I am amazed that it isn’t universally loved, but there are detractors out there. It’s 72% Rotten Tomatoes score is good, but nowhere near some other films in the competition that have ratings of 90% or more. Some folks think it is manipulative, overly sentimental, tiresome, & not as historically accurate as it could’ve been. There is no shortage of people who believe that Pulp Fiction or The Shawshank Redemption should’ve won the Academy Award for Best Picture as well as the Oscars for Best Actor & Best Director. I disagree with all of that. Even my father loves Forrest Gump, and trust me…Dad & I rarely share similar tastes in entertainment. Die Hard: With a Vengeance wouldn’t even be in this competition if it had 
been the final Die Hard film since trilogies are disqualified. Alas, two additional (subpar) movies were made in the series with one last hurrah allegedly on the way, so Vengeance gets its well-deserved kudos. The difference between this third entry and its predecessor…1990’s Die Hard 2…is the addition of Samuel L. Jackson as Detective McClane’s reluctant sidekick. It was Jackson’s follow-up to Pulp Fiction and immediately preceded his role in A Time to Kill, meaning he was on a pretty good roll at the time. The filmmakers knew they had to mix things up in the third film because Die Hard 2 was a fairly tepid rehash of the original premise. Jackson breathes new life into the story, injecting additional humor & attitude. He & Bruce Willis play off of each other quite well.
The Verdict: Forrest Gump. Though it made it into the competition thru a loophole, the fact is that Vengeance isn’t nearly as great as the original Die Hard. Sequels are tough. They (usually) get made because the first movie was so good and made a lot of money, but that will always mean unfair comparisons right from the start. Forrest Gump is like a golfer that always finishes second in major tournaments…as good as it is there are people all too willing to point out its flaws. But whether or not you believe it deserved all the accolades it received back in 1994, the fact is that being the #1 film at the box office & winning a half dozen Academy Awards isn’t something I can overlook, especially when it comes to a movie that I stop everything to watch almost every single time it is on TV.
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The Fugitive vs. The Wedding Singer
This is a tough one. I love The Wedding Singer because of its many nods to 80’s pop culture that stir up memories of my long lost youth. The soundtrack is fantastic, with songs from the likes of Culture Club, The Police, Elvis Costello, The Thompson Twins, Billy Idol (who also has a fun cameo in the movie), Spandau Ballet, Hall & Oates, The Cure, Kool & The Gang, Bruce Springsteen, and a few others. That’s quite a lineup. I also want to give a nod to brief appearances by Jon Lovitz & Steve Buschemi. I normally find Lovitz unamusing and mostly dreadful, but his scene in The Wedding Singer is actually quite entertaining. I’m kind of surprised that someone didn’t come up with the idea of a sequel starring Buschemi & Lovitz as new wedding singers. It is my understanding that the film was adapted into a stage musical (kind of a reverse Rock of Ages situation), and I must say that I’d totally go see that show. The Fugitive got past Joe Versus the Volcano in Round 2, which broke my heart because I feel like JVtV is a profound & underappreciated gem. Conversely, appreciation abounds for The Fugitive, with a damn near perfect 96% score from the critics and seven Oscar nominations. I’ve watched The Fugitive countless times, but there is a 
scene in which Dr. Kimble finds himself in the stairwell of a huge building facing off against Lt. Gerard before narrowly escaping thru downtown Chicago’s St. Patrick’s Day Parade, and no matter how many times I’ve seen it I still feel a palpable sense of drama and tension. Actually there are a few scenes like that, and when a filmmaker can still make the viewer buy into the suspense even when we’ve seen it a bunch of times and know exactly what’s going to happen…well folks, that’s what I call great entertainment.
The Verdict: The Fugitive. These choices are becoming harder & harder, but sometimes I’ve got to pick nits. Ninety percent of the time I’ll lean toward an easygoing comedy, and The Wedding Singer gets bonus points for fantastic music & delightful Sandler/Barrymore chemistry. However, The Fugitive is special. It creates drama without a lot of gratuitous violence, and there is really only one big, explosive action sequence. The rest is just brilliant writing and superb performances.
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Billy Madison vs. Office Space
Back to back Sandler…which nowadays would be a cringe worthy waste of time, but two decades ago that wasn’t the case. Unlike The Wedding Singer, which is a more subdued & pleasant performance, Billy Madison is full on Sandler being Sandler, playing the kind of infantile ne’er-do-well that has largely defined peoples’ perception of him as an actor. This film & Happy Gilmore will always be the first two things that pop into the average cinephile’s mind when Sandler is the topic of conversation, and I don’t think that’s such a terrible thing. Fans of The West Wing will appreciate Bradley Whitford’s appearance as devious businessman Eric, Billy’s nemesis. Christmas film aficionados will delight in seeing A Christmas Story’s Old Man…Darren McGavin…as Billy’s wealthy yet exasperated father. I’m somewhat surprised that the vivacious Bridgette Wilson (wife of tennis legend Pete Sampras) never became a big star, but Billy Madison & 2001’s The Wedding Planner are among her few career highlights, and she hasn’t done any notable acting work since 2008. Office Space got a first round bye before beating out Spielberg’s expensive flop Hook in Round 2. According to my limited research the definition of a cult classic is…flexible…but typically focuses more on obscure & unconventional films shunned by the mainstream. Office Space would seem to qualify since it made less than $11 million during its theatrical run. In comparison, the 
budget for 1999’s highest grossing film… Star Wars: Episode I – The Phantom Menace…was over $115 million and it made $431 million. But Office Space would find new life on home video and come to be appreciated by anyone who has ever worked in an office environment, which is obviously a lot of people. It is one of the most quotable films of the 90’s, and has characters & situations that are very relatable. Jennifer Aniston was & is the film’s biggest star since she was right in the middle of her run on the hit TV show Friends at the time and has become even more well-known in the ensuing years, but other cast members like Ron Livingston, Stephen Root, Gary Cole, Diedrich Bader, & John C. McGinley have had solid careers (mostly on television). Like most of the general public movie critics pretty much ignored Office Space at first, but once it gained traction and reviews were written they were mostly favorable.
The Verdict: Office Space. I’ve had several people tell me over the years that they thought I’d enjoy popular sitcom The Office, the original British incarnation of which premiered in 2001 and surely had to be somewhat influenced by the movie. However I must admit that I’ve never watched either version of The Office because I’m pretty old-fashioned and prefer multi-camera sitcoms with a live studio audience & laugh track…I just can’t embrace single camera sitcoms like The Office, Modern Family, Young Sheldon, & It’s Always Sunny In Philadelphia. I know I know…I’m probably missing out. At any rate, I can get my fix of corporate culture humor anytime by watching Office Space, and that’s good enough for me.
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Grumpy Old Men vs. Father of the Bride
There’s a Twix commercial that’s getting a lot of play on TV these days that amusingly compares ghosts & spirits, janitors & custodians, 
and morticians & undertakers, and these two movies could merit a similar appraisal. Both are amiable comedies that did well enough to spawn affable sequels. Both star older comedic actors instead of hot young Hollywood flavors of the month. Both did surprisingly well at the box office, while critics liked but didn’t love both films. I absolutely adore both films and will watch them whenever they’re on television, and sometimes I’ll stream one or the other when I’m bored & in the mood for a good flick. These are what I call comfort food movies. They warm the cockles and make me smile, which is all I really need a movie to do.
The Verdict: Father of the Bride. I have decided against the cop out of a tie and will let the numbers be a tiebreaker. Father of the Bride did slightly better at the box office and the critics like it just a skosh more, so I defer to the will of the people. Personally I think both films are winners.
Welcome back to Round 2 of 90’s Film Frenzy!! We went thru the 
Tom Hanks followed his Oscar winning role in Philadelphia with Forrest Gump, for which he won a second consecutive Academy Award for Best Actor. Gump is based on a 1986 novel by Winston Groom. I’ve pondered the idea of reading the book because I am generally inclined to believe a book is usually better than the movie, but most of the time the film closely follows the original story and the reason the book is better is a matter of subplots & nuance that might have been cut from the movie. However, it is my understanding that Forrest Gump the film completely alters the tone and character development of Forrest Gump the book, so I have been hesitant to read it lest it diminish my affection for the movie. At any rate, the film essentially tells diverging stories of two childhood friends who grew up in 1950’s Alabama. The titular Forrest is what we might now call a “special needs student” or a “low IQ learner”, but he defies the odds by graduating from college, serving in Vietnam, becoming an international ping pong star, meeting multiple U.S. Presidents, and eventually co-founding a successful shrimping business. The love of his life…Jenny…isn’t so lucky. She is abused by her father at a young age, works as a stripper, gets involved with drugs, becomes a hippie, & eventually dies from a mysterious disease (likely either AIDS or hepatitis). Forrest Gump shows these two lives diverging & intersecting at various times, and is unique in its ability to make the viewer chuckle one moment and shed a tear two seconds later. It actually won six Academy Awards, including Best Director (Zemeckis), Best Adapted Screenplay, and Best Picture (beating out Pulp Fiction and The Shawshank Redemption). It was the #1 film at the box office in 1994 and holds a 72% rating on Rotten Tomatoes. The Boston Globe called it “a one-of-a-kind treat”. The NY Daily News had a really interesting take, observing that “what looks at first like a bright, bouncy, & sentimental 
trip through the baby-boom era turns out, on closer inspection, to be a dark and driven work, haunted by violence, cruelty, & a sense of the tragically absurd” but goes on to say that “where most American movies of the ’90s strike a single note over & over, Forrest Gump is a symphony” that is “an original and deeply moving experience”. People Magazine thought it a “plodding, heavy-handed parable”, while Rolling Stone called it a “heart-breaker of oddball wit & startling grace” and our old pal Ebert simply referred to it as “a magical movie”. Presumed Innocent got past Honeymoon in Vegas in Round 1 because an 87% Rotten Tomatoes score is pretty hard to overlook and I really loved the book back in the day. Harrison Ford is a tremendously talented actor that shouldn’t be pigeonholed as Han Solo, Jack Ryan, or Indiana Jones. Some of his best work has been in films that didn’t get any sequels.
Hey…more Harrison Ford!! Back in the mid-60’s ABC aired four seasons of a drama about a doctor wrongly convicted of murdering his wife and his vagabond lifestyle as he eluded law enforcement while searching for the one-armed man that he claimed was the real killer. Dr. Richard Kimble would move from town to town under an assumed name, work at various menial jobs, and inevitably risk being caught to help someone in need. The 1967 series finale was the most watched television show in history until the 1980 episode of Dallas during which the answer to the question “Who shot J.R.??” is revealed. The Fugitive aired on television long before I was a gleam in my Daddy’s eye, but at some point in the 80’s one channel or another began showing reruns and I was hooked. The big screen adaptation condenses the time frame and changes a few minor details, but retains the spirit of the original premise. It was the third highest grossing film of 1993, has a stellar 96% rating on Rotten Tomatoes, and was nominated for seven Academy Awards, though the only one it took home was Best Supporting Actor for Tommy Lee Jones. Best Picture went to Schindler’s List, which is exactly the kind of thing one would expect from the Oscars, while Jones beat out Leonardo DiCaprio (What’s Eating Gilbert Grape?) and John Malkovich (In the Line of Fire) for his award. Joe Versus the Volcano benefitted from a total cop out from Yours Truly in Round 1, tying Hook and therefore moving 
forward in the competition. Here’s the thing about JVtV…if you watch it as if it is just a silly rom-com it’ll be slightly weird, mostly enjoyable, but ultimately forgettable. However, if you recognize the symbolism, value the metaphor, and truly grasp the existential subtext it will blow your freakin’ mind. I kinda sorta understood it on my own, but there is 
Adam Sandler was a cast member on Saturday Night Live for the first half of the 1990s. He had bit parts in barely notable films like Shakes the Clown, Airheads, & Mixed Nuts while he was also doing SNL, but immediately following his departure from television he hit the ground running with Billy Madison, the story of a lazy & dim-witted 20-something coasting thru life in a state of arrested development and living off of his father’s hard earned wealth. When dear old Dad decides that one of his staff members would be more equipped to take over his business someday Billy objects, only to find out that the reason he made it thru grade school, middle school, & high school was because his father bribed teachers to pass him. Billy convinces his father to change his plan of succession on the condition that the young man complete twelve grades of school within six months. Hilarity ensues. Yes it is a bizarre & inane premise. Yes the critics hated it (46% on Rotten Tomatoes). Your 75 year old father probably doesn’t get it, and most teenagers won’t either, 
because Billy Madison is a very specific film for a smallish target audience. But more than two decades later those of us that got a chuckle out of Sandler’s antics back then are still watching Billy Madison now. It was the 65th highest grossing film of 1995, but a lot of movies that made more money that year…Major Payne, Rob Roy, Judge Dredd, Man of the House, The Net, Sabrina, Outbreak…have been forgotten, while television continues to air Billy Madison and people continue to watch. The American President slipped past Boogie Nights in Round 1 because I just can’t wrap my mind around a drama about the porn industry, and because it eventually sparked a greater legacy called The West Wing, one of the finest television shows of the past quarter century. Michael Douglas is an underrated actor and Annette Bening can be compelling in the right role. They both shine in lighthearted fare that allows them to smile & laugh.
Jack Lemmon & Walter Matthau starred in eleven movies together, the most famous of which is probably 1968’s The Odd Couple, an adaptation of Neil Simon’s stage play from a few years earlier. The play & film would eventually find its way to television in a series starring Tony Randall & Jack Klugman that ran thru the first half of the 1970s. Nearly three decades after their greatest success together the pair reunited in this charming comedy about two old geezers fighting over a woman. John Gustafson & Max Goldman are next door neighbors in the frozen tundra of Wabasha, MN. They spend their days fishing, drinking beer, watching TV, and insulting one other. We learn that they’ve known each other all of their lives but battled it out over a woman named Mae decades ago. Mae apparently chose John, but was unfaithful and eventually divorced him. Max ended up with a better woman (now deceased), but still harbors resentment over the one that got away. When a new lady moves in across the street…beautiful, slightly younger, & full of the spirit that Max & John lost long ago…the old rivalry finds new life. Grumpy Old Men was the 14th highest grossing film of 1993, ahead of Cool Runnings and Demolition Man but behind Free Willy and The Pelican Brief. Rotten Tomatoes gives it a score of 62%, with the NY Times cautioning “don’t expect their bickering to be on the level of Neil Simon and you won’t be disappointed”, Ebert calling it “too pat and practiced to really be convincing”, the Washington Post advising that “if you poke through the cheap sentimentality you’ll find a worthy picture somewhere”, and Entertainment Weekly observing that “the shallow pratfalls hide richly funny observations”. Mr. Saturday Night upset 
Scream in the first round because horror movies just don’t frost my cupcake. If Billy Crystal were an employee at an average 9-5 business his boss would describe him as solid, dependable, trustworthy, & proficient. In Hollywood terms that means that he’s rarely brought up in discussions about the biggest, hottest, most talented top box office stars, but he has carved out a nice career that’s lasted several decades and produced some quality entertainment. Mr. Saturday Night is unlikely to appeal to anyone younger than 35, which obviously has a negative impact on the kinds of numbers that Hollywood deems important. If it were made today instead of 25 years ago it might be direct-to-video or more likely an original production of Netflix or Hulu, which would be fine. That’s the world we live in, right?? As a writer I recognize the movie’s flaws but also have to give kudos to some outstanding performances. Crystal is known to be a big baseball fan, and in that sport’s parlance I’ll call this movie a single stretched into a double thru good base running, but there is no one on base, two outs, and the next batter strikes out, rendering the previous play somewhat futile.
See, I told you!! Billy Crystal is still in it to win it dawg!! City Slickers got past Hocus Pocus in Round 1 because who can deny the trifecta of an Academy Award, Crystal, and a 90% score from the critics?? Comedy is tricky. We like to divide everything into categories and stack things into neat little piles, but there are so many different kinds of comedy. When it comes to movies there are some that are just a jumbled mess that can’t decide what they are or the idea they are trying to convey. To my understanding the reason for that is oftentimes because so many writers, producers, directors, actors, & suits have tampered with the product in pre-production that by the time we see it on the big screen it’s like consuming a dish that dozens of cooks have had a hand in making without really communicating with one another, to the point that no one knows what the hell we’re eating. Conversely, great films have been infused with different flavors that are expertly blended, resulting in a pleasurable outcome. City Slickers is a cut above so many of the idiotic comedies that seem to find their way to our local cineplex in the 21st century. It actually has a point, with well-written characters that develop thru the story. None of the actors are the kind of popular hot commodities that seem to be in a different movie every other month, but the performances are tremendous and the cast gels together nicely. A sequel…called City Slickers II: The Legend of Curly’s Gold…was made a few years later, but the magic was gone, and it didn’t help that Jon Lovitz joined the cast. Lovitz ruins everything. Father of the Bride is a remake of a 1950 film starring Spencer Tracy and Elizabeth Taylor. Steve Martin plays the beleaguered father of a 20-something daughter who has just announced her engagement. Despite 
Dad’s dreams of a simple backyard BBQ wedding the bride-to-be and her mother have a different idea and hire a hilariously weird wedding planner. Dad’s a cheapskate who isn’t emotionally ready to let his little girl go, so the whole process is torturous & expensive for him, but everything works out just fine in the end. FotB was 9th highest grossing film of 1991 and has a solid 71% score on Rotten Tomatoes. In comparing the remake to the original the NY Times said “the material has been successfully refurbished with new jokes and new attitudes”. Ebert called it “a movie with heart” with “little moments in it when Martin is deeply moved”. Entertainment Weekly liked the “feel-good finale’, but wasn’t overly impressed by “the pat, amiable, and rather dawdling farce that preceded it”.
Office Space is the very definition of a cult classic. No one paid attention to it in theaters. It ranked 121st at the box office in 1999. 121st!! Something called The Adventures of Elmo in Grouchland made more money. I knew nothing about it until 3 or 4 years later when a co-worker kept quoting it and told me how awesome it is. At the time he & I both worked at a place strikingly similar to the business depicted in the film. Actually I think anyone who has ever worked in any kind of office can see similarities between their reality and what we see onscreen, which is a huge reason Office Space became such a big hit on home video. The cast is filled with character actors that have never done much beyond supporting roles on both television & film, with the lone exception being Jennifer Aniston. In 1999 she was halfway thru her run as Rachel on Friends, and I guess she was supposed to help Office Space make money, but her role is smallish and not at all why people love the movie. Rotten Tomatoes gives it a 79% score, though most of those reviews were done in hindsight, long after it had gained traction and gained popularity. I’m going to go out on a limb and assume that very few critics even bothered to watch it or write a review back in 1999. The Washington Post called it “a knowing, somewhat slight, often hilarious sendup of cubicle culture” that “exploits the yuks in the chronic misery of those routinely exposed to the monotonous gray of corporate minds and company décor”. Variety said it is “frequently uproarious”, Ebert observed that “movie’s dialogue is smart”, and the Village Voice dubbed it “a surprisingly good-natured comedy about the suppressed rage and paranoia of 
unappreciated employees”. As a perpetually underappreciated employee I must agree. Hook benefitted from a first round cop-out tie from me, though with a cast that includes Robin Williams, Dustin Hoffman, & Julia Roberts, all directed by Steven Spielberg, one would think it shouldn’t have to rely on such benevolence. I’ve told this story before, but I fondly recall seeing Hook in an old historic theater in downtown Huntington, WV. I was with a few of my fraternity brothers and we were the only people there, which began my lifelong affection for an essentially empty theater versus being in a crowded one. At any rate, that memorable viewing experience combined with my fondness for Williams has combined to elevate Hook a bit higher in my heart & mind than it probably deserves.
When did I become old enough that the 1980’s could be deemed proper fodder for nostalgia?? Apparently the answer to that question is 1998. Sandler followed-up his successful hits Billy Madison and Happy Gilmore with a story about Robbie Hart, an aspiring musician who lives with his sister & her family in New Jersey. Robbie’s dreams of becoming a rock star seem to have faded as he has settled into an apathetic existence as the leader of a cover band that performs at weddings, birthday parties, & bar mitzvahs. His girlfriend has grown weary of this lack of vision & ambition and ditches him at the altar on their wedding day. Robbie has a hilarious yet pitiful breakdown, but the clouds begin to lift when he meets Julia, a waitress at the catering hall where he often performs. If rom-coms were sports teams Sandler & Barrymore would be great backups coming off the bench behind starters Tom Hanks & Meg Ryan. They’ve done three movies together and this first collaboration is the best. It was the 24th highest grossing film of 1998 (behind Shakespeare in Love but ahead of Halloween: H2O) and holds a 68% score on Rotten Tomatoes. The L.A. Times glowingly called it “a sparkling romantic comedy…the kind that glides by so gracefully & unpretentiously that it’s only upon reflection that you realize how much skill, caring, and good judgment had to have gone into its making”, while Ebert opined that “one of the sad byproducts of the dumbing-down of America is that we’re now forced to witness the goofy plots of the 1930s played sincerely, as if they were really deep”. I’m not really sure exactly what that means, but it makes me wonder what Roger Ebert…who died in 
2013…would think of some of the absolute crapfests that besmirch theaters these days, because The Wedding Singer is Citizen Kane in comparison to many of them. Edward Scissorhands got past Mallrats in Round 1 because I just don’t understand what the big deal is about Kevin Smith. It’s hard to categorize Edward Scissorhands, but I think that’s part of its charm. It appeals to different people for various reasons, and all of those perspectives are valid. The film is visually stunning, with the fascinating contrast between Edward’s gothic existence and the colorful 50’s vibe of the human neighborhood he is brought to, and as a person with a disability who has oftentimes found it challenging to fit into “normal” society I appreciate that theme. Burton squashed the idea of a sequel a few years ago, and one can only hope he doesn’t ever let anyone do a stupid remake.
Bruce Willis has now made five Die Hard films, with one final swan song allegedly on the way (reportedly a prequel). I don’t think it’s possible to surpass the first one, but Vengeance gives it a heck of a try. Seven years after the dramatic Christmas party at Nakatomi Plaza and five years after another memorable yuletide at an airport Detective John McClane is again estranged from his wife, suspended from the NYPD, and apparently an alcoholic. But then a terrorist threatens to blow up a school and specifically requests McClane’s involvement in the case, which involves a cat & mouse game of solving riddles throughout The Big Apple. McClane’s impromptu partner this time is a Harlem store owner named Zeus, who inadvertently gets pulled into the action. The criminal turns out to be the brother of the bad guy from the first film, and there is a similar twist as far as what his motives are. Jackson was a welcome addition to the franchise and breathes a lot of life into the story. Vengeance was the tenth highest grossing film of 1995 but holds an unimpressive 52% rating on Rotten Tomatoes. Variety said that it “degenerates into an improbable & confusing series of chases and an overly involved heist that takes far too long to set up”, Rolling Stone called it “a tense, terrifically funny action dazzler”, Ebert referred to it as “a wind-up action toy…cleverly made and delivered with high energy”, and 
Entertainment Weekly thought it was “a more racially charged Lethal Weapon”, opining that the mad bomber “toys with McClane like a villain on the old Batman TV series”. Twister easily beat Very Bad Things in Round 1 but now faces a stiffer challenge. Time Magazine harshly observed that “you know a movie is in trouble when a cow provides its only moment of authentic human interest”. Variety said that the movie “conveys the overwhelming impression of a mechanical entertainment, a very high concept in which the characters and their problems seem like utterly arbitrary creations”. The NY Times thought that “science aside… it works as escapism even if you do know enough to come in out of the rain”. Goodfellas is a mob movie far different from anything we saw in The Godfather films. Based on the story of real life mobster Henry Hill, Goodfellas is a grittier and less cinematic story than The Godfather, but I suspect that it’s a more accurate portrayal of mob life. The cast is first rate, and the movie was nominated for a half dozen Academy Awards, including Best Picture and Best Director. However, the only Oscar it took home was Best Supporting 
Actor for Pesci. Goodfellas was the 26th highest grossing film of 1990, behind Problem Child, Days of Thunder, and the much maligned Godfather Part III, but ahead of Rocky V, Predator 2, and Ernest Goes to Jail. It has a near perfect Rotten Tomatoes score of 96%. The NY Daily News said that “Scorsese succeeds in smashing all the foolishly romantic myths about the mob with this shocking, vigorously honest portrait”, Rolling Stone observed that it “bristles with violent passion, howitzer wit, and virtuoso style”, and Variety dissented from the majority by calling it “colorful but dramatically unsatisfying”. Our buddy Ebert didn’t hold back when he said that “no finer film has ever been made about organized crime…not even The Godfather”, which is where I have to draw the line. I have no doubt that Goodfellas is more authentic, but Variety hit the nail on the head by calling it dramatically unsatisfying. The old saying is that truth is stranger than fiction…but is it more entertaining?? I don’t think so.
I am not a “prisoner of the moment” kind of guy. I’m 45 years old so I’m not an old fogey, but neither am I hip, cool, woke, with it, or worried about keeping up with the crowd. Oftentimes I am late to the party when it comes to movies, music, television, books, & various pop culture trends. Perhaps I’m a bit close-minded and stuck in my ways, but generally I like what I like and that’s just fine with me. It isn’t unusual for me to pass over something that has the masses excited, only to decide months or even years later to give it a whirl. I suppose I figure that if people are still talking about something after all that time then maybe it’s legit. At any rate, if you’re new to 
June of 1995 was a rough month for me (I’ll spare you the details), so I didn’t see Apollo 13 on the big screen, but oh how I wish I would have because I’m sure it was even more impressive. However, in the years since I have watched it dozens of times, and it just seems to get better with age. I am too young to remember the real life Apollo 13 disaster, but I have developed an interest in reading about the space program and don’t think that knowing how the story ends detracts from one’s enjoyment of the movie. I have no idea what is in the job description of a film director, but it feels like Ron Howard made a lot of correct decisions, starting with the outstanding cast. Apollo 13 was the third highest grossing film of the year, behind only Toy Story & Batman Forever and ahead of Jumanji & Waterworld. It holds a 95% score on Rotten Tomatoes, with the NY Daily News predicting that “Tom Hanks is on his way to becoming the American Everyman…an exemplar of boyish goodwill and quiet moral force”, People Magazine opining that “tense as the best murder mysteries and as kinetic as the most exciting action films…this space adventure is as thrilling as movies get”, and the Washington Post observing that the movie “lifts off with a payload of the right stuff: courage, can-do, grace under pressure, & other qualities derided as machismo by some but 
applauded as old-fashioned values by others”. Apollo 13 was nominated for nine Academy Awards and won two. Only the Lonely is an underrated gem. I’m a big John Candy fan, and seeing Maureen O’Hara onscreen in her twilight years nearly a half century after her turn in Miracle on 34th St. is a real treat for aficionados of that Christmas classic, even though she portrays an entirely different kind of character. At first glance this seems like an odd potpourri of talent, and amongst the more well-known work of all involved it kind of gets lost in the shuffle, but it’s definitely not a bad way to spend a couple of hours.
In the past two decades Damon & Affleck have become ubiquitous in Hollywood, starring in everything from thrillers & rom-coms to action flicks & superhero franchises. No one will ever list them among the finest actors of their generation, but kudos must be given for carving out solid, lasting, & somewhat impactful careers for themselves. Back in the mid-90’s they were barely blips on the radar, with Damon having a pivotal yet small role as the titular character in Saving Private Ryan, and Affleck best known as part of Kevin Smith’s ensembles in Dazed & Confused and Mallrats. But then the two best buddies co-wrote a screenplay about a troubled genius working as a janitor at MIT, and that film received nine Academy Award nominations (including Best Picture), winning two of them (Best Supporting Actor for Williams and Best Original Screenplay for Damon & Affleck). The rest is history. Good Will Hunting was the 7th highest grossing film of 1997 and holds an extraordinary 97% rating on Rotten Tomatoes. USA Today thought that Damon “delivers the year’s No. 1 breakthrough performance”, while 
our old pal Ebert said that “the outcome is fairly predictable; so is the whole story, really” but added “it’s the individual moments, not the payoff, that make it so effective”. Big Daddy bested Basic Instinct in the first round because when Sandler is funny he’s more entertaining than ice picks & Sharon Stone’s lady parts. When you watch some of the movies that Sandler has starred in during the past decade Big Daddy looks like Citizen Kane in comparison. I understand that his comedy is an acquired taste, but I think this is a film that probably has a slightly broader appeal than most of his other stuff.
Teen sex comedies are a tried & true movie trope, with some being funnier & more memorable than others. It seems like every generation has one such film that they claim as their own. American Pie finds a group of high school seniors making a pact to get laid on prom night. Of course the group of teens has personalities of varying quirks & levels of hilarity and finds themselves in amusing situations. It was a surprise hit in the summer of ’99, ending the year as the 20th highest grossing film. It made stars out of most of its young cast and spawned several sequels, none of which lived up to the mirth & freshness of the original. Rotten Tomatoes gives 
American Pie a decent score of 60%. The Cincinnati Enquirer called it “cheap soft-core porn masquerading as comedy”, the L.A. Times complimented its “unusual ability to mix bodily functions humor with a sincere & unlooked-for sense of decency”, our pal Ebert called it “cheerful, hard-working, & sometimes funny”, and USA Today compared it to “the C student who later makes a bundle then comes back to endow the school”. I assume that was meant as a compliment. Armageddon got past Clerks in Round 1, which I’m sure would tick off erudite film aficionados who think Kevin Smith is freakin’ genius.
You’ve Got Mail was the third & (thus far) final Hanks/Ryan collaboration. It is very loosely based on the 1940 Jimmy Stewart rom-com The Shop Around the Corner, taking the premise of two people who can’t stand each other in “real life” but have fallen in love thru anonymous correspondence and updating it to the 20th century. Ryan is the proprietor of a quaint little children’s book store in NY City whose business goes under when a big box chain bookstore moves into the neighborhood. What she doesn’t realize is that the owner of the evil chain store is also the man that she met in an online chat room and has been having an ongoing e-mail “relationship” with for several months. Hanks & Ryan are obviously charming, but kudos to a supporting cast that includes Jean Stapleton (All in the Family’s Edith Bunker), Greg Kinnear, Parker Posey, Steve Zahn, Heather Burns, & Dave Chappelle. You’ve Got Mail was the 14th highest grossing film of 1998 and holds a 69% 
score on Rotten Tomatoes. Ebert observed that “Ryan and Hanks have more winning smiles than most people have expressions”, the Dallas Morning News said that it “provides a perfectly cuddly night at the movies”, and Variety called it a “winning romantic comedy and great date movie”. The Firm defeated My Best Friend’s Wedding in Round 1. Rotten Tomatoes gives it a 76% rating, with Newsweek crediting it for “restoring faith in Hollywood professionalism”, Variety saying that it is “a smooth adaptation of John Grisham’s giant bestseller”, and Rolling Stone observing that “the book moved at turbo speed…at two and a half hours, the movie crawls”.
It’s Robin Williams vs. Robin Williams!! Patch Adams got by Black Sheep in Round 1. It was the tenth highest grossing film of 1998, ahead of Mulan and The Truman Show but behind Rush Hour and Godzilla. Rotten Tomatoes gives it a hideous 23% rating, with Ebert opining that “it extracts tears individually by liposuction, without anesthesia”, Entertainment Weekly calling it “offensive and deeply false ‘inspirational!’”, and CNN dubbed it a “blubbering ass-kiss of a movie”. It is my opinion that such reviews are a bit excessive, but then again I am one who tends to enjoy what others derisively accuse of being sentimental. It is tempting nowadays for Robin Williams fans to deify the man and his career, but the truth is that his movies were hit & miss. I don’t think Patch Adams is as bad as the critics seem to believe, especially with a charming supporting cast that includes Philip Seymour Hoffman, Michael Jeter, & the lovely Monica Potter, but when the real life subject of the film doesn’t particularly like his own biopic it is an indication that some poor decisions may have been 
made along the way. Aladdin is another big screen animated classic from Disney, which seems to specialize in such movies. It is based on one of the stories from the classic One Thousand and One Nights, a collection of Middle Eastern folk tales. Aladdin is a young homeless boy who falls in love with Princess Jasmine, comes into possession of a magic lamp, and is granted three wishes by The Genie that is released from the lamp. It’s a familiar story to most of us, but is told with particular panache in this adaptation, especially with Williams giving voice (and loads of personality) to The Genie.
Clueless got past Empire Records in the first round based largely on its pop culture cache back in the day. If this competition was only about which film represents the 1990’s best I’d have to say that Clueless would be a prohibitive favorite. It was a surprise hit in the summer of 1995, and inspired trends in fashion & slang. Entertainment Weekly said of the main character Cher that “there’s such a gaping discontinuity between her physical beauty and her vacant, gum-snapping personality that she’s like a walking advertisement for everything that’s right & wrong with America”, something that I could say about numerous women I have encountered in my own life. Variety called it “a fresh, disarmingly bright, and at times explosively funny comedy” and the San Francisco Chronicle observed that “by the time you skip out of the theater you’ve had a great time but can’t remember a single reason why”. The story is loosely based on Jane Austen’s 1815 book Emma, but I must admit that’s one classic novel that I’ve never read so I cannot properly compare the two. Much like Scrooged it took me awhile to give Groundhog Day a whirl because for the longest time I just didn’t get the whole Bill Murray thing, but rest assured I most certainly do
now. On its surface Groundhog Day is a simple comedy about a misanthropic weatherman who keeps waking up on the same day (February 2…hence the title) over & over & over again. But it’s so much more than that. Groundhog Day was the 13th highest grossing film of 1993, just ahead of Grumpy Old Men and behind Philadelphia (which won Tom Hanks his first Oscar). It has an incredible 96% Rotten Tomatoes score, with People Magazine calling it “surprisingly inventive”, Empire Magazine saying it is “comic perfection”, and Ebert opining that it is “lovable and sweet”. All of those comments are accurate, but I’d be interested in digging thru all of the reviews to see if any critic actually “got it”, to find out if anyone truly understands the movie on a deeper level.
It’s Jim Carrey vs. Jim Carrey!! Before Ace Ventura hit theaters in February of 1994 Carrey was primarily known as a stand-up comic and one of the stars of Fox’s hit variety show In Living Color. But that all changed with this strangely hilarious tale about a detective specializing in animal cases taking on the task of finding the missing mascot for the NFL’s Miami Dolphins. It was 16th highest grossing film of the year, behind Maverick, The Client, & Disclosure but ahead of Legends of the Fall and D2: The Mighty Ducks. Rotten Tomatoes gives it a score of 46%, which isn’t surprising since it is precisely the sort of goofy comedy that pompous critics just don’t get. Entertainment Weekly compared Carrey’s performance to “an escaped mental patient impersonating a game-show host”. The NY Times said that the movie “has the metabolism, logic, & attention span of a peevish 6-year-old”. Roger Ebert said that he viewed the film as “a long, unfunny slog through an impenetrable plot”. Real folks look at Ace Ventura and see rapper Ton Loc (Funky Cold Medina) as a police detective and NFL quarterback Dan Marino in his acting debut and understand that this is a silly farce intended to make folks laugh, something at which it succeeds. 
The Mask defeated PCU in the first round based mostly on its cultural impact. Critics like it a lot more than Ace Ventura, with Rotten Tomatoes giving it a score of 77%. The Philadelphia Inquirer called it “an amazing fusion of physical comedy and state-of-the- art cinema illusion”. The L.A. Times said Carrey “has a bright and likable screen presence, a lost puppy quality that is surprisingly endearing”. Variety thought the film was “adroitly directed…viscerally & visually dynamic and just plain fun”. Both of these films received sequels, but neither Ace Ventura: When Nature Calls and Son of the Mask (which had neither Carrey nor Diaz in its cast) failed to live up to their predecessors.
In 1993 Leonardo DiCaprio was barely a blip on the pulp culture radar. He had joined the cast of television sitcom Growing Pains during its final season in 1991, and had bit parts in a few movies, but Gilbert Grape was his coming out party. The titular Gilbert is actually portrayed by Johnny Depp. What is eating at him is having to be the main caretaker of his morbidly obese mother, mentally challenged brother, & two sisters after his father had committed suicide a few years earlier. DiCaprio plays Arnie, the mentally challenged brother, and Arnie is a real handful for Gilbert. Complicating things further is a fetching young lady who arrives in town and catches Gilbert’s eye. Luckily she takes a shine to Arnie which makes things a bit easier. Gilbert Grape is a touching family drama chockful of great 
performances. It was only 111th highest grossing film of 1993, but it garnered an 89% rating on Rotten Tomatoes and got DiCaprio his first Oscar nomination for Best Supporting Actor (he lost to Tommy Lee Jones for his role in The Fugitive). Newsweek complimented Depp’s performance, but predicted that it was DiCaprio who “will take your breath away”. Time summarized the premise as “true heroes are those people who day by day must tend to misfits, and do so with love, tenacity, and a determination not to go terminally sour in the process”. Ebert called it “one of the most enchanting movies of the year”. Julia Roberts’ coming out party was Pretty Woman, the story of a kindhearted & good-natured prostitute hired to be a wealthy businessman’s arm candy for a few days who turns out to be so bewitching that he falls in love with her. It was the 4th highest grossing film of 1990, behind Home Alone but ahead of Total Recall and Die Hard 2. Rotten Tomatoes gives it a rating of 62%, with the NY Times calling it “something special”, Ebert proclaiming it “the sweetest and most openhearted love fable since The Princess Bride”, and the Washington Post dubbing it “a slick, instantly & entertainingly digestible Cinderella fable”. Roberts was nominated for an Academy Award for Best Actress but lost to Kathy Bates for her role in Misery. Batman Returns easily beat Showgirls in Round 1. It was the third highest grossing film of 1992, behind only Aladdin and Home Alone 2. Rotten Tomatoes gives it a score of 81%. The L.A. Times said that “Burton’s dark, 
melancholy vision is undeniably something to see…but it is a claustrophobic conception, not an expansive one, oppressive rather than exhilarating, and it strangles 
You have likely noticed that I consistently use two metrics in my evaluation…box office and critic reviews. I utilize 
If there is one film in this competition that might qualify as “quintessential 90’s” I think Reality Bites fits the bill. It’s right there in the title…Reality Bites. Angst-ridden twenty-somethings try to find their footing in the post-graduate jungle that is life. That’s pretty much the idea. The cast is impressive, and the soundtrack is representative of its era, with songs from Crowded House, Lenny Kravitz, Julianna Hatfield, & The Posies. Not exactly mainstream, right?? I feel like the most enduring legacy of Reality Bites 
is the hit song Stay by quirky Lisa Loeb. This movie came out right after I graduated college and had entered the workforce, but at the time I was also still clinging to the old college life…hanging out with my friends and patronizing familiar watering holes ‘til 3am. Stay was in heavy rotation on the jukebox, and I have a vague recollection of a female acquaintance of mine dancing to the song and stripping down to her unmentionables right in the middle of the bar. Ghost was nominated for five Academy Awards and won two of them. When a banker is shot & killed by a mugger his ghost enlists the help of a shady psychic to warn his grieving girlfriend of impending danger. The enduring legacy of Ghost includes the zenith of Patrick Swayze’s solid career, Whoopi Goldberg when she was still funny and not a political hack, one of Demi Moore’s best performances, a renewed appreciation for The Righteous Brothers’ hit Unchained Melody, & a sudden interest in learning more about pottery.
Just glancing at the cast of Glengarry Glen Ross elicits such high expectations that it’d be almost impossible for a film to live up to them. Based on a 1984 Pulitzer Prize winning play by David Mamet, the story shows us two days in the lives of aging real estate salesmen desperate to keep their jobs. The corporate office has announced that half of them will be fired in a week, so they must do whatever necessary to get the numbers needed to impress the boss. Lemmon, Arkin, Harris, & Pacino are powerful performers on an individual basis, and as an ensemble they are unmatched. Throw Spacey and a brief but memorable appearance by Baldwin into the mix and what you have is a movie in which the plot is secondary to the performances. In the hands of lesser actors it might be a total yawner, but what we end up with is a masterclass in how to make relatively mundane subject matter absolutely riveting. Bruce Willis was already a big movie star by 1993, with two Die Hards, two Look Who’s Talking films, & less appreciated fare like The Bonfire of the Vanities, 
Hudson Hawk, & The Last Boy Scout on his resume. Striking Distance tells the story of a disgraced Pittsburgh homicide detective relegated to river rescue duty after opining that a serial killer might be a rogue cop. When someone begins stalking him the game is afoot and the only person he can trust is his fetching female partner…or so he thinks. Striking Distance isn’t fondly recalled as one of Willis’ best, but with a cast that includes Parker, Mahoney, & Farina and a Pittsburgh backdrop familiar to this West Virginian I believe it is better than many may recall.
Ol’ William Shakespeare is still inspiring people 400 years after he left this mortal coil, and a big Hollywood trend the past few decades is to take the basic theme of a Shakespeare play and set it in modern times with young & hip movie stars. Ten Things I Hate About You turns Shakespeare’s Taming of the Shrew into a romantic dramedy about high school students. Stiles, Ledger, Gordon-Leavitt, & Oleynik star as two sisters and the guys attempting to woo them, and the cast also includes Andrew Keegan, David Krumholtz, Gabrielle Union, & Allison Janney. It was the 53rd highest grossing film of 1999 and has a Rotten Tomatoes score of 62%, with Variety observing that it “doesn’t even seem certain which decade it’s set in”, the San Francisco Chronicle opining that the movie “wimped out by blanding down the story and the characters to the point where she isn’t really a shrew and he isn’t really a maniac”, and Ebert chiming in that high school films are “running out of new ideas and have taken to recycling classic literature”. The Big Lebowski has grown in stature & popularity in the two decades since its release when it was the 96th highest grossing movie of the year, behind 
immense competition like Half Baked, Simon Birch, & Bulworth. It is the very definition of a cult film, although with a Rotten Tomatoes score of 82% it seems like critics recognized its greatness long before the masses caught up. Jeffrey Lebowski is known by his friends and refers to himself simply as The Dude. He is the quintessential slacker who enjoys sitting around in his bathrobe, drinking white Russians, and bowling with his pals Walter & Donny. When two thugs assault him in his house demanding money that is owed to their boss it becomes clear that they have the wrong guy…they’re after the other Jeffrey Lebowski – an old, handicapped millionaire. The thugs leave The Dude in peace but take a wiz on his area rug first, which offends him tremendously because the rug “really tied the room together”. When The Dude seeks out the other Lebowski for recompense he ends up getting caught in a complex plot involving kidnapping, ransom, a porn magnate, & a high school kid named Larry. The Cincinnati Enquirer called The Big Lebowski “loopy, unfathomable, profane, & very funny”, while Ebert simply framed it as “weirdly engaging”. There is actually an annual event in Louisville, KY called Lewbowski Fest which, since 2002, has celebrated the film with bowling, trivia, & costume contests, and a “religion” called Dudeism that advocates & encourages “going with the flow”, “being cool headed”, and “taking it easy” in the face of life’s difficulties, which does sound kind of awesome.
Hugh Grant first became a thing in the early 90’s mainly because of Four Weddings & A Funeral. The plot is pretty simple, as it follows a small group of people whose lives keep intersecting at various social engagements, specifically…you guessed it…four weddings and a funeral. Andi MacDowell is a charming actress who has been in a few films that I’ve really enjoyed but she mostly flies under the radar. I vaguely recall seeing Four Weddings & A Funeral back in college, and what I remember most is a cover of an old 60’s song Love Is All Around that would be co-opted again a decade later for the British Christmas rom-com Love Actually. I think others enjoyed the movie more than me, as Four Weddings & A Funeral was nominated for Best Picture and Best Original Screenplay at the Academy Awards, holds a 95% Rotten Tomatoes score, & was the 21st highest grossing film of 1994. Gene Siskel observed that it “couldn’t be more psychologically astute in its portrait of a man who defines himself by his bachelorhood”, while Entertainment Weekly raved that its “infectious charm and sunny goodwill can immediately buoy a soul”. Fellow West Virginian Homer Hickam is the subject of October Sky, which is based on his memoir 
Rocket Boys. We meet Homer as a high school student living amongst the economically and otherwise depressed coal fields of southern West Virginia in the 1950s. Homer and his pals dream of a better live outside of Appalachia, and the launch of Soviet satellite Sputnik into space inspires an interest in building rockets. Unfortunately dreams of success, happiness, & achievement are met with resistance from the redneck masses, and it’s up to the young lads to blaze their own trail and prove everyone wrong. The only person who seems to be in their corner is a kindhearted science teacher, but that’s enough. Homer Hickam went on to become a NASA engineer for nearly thirty years. October Sky was the 63rd highest grossing film of 1999 and holds a 90% rating on Rotten Tomatoes. Ebert complimented the movie’s “deep values”, while CNN called it “a sensational character-driven story with a strong narrative and great visual style”.
Jim Carrey is a mixed bag for me. His shtick gets old really quick, and I tired of it fifteen years ago. However, between 1994 & 2003 he starred in a handful of memorable films, and Liar Liar might deserve a spot at the top of the list. Carrey plays a hotshot attorney whose focus on his career and deceitful ways have already ended his marriage and are on the verge of costing him his young son Max, who makes a wish on his birthday that his Dad not be able to lie at all for just one day. Max’s wish comes true and hilarity ensues. Liar Liar was the fourth highest grossing film of 1997 and has a Rotten Tomatoes rating of 81%. Variety called it “close to an ideal jumping-off point for Carrey”, the Hollywood Reporter opined that “Carrey has never been better, funnier, or more controlled”, and Ebert expressed trepidation that “I am gradually developing a suspicion that Jim Carrey is growing on me”. Doc Hollywood marked Michael J. Fox’s emergence from the Back to the Future niche that he’d been in for over five years, and the results aren’t too shabby. He plays a 
hotshot Washington DC doctor on his way to Los Angeles to make bank as a plastic surgeon. But when he crashes his classic Porsche in a rural South Carolina town he finds himself marooned for awhile and forced to serve as the local physician for a quirky group of townsfolk. Gradually he starts to mellow and grow fond of his new neighbors, and of course there is a fetching young lady with which he becomes smitten. Doc Hollywood is kind of predictable, but enchantingly so, with a great cast and fun characters. It was the 24th highest grossing movie of 1991, ahead of Bugsy, Thelma & Louise, and Point Break. Rotten Tomatoes scores it at 71%, with Newsweek saying that it “oversells its whimsy and fits its quirkiness into a sitcom formula”, while Ebert called it “a sweetheart of a movie”.
Fans of the Lethal Weapon series have been anxiously awaiting a fifth installment for twenty years, and though I’m usually a “never say never” kind of guy I believe at this point that it’s too little too late and I’m okay with that. The fourth & final Lethal Weapon finds Riggs reluctant to marry his very pregnant girlfriend Lorna, Murtaugh dealing with the pregnancy of his eldest daughter by a mystery man, and the long in the tooth duo investigating an illegal Chinese immigrant smuggling situation. Rock joins the cast as an overzealous detective who is more than he lets on, and of course Pesci is back as fast talking ex-con Leo. Lethal Weapon 4 was the 11th highest grossing film of 1998, though it was also the most expensive of the four films to produce. It holds a 52% score on Rotten Tomatoes, with Time referring to it as “mindless, sadistic violence juxtaposed with rote sentimentality”, while the New York Times generously pronouncing that it “turns out to be one of the nicer blow-’em-ups around”. Can’t Hardly Wait is another 
Hindsight Film, full of young actors who have stuck around long enough to be known for other things. It is also a classic high school film, set at a conventional graduation party and deconstructing all of the requisite high school archetypes. It was the 74th highest grossing movie of the year, ahead of Rushmore and A Simple Plan but behind Bride of Chucky and A Night at the Roxbury. It holds a 40% Rotten Tomatoes rating, with Entertainment Weekly calling it “a high-spirited, synthetically raucous house-party comedy” and Ebert saying that it “lumbers ungracefully from romantic showdowns to deep conversations to bathroom humor”.
Every uniformed profession…policemen, the military, doctors, lawyers (hey…a three piece suit is kind of a uniform)…seems to get their own movie or TV series eventually. After all, life or death situations provide plenty of theatre. Backdraft is an ode to firefighters that tells the story of a wave of suspicious fires in Chicago, with a little family drama, political intrigue, & romance thrown into the mix. Ron Howard is a terrific director and the all-star cast is impressive, helping to make it the 14th highest grossing film of 1991, just behind Fried Green Tomatoes and Teenage Mutant Ninja Turtles II but ahead of JFK and The Prince of Tides, and has a solid 74% Rotten Tomatoes score. Gene Siskel called it “a spectacle worth observing”, Ebert feebly praised it by saying “the scenes involving fire are so good they make me recommend the movie anyway, despite its brain-damaged screenplay”, and the Washington Post said “Backdraft is sure to do for fire what The Poseidon Adventure did for water”, which may have been meant as a compliment…
possibly. That Thing You Do was written & directed by Hanks and tells the story of a small town band that quickly rises to fame in the early 60’s on the popularity of an infectious pop hit. Hanks plays a supporting role, while the real stars are the band along with a fetching young female groupie. As with many actual bands egos & personal agendas quickly get in the way and torpedo the group’s success, making the movie a more insightful than expected examination of why one hit wonders are what they are. It was the 60th highest grossing film of 1996 (better than Fargo and Sling Blade) and has a stellar 93% Rotten Tomatoes score. Variety calls it “a sweet, likeable tale”, the New York Times dubbed it “rock-and-roll nostalgia presented as pure fizz”, & Rolling Stone framed it as “a brightly entertaining blend of humor and heartbreak”.
In 1999 The Internet was still in its infancy and “going viral” was a new concept. Social media wasn’t a thing yet, but that worked out well for The Blair Witch Project. The movie was highly anticipated before it even hit theaters because of its ingenuous marketing campaign. Reality television wasn’t on anyone’s radar yet either, so many folks were easily duped into believing that the movie was actual lost footage of a student documentary gone terribly awry. One kind of longs for those halcyon days when we weren’t so jaded & cynical. The movie itself follows three student filmmakers investigating an urban legend called The Blair Witch. I’m not a horror film aficionado, but I recall thinking that the movie isn’t really that scary, that it is more fascinating as an examination of the trio’s descent into madness. It was the tenth highest grossing film of 1999, earning more than The Green Mile, Oscar winning Best Picture American Beauty, and the first American Pie movie. That feat is even more impressive when you know that The Blair Witch Project had a budget of only $60k and earned almost $250 million. It has a Rotten Tomatoes score of 87%, with the Associated Press pointing out that “the thought that it might just might be real makes it much scarier”, the Minneapolis Star-Tribune calling it “a no-excuses horror show with an emotional wallop like falling headlong into a bear trap”, and the Washington Post saying it is “not the goriest, the grossest, the weirdest, the eeriest, the sickest, the creepiest, or the slimiest movie…just flat out the scariest”. A Time to Kill might be John Grisham’s best book…even better than The Firm…maybe. The movie takes a few liberties in telling the 
story of a Mississippi lawyer attempting to defend a black man who murdered two white men that raped & beat his young daughter. McConaughey is superb as the stressed out attorney, and Jackson gives one of his most nuanced performances as the distraught & vengeful father. The main issue I have is that the part of the female law student helping the defense team is beefed up considerably from the book because Sandra Bullock was cast in the part, but I realize that probably only bothers fans of the novel. A Time to Kill was the tenth highest grossing film of 1996, ahead of Scream but behind The Nutty Professor. It has a 65% rating on Rotten Tomatoes. Rolling Stone called McConaughey “dynamite in a performance of smarts, sexiness, scrappy humor, and unmistakable star sizzle”, while Ebert thought the movie “a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions”.
As with 
Tim Burton & Michael Keaton followed up the very successful Batman (the top grossing movie of 1989) with a tale in which both The Penguin and Catwoman arrive in Gotham City to challenge The Caped Crusader. The follow-up wasn’t quite as successful as the original, but still did more than respectable numbers. At the time it was condemned by some for being a bit too dark & violent (criticism which seems rather quaint two decades later) and suffered from comparisons with its predecessor, but thru the prism of time appreciation for the film has grown and many would opine that it is the best among that particular set of four Batman movies. Conversely, Showgirls has never received much love from critics or the moviegoing public…for good reason. The buzz at the time was all about actress Elizabeth Berkley, who was determined to not be typecast 
as a squeaky clean good girl like the one she portrayed on frivolous Saturday morning sitcom Saved by the Bell. Mission accomplished I suppose. Berkley stars as a gal from the wrong side of the tracks who longs to rise from low class stripper to Vegas showgirl, although the way the story is presented there doesn’t seem to be much of a difference. There’s a lot of nudity & sex but not much of a plot, and the acting is atrocious. Rather than elevating Berkley from lightly regarded television star to respected film actress Showgirls essentially destroyed her career.
Jim Carrey followed up the wildly successful Ace Ventura: Pet Detective just six months later with a comic book film adaptation in which he stars as a milquetoast bank clerk whose personality is transformed by a green mask. Stanley Ipkiss is the kind of quiet, shy pushover that everyone takes advantage of & no one respects. He becomes smitten with a gangster’s gal pal but is too introverted to do anything about it…until he finds a magical wooden mask that turns him into a suit wearing, shape shifting, supremely confident, green-faced trickster. Not only does he get the girl, but he foils the gangster’s bank robbery in the process. This was the film debut of Cameron Diaz, and one of three movies that Carrey had in the Top 20 of 1994…quite a year for him. On the flip side is PCU, a fun little jab at political correctness in which a college freshman encounters just about every sort of 
stereotypical fringe group one might imagine exists on campus. There’s the uptight preppy fraternity…the laid back party animal fraternity…extreme feminists…potheads…militant black students…and of course the overly sensitive school administration that fosters mistrust amongst the various groups by promoting inclusion & multiculturalism. PCU isn’t a good movie, but it was way ahead of its time and actually foreshadowed some of the issues we confront in the 21st century. Plus it has a really eclectic cast featuring some of the earlier & less appreciated work of a few folks that have gone on to bigger & better things.
This is the film equivalent of a matchup featuring the Minnesota Twins vs. the Colorado Rockies…not scraping the bottom of the barrel by any stretch, but certainly not worth any sort of hype or enthusiasm. Alicia Silverstone gained pop culture viability after appearing in an early 90’s music video for Aerosmith alongside Liv Tyler, but it is Clueless that made her famous. She stars as Cher, a spoiled Beverly Hills high school student who checks all of the rich Daddy’s girl boxes…except that she’s not a completely shallow airhead. Cher decides to help out a nerdy gal at school, and succeeds in making her new friend cool & popular. In the process she reflects on her own life and confronts her shortcomings, becoming a better person and falling for her ex stepbrother in the process (which no one seemed to find the least bit creepy twenty years ago). Clueless wasn’t a huge box office hit, but it holds an 81% rating on Rotten Tomatoes, made 
Silverstone a movie star for a few years (although her fame was fleeting), and is a true snapshot of an era. Empire Records is what I like to call a Hindsight Film, meaning that its cast is full of then unknowns who would go on to bigger & better things. The movie itself is a forgettable slice of life look at one day at a small record store and its teenage employees. It ranked a putrid 236th at the box office in 1995, and only became a cult favorite after Renee Zellweger & others became more famous several years later.
Patch Adams is based on the true story of a doctor who practices his unique brand of medicine right here in my home state of West Virginia. It is my understanding that Hollywood used broad creative license in telling the story, but I’m okay with that. Robin Williams was brilliant & is deeply missed by fans around the world, and Patch Adams is probably one of his more underappreciated roles. Critic Gene Siskel named it his worst film of 1998 and it holds a lowly 25% rating on Rotten Tomatoes. The real Patch Adams isn’t a big fan either, once saying that “it sacrificed much of his message to make a selling film” and “out of all aspects of his life and activism, the film portrayed him merely as a funny doctor”. However, after Williams’ death Dr. Adams called him “a wonderful, kind and generous man” and said “I’m enormously grateful for his wonderful performance of my early life”. 
Black Sheep was the second pairing of SNL alums Chris Farley & David Spade and tells the story of a well-intentioned yet blundering manchild whose attempts to help his brother’s gubernatorial campaign go hilariously awry, even with one of the candidate’s employees babysitting him. There is a certain segment of the population who may have been teens or twentysomethings in the early 90’s and were big fans of that particularly amusing era of Saturday Night Live. That is the target audience for Black Sheep, but otherwise critics hated it and the box office wasn’t impressive (it was the 50th highest grossing film of 1996).
I have to admit that I only recall watching Pulp Fiction once, and it didn’t appeal to me at all. Tarantino’s style just doesn’t frost my cupcake. The plot is convoluted, with intersecting stories about mob hitmen, a boxer, & a gangster’s wife that don’t necessarily make any kind of sense. The cast is top notch and the movie was the tenth highest grossing film of 1994. It was nominated for seven Academy Awards, including Best Picture, Best Actor (Travolta), Best Director (Tarantino), Best Supporting Actress (Thurman), & Best Supporting Actor (Jackson), although the only Oscar it won was Best Original Screenplay. Only the Lonely is an unassuming 
little romantic dramedy about a middle-aged policeman who still lives with his domineering Irish mother and the uproar caused when the cop becomes involved with a timid funeral parlor beautician. It is the final performance of legendary actress Maureen O’Hara…best remembered for her role as a cynical mother in the 1947 Christmas classic Miracle on 34th Street…and holds a 62% rating on Rotten Tomatoes.
Sharon Stone burst onto the pop culture radar with one memorable flash. Basic Instinct tells the story of a cocaine sniffing homicide detective investigating the murder of a rock star in which the prime suspect is a provocative & sexy crime novelist. Of course the two become involved in a sizzling yet totally inappropriate affair, and at the end of the day the audience is led to believe that the enigmatic writer really is the killer. Big Daddy is the last gasp of Adam Sandler’s career zenith, during which he starred in a handful of sophomoric yet appealing comedies like Happy Gilmore and The Waterboy. A few of his 90’s films are part of this competition. Big Daddy sees Sandler portray the kind of infantile slacker that seems to be his wheelhouse, and that slacker…thru a series of inexplicable events that do not reflect how the world actually works in any way…becomes the foster father of an abandoned child. 
Of course he proves to be a loveable yet dreadfully poor role model for the boy, but everything works out okay in the end. Reviews for the film aren’t as horrible as one might assume, but obviously it’s not the kind of story that critics are going to enthusiastically endorse.
firm by exposing overbilling violations. The Mafia is left untouched and the attorney is able to simply take his family back to Boston to resume a normal life. Such changes usually bother me, but in this case I don’t really mind. At any rate, The Firm was well-received by critics and was the 4th highest grossing film of 1993, which is rather impressive. My Best Friend’s Wedding stars Julia Roberts as a woman who is secretly in love with her male best friend, and not happy when he announces his engagement to another woman. She plays dirty to sabotage the relationship but it backfires on her and the wedding proceeds as planned, with the “best woman” bravely admitting defeat and wishing the happy couple well. The cast is charming and the plot mildly interesting, but in a sea of dime-a-dozen rom-coms I just don’t think this one stands out from the crowd.
There were two films in 1998 about asteroids destroying Earth, because Hollywood loves blowing stuff up. These two movies were released within a couple of months of each other and preferences vary among fans, although Armageddon is general considered the cooler & more fun of the two. Bruce Willis stars as a deep sea oil driller recruited by NASA to lead a mission into space to deploy nuclear weapons on the giant asteroid. He insists on having his zany crew of oil field misfits come along for the ride. Hilarity ensues, or atleast as much joviality as can be mustered about the extinction of mankind. Armageddon was the second highest grossing film of 1998, behind Saving Private Ryan and ahead of There’s Something About Mary. It has a lowly 38% Rotten Tomatoes score, with the Boston Globe calling it “big, noisy, stupid, & shameless”, the Wall Street Journal opining that it “redefines (downward) the standard for summer stupidity”, & the Washington Post observing that it “could have been written by a chimp who’s watched too much TV…it is like putting your head in a tin washbucket while weightlifters whack it with golf clubs”. You gotta love movie critics, right?? Clerks was Kevin Smith’s first film and is still probably his most well-known work. One has to respect a guy for being able to ride the wave for almost 25 years. The story is a slice-of-life day in small town America focusing on Dante, a 20-something convenience 
store clerk and his pal Randal, who works next door at the video store. The duo spend more time not working than working and get themselves into various scrapes throughout the day. Clerks was the 155th highest grossing film of 1994, but made over $3 million dollars on a $31k budget. We’d all love to get that kind of return on our investments. Rotten Tomatoes gives it an impressive 88% score. Ebert loved it, calling it “so utterly authentic that its heroes have never heard of their generation”. Others agree with that assessment, with the New York Times boldly proclaiming it to be “a buoyant, bleakly funny comedy” and Entertainment Weekly christening it a “slacker manifesto” and “a fast, likable 90 minutes at the movies”.
outliers, and due to my well-established tastes & preferences I gravitated toward those. In compiling the list of participants for this competition I realized that, though there aren’t as many films here that we’ve all watched dozens of times flipping thru channels on a lazy day, in comparison with my favorites from the 1980’s this is an overall deeper, more eclectic, steadier field. These movies have probably aged better and don’t seem quite as amusingly nostalgic as those produced in my youth. Whereas 80’s films oftentimes have an idiosyncratic vibe, distinctive music, & unmistakable style, 90’s films don’t really fit into any sort of niche. They’re all over the map, appealing to a wide variety of entertainment palates, possibly at the cost of not being beloved by as many people.
As with previous projects this competition has a few rules. As always…no trilogies. This means that some pretty great movies…most notably the Toy Story films and the Austin Powers films…are excluded. Secondly…no sports films. We talked about my 
Less than a year ago…right after Christmas…
emergency here. We’re gonna press on, and we’re gonna have the hap, hap, happiest Christmas since Bing Crosby tap-danced with Danny f^&#@ing Kaye. And when Santa squeezes his fat white a$$ down that chimney tonight, he’s gonna find the jolliest bunch of a$$holes this side of the nuthouse. – Clark Griswold
of Christmas time, when it has come round…apart from the veneration due to its sacred name and origin, if anything belonging to it can be apart from that…as a good time, a kind, forgiving, charitable, pleasant time…the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely, and to think of people below them as if they really were fellow passengers to the grave, and not another race of creatures bound on other journeys. And therefore, uncle, though it has never put a scrap of gold or silver in my pocket, I believe that it has done me good, and will do me good; and I say, God bless it! – Fred
London for another 124 years before it was dismantled and sold to an American in 1967. It can now be seen spanning Bridgewater Channel in Lake Havasu City, AZ.
Van Pelt
you. I didn’t bring a gift, but I guess that’s not important. Thank you for everything you’ve done for me. As long as I can remember you’ve been right by my side. I’ll never forget when you walked with me right in those first few hours after I lost Martha. I’ve always been able to count on you, when I felt dark inside. You were right there, right, every time, right there. Even when I didn’t feel good about myself, I knew that you cared for me enough, and that made me feel better. I love you. You’re my closest, my finest friend. And that means that I can hold my head high, wherever I go. Thank you. Thank you. Thank you. – Willy Krueger
so,” was the reply, “because I was crying.”
Welcome back to 
through the prism of the viewing public it is difficult to not fall into the trap of being lazy, repetitive, and uninspired. Too often we see sequels that are just retreads of the original…same stunts, same gags, same jokes, same effects. Or worse yet, the powers-that-be try to make a sequel where few of the original actors or characters remain and they are only borrowing a broad concept or theme with very loose ties to its predecessor. The Godfather Part II is not a victim of any of these issues. It is quite possibly the greatest sequel ever made. It was the first sequel to win the 
Robert Duval, and Diane Keaton returning from the first film and acting legend Lee Strasberg coming out of retirement to portray Hyman Roth. My favorite character though might be Frank Pentangeli, a Corleone family caporegime who replaces Clemenza, a development dictated by a dispute with the actor who played Clemenza. Frankie Five Angels is just tremendous…funny, ham-handed, erratic, and most of all unique. I am not sure Part II would have been quite as good with Clemenza as it ends up being with Pentageli. The flashback sequences with the younger Vito are done completely in Italian, a risky move by director 
I know I have said it before but it bears repeating…I am not an action flick aficionado. Most anything starring Stallone, Schwarzenegger, Van Damme, Seagal, or Chuck Norris just doesn’t frost my cupcake. I have never seen a James Bond film in its entirety. Indiana Jones has never graced a screen big or small in my presence. But as with any rule there are exceptions, and this is the biggest one of them all. 1988’s Die Hard finds Bruce Willis starring as John McClane, a NY City cop whose marriage is on the rocks because his wife took a corporate gig in Los Angeles and now lives there with the kids, estranged from her husband. She invites him out to the Left Coast for Christmas to visit the children and maybe smooth things out. However, upon arriving at the wife’s company Christmas bash near the top of an unfinished skyscraper McClane finds himself the lone wolf fighting against a contingent of foreign terrorists who invade the party, kill the CEO, and hold everyone else hostage. The bad guys are unaware of McClane’s presence and even when he does make himself known he does not reveal that he has the skills to fight back. Soon enough the LAPD and the FBI are involved. There is lots of shooting and explosions, but thankfully they are accompanied by a good story and surprising levity for an action movie. I think maybe that’s why I like it…the humor sets Die Hard apart from others in the genre, who tend to take themselves too seriously. Don’t misunderstand…Die Hard is a serious movie about terrorism and one man’s battle to save the life of his beloved wife, but along the way we get airheaded FBI agents (agent Johnson and Special Agent Johnson), a limo driver that personifies the generation gap between himself and McClane, and the Dad from Family Matters, an 80’s sitcom best known for its nerdy star Urkel, who bonds with McClane over the two-way radio. We also get Hans Gruber, one of the most memorable villains in movie history. Gruber is portrayed by Alan Rickman, who is widely known today as Professor Snape in the Harry Potter films. But in 1988 he was an unknown who ended up creating such a great character. It is implied that Gruber is a ticked off German who has taken over Nakatomi Plaza for political reasons. However, we eventually learn that he is nothing more than a thief whose goal is to steal a half billion dollars worth of bonds, destroy the building making everyone think the terrorists perished as well, and escape with the loot. It is an ingenious plan, and Gruber seems to know everything that will happen. He especially knows the playbook of the police and the feds, who are portrayed as predictable buffoons. But what he and his men don’t plan on is the “fly in 
the ointment” named John McClane. Willis was a television star at the time, coming into our living rooms each week alongside Cybill Shepherd in the detective rom-com Moonlighting. He had done a few forgettable films, but it was Die Hard that made him a star and he has continued to ride the wave for over 20 years. Die Hard, in my opinion, is the gold standard of action movies. It has just the right mix of drama, action, humor, suspense, good writing, and excellent performances. It is not gratuitously bloody, and it is just plausible enough for the viewer to suspend disbelief and become engrossed in the story and characters. 1988 was, of course, long before the tragic events of September 11, 2001, and for that I am thankful if only because Die Hard would likely never get made in a post-9/11 world. McClane has resurfaced in three sequels with plans for yet another, but those efforts have been hit & miss. I keep using the phrase “lightning in a bottle”, and it applies here as well. Countless films have borrowed elements of Die Hard in the last two decades, and I suppose imitation is the sincerest form of flattery. But I have yet to stumble upon a knockoff that comes anywhere close to being as good as the original.
Yes, I know…I am kinda sorta cheating just one more time. In pondering the three original 
anticipation reached a fever pitch. People waited in line days in advance for tickets. Unfortunately the prequels did not live up to their predecessors, but honestly how could they?? They aren’t really bad films, especially the third, but there was no way they could possibly approach the greatness of the original trilogy. Every new generation that is introduced to The 
This is what NFL scouts might call at quick riser, a movie that has improved its stock the most in the shortest amount of time. Released in 1995 and based on the true story of NASA’s 1970 “successful failure”, Apollo 13 is a film that I honestly didn’t pay that much attention to when it first came out. Looking back I have to assume that is due to the timing. June of 1995 was a bad month, one that I look back on almost daily as a negative turning point in my life. So I guess I was engrossed in my own drama and didn’t make it a priority to go to the theater and pay money to watch tragic events of others’ lives. But over the course of the past 10 years I have discovered its greatness and become familiar with the real life situation. Directed by Ron Howard and starring Tom Hanks, Kevin Bacon, and Bill Paxton as astronauts whose planned mission to land on the moon goes horribly awry, Apollo 13 is just the sort of movie I can truly embrace. It is beautifully written, has understated, moving performances, and the direction by Ron Howard is magnificent. I don’t usually recognize the function of the director because honestly I am not familiar enough with what a director really does and what his/her role is in the final product. But here one can easily see that this story, in the hands of someone else…maybe James Cameron (Terminator, Titanic), Renny Harlin (Cliffhanger, Die Hard 2), Ridley Scott (Blade Runner, Gladiator), Quentin Tarantino (Pulp Fiction, Reservoir Dogs), or God forbid as a Michael Bay/Jerry Bruckheimer production (Bad Boys, Pearl Harbor)…would have been completely different and likely lacked the 
subtlety and class brought into the mix by Howard, aka Lil Opie Cunningham, who turns it into something better than a cookie cutter action flick. Two supporting performances, Ed Harris as flight director Gene Kranz and Kathleen Quinlan as astronaut wife Marilyn Lovell, were nominated for Academy Awards. The film itself was nominated for Best Picture and Howard for Best Director. Somehow all four of these awards went to others. Braveheart won Best Picture and its director, Mel Gibson, won that award. Kevin Spacey was Best Supporting Actor for his role as Keyser Soze/Verbal Kint in The Usual Suspects. And Mira Sorvino was Best Supporting Actress in some movie no one remembers. I suppose many may disagree, but it is my contention that Apollo 13 was robbed and should have won atleast 3 of these 4 awards. Harris’ performance is especially exceptional and cemented his status as one of Hollywood’s most underappreciated actors. Various television stations show Apollo 13 quite often, and I almost always stop whatever I am doing to watch, which in my mind is the mark of a really good movie. There is a scene near the end of the film where the fate of the astronauts is in question for about 3 minutes. This plays out in real time and is very dramatic. Since this is a true story I know what happens, and even if it wasn’t a true story I have seen it enough times that I know how everything plays out…yet every single time I watch I get goosebumps and am on the edge of my seat. Now THAT is a great movie.
The Griswold Clan, is the best in the series. But by now loyal readers know of my fierce passion for Christmas movies, and that is why Christmas Vacation ranks higher than its parent film, which is 13th on this list. Clark, Ellen, Rusty, and Audrey don’t actually go anywhere this time. They stay home to host a good old-fashioned Christmas for the extended family, which includes Clark’s parents, Ellen’s parents, and the elderly Uncle Lewis & Aunt Bethany, though their exact relationship is never explained. Showing up unexpectedly is cousin Catherine and her redneck husband Eddie, along with two of their small children. Fans of the Vacation series will recall that Catherine & Eddie and their brood make a memorable appearance in the original, and Eddie turns out to be the big star of this film. There is too much goodness for me to go into detail here, but suffice to say that Clark proves himself to be as big of a buffoon as usual, all the grandparents are nuts in that special grandparent way, and Eddie’s antics are the icing on the cake. Virtually every scene in this move has become legendary, from the oversized Christmas tree that Clark stubbornly determines is going in the living room, to Eddie cleaning out his RV’s toilet in his bathrobe, to the 25,000 lights with which Clark 
adorns the house. As a matter of fact, every December channels like HGTV and The Travel Channel have shows featuring wacky, over-the-top, gaudy Christmas light displays from across the country, and I’d be curious to know whether those kinds of garish exhibits were always around or if Christmas Vacation was the impetus for an odd new holiday tradition. I remember the first time I ever saw this movie, and there is a scene where Clark crashes a saucer sled oiled up with some sort of food varnish that he supposedly invented straight into a WalMart. At the time we did not have a WalMart in my hometown and it was just becoming a big deal. I remember thinking “Man, I wish we had a WalMart”. I laugh at that thought now since WalMart has become such a ubiquitous part of every day life. At any rate, Christmas Vacation has quickly become part of the pantheon of great Christmas movies, one of the half-dozen or so that everyone watches annually. It isn’t high art and it isn’t supposed to be. It is fairly innocuous entertainment, and that’s just fine by me.