The 1990s is in some ways a unique decade. Sandwiched between the last gasp of Cold War mania (the 1980s) and the global “war on terror” (the early 2000s), it was a time of relative peace and prosperity. The internet had not yet permeated every facet of life; the isolation and atomization of the current era had not yet become a depressing feature of the social landscape. The movies of the 1990s reflect this energy and optimism. The cinema of the 1990s may lack the searing conviction and anger of 70s movies, but the decade’s film catalogue is a very respectable one. We must temper this generally positive picture with tones of darkness, however. In hindsight, the 1990s now seem to carry distinct overtones of Gen X delusion and ossified Boomer autocracy, a decade of smug stasis in which critical problems affecting the country were either ignored or downplayed. Perhaps the 1990s simply reaped the 1980s foul harvest of greed and self-indulgence. You will have to decide for yourself.  

I’ve chosen to add more foreign films to this list than were included in the lists of the greatest movies of the 1970s and 1980s. This is logical, as foreign films became more accessible to the US market in the 1990s than they had been previously. Compare the lists, and see if you can detect any cultural trends. You may find a few surprises here. As in previous lists, we present the films in alphabetical order, not necessarily in order of importance.

Arlington Road (1999). One of the greatest suspense films of recent decades, and the kind of movie that one suspects could never be made today. The plot: an emotionally fragile college instructor (Jeff Bridges) begins to suspect his all-American neighbor (Tim Robbins) may be leading a double life as a political extremist. Little by little, the instructor falls under the control of a sinister organization which has its own plans for him. The shattering ending will leave you reeling. Look for Joan Cusack in one of the creepiest roles on record.

The Blair Witch Project (1999). So many great movies came out in 1999. Was this one of them? Some have seen this movie as a brilliant example of minimalist horror filmmaking, while others have contemptuously denounced it as a shabby fraud. I adopt the former view. Few can dispute that it is extremely effective, and spawned countless rip-offs and imitators. Judge for yourself. The plot: a group of naive investigators enters the woods to explore the truth of a local witch legend, and slowly descend into hysteria and madness.  

Before Sunrise (1995). Yes, there was actually a time when you could meet girls in public places and make approaches without being looked upon with suspicion or accused of being a stalker. This charming, optimistic movie about two college students who cross paths in Europe is the perfect antidote for anyone discouraged with the dating scene. Ethan Hawke hones his “nice guy” image to perfection, and the dialogue is perfectly calibrated.

Cape Fear (1991). Just as good, if not better, than the original Cape Fear with Robert Mitchum. Its themes are the consequences of betrayal, and a man’s willingness to defend his family with physical violence when necessary. In this sense, it covers the same philosophical ground as the 1971 Sam Peckinpah masterpiece Straw Dogs. 

City Of Industry (1997). An old school, hardboiled crime drama that feels like a throwback to something from the 1940s. The plot: a criminal gang pulls off a daring heist, but is double-crossed by traitor in their midst. One of the gang (Harvey Keitel) then plots a brutal revenge. 

The Crow (1994). Perhaps the epitome of 1990s Gothic cinema. Dark and atmospheric, this brooding revenge tale features the late Brandon Lee at his very best. Incredible soundtrack, too. 

Cruel Intentions (1999). I was expecting little more than a romantic teen drama when first forced to watch this movie by a girl I was seeing at the time. It turned out to be deeper than expected, and had much to say about the consequences of casual cruelty and manipulative behavior. 

The Cube (1997). A truly underappreciated masterpiece of horror, and without doubt the most claustrophobic movie ever made. A group of random strangers awaken to find themselves trapped in a lattice labyrinth of unending cubes, and must find a way out. A superior independent movie. The sequel is not bad, but see the original. 

Demolition Man (1993). It may not be high-brow art, but this odd blend of futuristic action, social commentary, and humor now looks truly prescient. The plot: Sylvester Stallone awakens from cryogenic sleep to resume his pursuit of a master criminal named Simon Phoenix.   

Devil’s Advocate (1997). Yes, Al Pacino’s acting here is over the top, but that doesn’t detract from a razor-sharp story line. There is a moral parable buried in this script, and it becomes more clear with each viewing. 

Devil In A Blue Dress (1995). This overlooked noir drama is a great little movie that somehow slipped under everyone’s radar. But you definitely need to see it. Denzel Washington plays a veteran hired to find a mysterious woman. And of course, things turn out to be far more complicated than they appear. Look for Tom Sizemore in an early role.  

Dumb And Dumber (1994). Idiocy has never been so entertaining. Watch it again. 

The English Patient (1996). This is one of those movies that evokes old Hollywood, the era of the sweeping David Lean-style epics. A grand story, and at the same time, a very personal one, this deeply tragic tale of love found and lost deserves every bit of praise it has received. 

The Exorcist III (1990). I’ve been singing the praises of this movie ever since I saw it one weekend in a lonely theater in Somerville, Massachusetts. A true masterpiece of horror, this film contains scenes of such heart-leaping terror that I wouldn’t recommend it to anyone who scares easily. It was released with little advance publicity, and was not marketed effectively, with the result that it passed through cinema rotations with little notice. But make no mistake: this is a powerhouse of a film. George C. Scott, in one of his last roles, plays a police detective investigating a series of murders that evoke the career of the fabled “Gemini” killer. Based on William Peter Blatty’s novel Legion, and directed by Blatty himself, this movie is required viewing. 

A Few Good Men (1992). Absurd? Of course it is. But watching Jack Nicholson and Tom Cruise square off is such compelling entertainment that I couldn’t leave this courtroom drama off my list.

Fight Club (1999). One of those zeitgeist films that has achieved cult status. And it’s every bit as great as you think it is. This anti-establishment masterpiece spoke to young men everywhere, despite contemptuous reviews from stuffshirt Boomer critics who just didn’t get it—or maybe just didn’t want to get it. Devastating social commentary, and it gets better with each passing year. 

The Game (1997). David Fincher’s tale of a cynical financier redeemed by his participation in a mysterious “game” gets better with each viewing. I love this movie because it combines both a physical and emotional “journey” into one redemptive tale. 

Goodfellas (1990). Martin Scorsese’s mafia masterpiece is filled with iconic scenes and memorable characters.

Hard Eight (1996). Paul Thomas Anderson’s stripped-down crime drama is one of the best examples of the modern noir genre. A mood piece with a message, this one belongs on your must-see list. 

Hamlet (1990). I’ve seen many versions of Hamlet, and this for me is the best one. And yes, it’s even better than Kenneth Branagh’s full length 1996 version of the play. Mel Gibson manages to capture Hamlet’s tormented sense of repressed anger and betrayal as no other actor has done before or since. Judge for yourself.

Heat (1995). Hands down, the greatest crime drama ever filmed. Michael Mann’s labor of love set a whole new standard for police shootout scenes, and did for crime dramas what Saving Private Ryan did for war films. A true masterpiece.

Homicide (1992). David Mamet’s greatest creation, and one of the most profound meditations on the dichotomy between illusion and reality ever put on film. The plot: a police detective is assigned to investigate the murder of an elderly woman. The case evokes long-buried feelings of ethnic identity. These sentiments put him on a collision course with his professional duties. 

In The Name Of The Father (1993). One of Daniel Day Lewis’s best roles. This crime drama about a man falsely accused of an urban bombing is, at its heart, a story about the unshakeable love between a father and a son, and about the sacrifices they are willing to make for each other.  

The Interview (1998). This taut Australian psychological thriller centers on the interview of a suspected murderer by police detective. You know it’s a cat-and-mouse game, and you can’t take your eyes off the screen. If you thought Hugo Weaving was impressive in The Matrix, wait till you see him here. 

Insomnia (1997). Make sure you see this Norwegian movie, the original, and not the remake. One of the first of the Scandinavian murder-mystery genre, this movie satisfies in every way. The plot: police investigate the killing of a local girl in the Arctic Circle. Things soon get derailed, as one consequence is piled on top of another, and it all leads to a shattering conclusion. 

Jacob’s Ladder (1990). This horror film by director Adrian Lyne can only be described as disturbing. It seems to have been forgotten, but for me it remains one of the most unsettling supernatural horror films to come from the era. The plot: a Vietnam veteran begins to be haunted by terrifying hallucinations, which may point to some secret in his past.

JFK (1991). Oliver Stone’s conspiratorial masterpiece is composed with such skill and panache that you can’t help but admire it. The editing, the passionate conviction, and the sustained suspense combine to deliver a powerful narrative. It doesn’t matter whether you believe in Stone’s premise–this is brilliant cinema.

La Femme Nikita (1990). A brilliant neo-noir French movie by Luc Besson that merits a second look if you haven’t seen it in a while. The plot: a vicious female street urchin is turned into a secret agent by a sympathetic handler. But the past is not so easily dispelled.  

L.A. Confidential (1997). An exceptional neo-noir crime drama. Nothing deep here, just great period costumes, solid acting, and production values. And that’s worth a great deal when done right.  

Last Of The Mohicans (1992). Michael Mann’s historical drama is also one of the great war films. A faithful and satisfying rendition of James Fenimore Cooper’s classic novel.

Leon: The Professional (1994). Luc Besson’s odd yet touching film about a hit man who befriends and saves a young girl remains a 1990s classic. Gary Oldman’s role as a lunatic DEA agent is, of course, unforgettable. 

Lock, Stock, And Two Smoking Barrels (1998). Guy Ritchie’s classic black comedy crime drama is a hilarious excursion into the London underworld. The entire cast seems to be having a blast, and we, the viewers, are carried along for the ride right up to the final frames. 

The Lost Highway (1997). David Lynch’s fascinating exploration of the consequences of betrayal remains a must-see entry in his filmography. With Lynch’s usual stunning and mystifying visuals, this movie feels like being lost in a modern art labyrinth. 

Man Bites Dog (1992). A remarkable French crime drama that foreshadows the moral problems created by the live-stream broadcasting world we live in today. Brilliantly conceived and acted, the movie portrays a film crew that decides to do a documentary about a killer. Bit by bit, they become collaborators with, and participants in, his crimes.

The Matrix (1999). Not many movies can be described as visionary. This is one of them. A clueless Keanu Reeves discovers the horrible truth about the false veneer that papers over the real world. And it turns out that the real world is far more dystopian than he could ever have imagined. A landmark science fiction film, and it all makes sense.

Miller’s Crossing (1990). If you “look into your heart,” you will find that this crime drama by the Coen brothers delivers on every level. 

Misery (1990). Kathy Bates and James Caan are perfect in this relentless suspense thriller. It remains the best film adaptation of a Stephen King novel. 

New Jack City (1991). This underappreciated crime epic is an entertaining throwback to the classic rise-and-fall crime movies of the 1930s and 40s. Filled with quotable lines, it’s one of those movies that helped define the early 90s.

Office Space (1999). Another great entry from 1999, that wonder year of American cinema. This low-key comedy did not get much attention when released, but it’s since achieved cult status. No other movie quite defines 1990s corporate culture as Office Space. The character of Bill Lumbergh has, of course, become iconic.

Out of Sight (1998). Both George Clooney and Jennifer Lopez are at the top of their game in this smart, talky crime tale. Probably the best film adaptation of an Elmore Leonard novel.

Point Break (1991). There is just something about this movie. It has that perfect mix of 90s idealism combined with the dark overtones of psyches on the brink of dissolution. With its thrilling plot, memorable characters, and extremely well-edited cinematography, Point Break has become perhaps the 90s cult classic. Yet the movie transcends its genre to explore truths about destructive friendships and the limits of thrill-seeking.  

Pulp Fiction (1994). One of those movies that defined the 1990s, and Tarantino’s masterpiece. I saw it at a theater in Korea when it first came out. It was so heavily edited as to be nearly incomprehensible. When I finally saw the unedited version, it was clear to me what the fuss was all about. Innovative movies like this are needed every so often to shake up the system and open up new vistas. A classic.

Pusher (1996). One of the very best crime dramas ever made. This low-budget Danish movie put Nicolas Winding Refn on the map as a great director. The first of a trilogy, all of which you should see. But this first one is just…sublime. It follows a few days in the desperate life of a Copenhagen drug dealer as he tries to pay off his menacing Serbian supplier Milo (“Frank, I’m your friend…”). A classic.

Reality Bites (1994). It is not a deep movie. No one would deny that. But it does encapsulate the Gen X ethos in a way that Saturday Night Fever seemed to distill the disco culture of the 1970s. See it as a time capsule, or as the 90s version of The Breakfast Club. 

Romper Stomper (1992). This is the movie that American History X wished it could have been. This low-budget Australian drama chronicles the exploits and downfall of a violent skinhead gang. Not for every taste, the movie does possess a gritty ferocity. Look for a very young Russel Crowe in the lead role. 

Reservoir Dogs (1992). Quentin Tarantino burst onto the film scene with this indie gem that, for me, is co-equal with Pulp Fiction as his best movie. It has all the Tarantino hallmarks: non-linear storytelling, cutting dialogue, and violent action. 

The Ring (Ringu) (1998). I’m taking about the Japanese original, which is a classic psychological horror tale. The American remake is good, too, but the original is more unsettling and cerebral. At heart, the movie explores the conflict between tradition and modernity. A key film in the Japanese horror tradition.

Run Lola Run (1998). A very creative experimental German film about a girl running around to collect money to save her boyfriend. 

Saving Private Ryan (1998). Steven Spielberg’s landmark war movie rewrote the script on how to film combat scenes. Not a flawless movie, but a superb tale of comradeship and duty. 

Scent Of A Woman (1992). A personal favorite of mine and perhaps Al Pacino’s greatest role. Deeply moving tale of a young student who accepts a job to look after a blind ex-soldier for a Thanksgiving weekend. The lessons of character and integrity are conveyed with humor, love, and compassion.

Seven (1995). David Fincher explores his dark side in this harrowing, grisly tale of a sadistic serial killer with a very specific purpose. The ending is the stuff of legend. Every performance–Brad Pitt, Morgan Freeman, and especially Kevin Spacey as “John Doe”–delivers. 

The Sixth Sense (1999). M. Night Shyamalan’s eerie yet touching ghost tale with its famous twist ending is expertly crafted entertainment. 

The Shawshank Redemption (1994). Movie-goers expecting a routine prison drama in 1994 were blown away by this absorbing tale of suffering, redemption, and friendship. This is philosophy distilled in cinematic form, and belongs on the list of the greatest American films of all time. Not to be missed. It’s probably one of those movies you should buy. 

Swingers (1996). One of those movies that helped define the decade, and even contributed to the 1990s California swing music revival. Vince Vaughn has never quite equaled his pitch-perfect role in this movie, which no one else could have played. The plot: two friends struggle to make it in the worlds of love and life. A classic. 

Terminator 2: Judgment Day (1991). As sequels go, this is one of the best. Wonderfully paced science fiction that delivers an entertaining tale. 

The Thin Red Line (1998). Terence Malick’s unique war drama gets its power from its deep characterizations and unforgettable voice-overs. Don’t look for realism here: this is a movie about states of consciousness, and should be seen as a Melvillean meditation on existence itself.

Trespass (1992). I’ve always thought this movie was drastically underappreciated. The plot: two firemen (Bill Paxton and William Sadler) find a treasure map for a cache of gold hidden in an abandoned building. Unfortunately for them, their quest brings them into collision with a local gang. At that point, their quest becomes a savage battle for survival. A great tale of greed and hubris, this movie also stars Ice T and Ice Cube. 

Unforgiven (1992). This is the final word in Clint Eastwood’s storied career in Western-themed movies. 

The Usual Suspects (1995). A fantastic old-fashioned crime yarn, with an ending that has entered movie legend. This movie even managed to create a new folk legend in the form of the elusive Turkish mastermind Keyser Söze. This movie shows what can happen when a great story, great acting, and great editing all come together in one package. 

When We Were Kings (1996). You may not have heard of this documentary about Muhammad Ali’s fabled comeback bout with George Foreman in Zaire in 1974. It is inspiring, engaging, and true movie magic.  

The Zero Effect (1998). This is one of my personal favorites from the 90s. It’s a clever updating of the Sherlock Holmes ethos, adapted to modern conditions. It’s a shame that Bill Pullman was never asked to reprise his role for any sequels. An underappreciated classic.

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Check out my new, annotated translation of Cicero’s On The Nature Of The Gods.