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Roger’s Top Ten Lists: Best Films of the 1990s

To credit the co-founder of this site,Roger Ebert, we publish some of his invaluable lists, which include a dozen of the best films of certain years over the past half century. Today is his list of the top ten films of the 1990s and you won’t be disappointed…

Click on the title of each movie and you will be taken to the full review…

ROGER EBERT’S TEN BEST FILMS OF THE 1990s

10. Kennedy

Stone’s film is hypnotically watchable. Leaving aside all its drama and emotion, this is a masterpiece of film editing. Writing, editing, music, photography, all are used here in a film of incredible complexity to weave a convincing tapestry from a vast mountain of evidence and testimonies. Film students will look at this film with amazement in the coming years, marveling at how much information it contains, how many characters, how many interconnected memories, how skillfully weaving documentary and feature footage. For 188 minutes, the film races through a sea of ​​information and conjecture, never faltering, and never bewildering us.

9. MALCOLM X

Black viewers will not be surprised by Malcolm’s experience and racism, but they may be surprised to find that he was less one-dimensional than his image, that he was capable of self-criticism and developed his ideas up until the day he died. Spike Lee not only one of America’s best directors, but also one of the most important because his films deal with the central theme of race. He does not use sentimentality or political clichés, but shows how his characters live and why. There has been a lack of empathy in our country lately. Our leaders are quick to congratulate us on our own feelings, but slowly ask us to question how others are feeling. But perhaps times are changing. Every Lee film is an exercise in empathy. He is not interested in congratulating the blacks in his audience or condemning the whites. He puts people on the screen and asks his audience to walk around a bit in their shoes.

8. LEAVE LAS VEGAS

The film works like a love story, but in reality, the romance here is no more than sex. A story about two wounded, desperate, marginalized people and how they create a measure of grace for each other. One scene after another finds the right note. If there are two non-playable roles in the repertoire, then this is a drunkard and a whore with a heart of gold. Cage and Shu turn these stamps into unforgettable people. Cage’s drinking is partly inspired by a play he studied, Albert Finney’s alcohol consul in «under the volcanoYou feel an observant mind peering from inside the drunk, seeing everything clearly and sadly.

7. BREAKING THE WAVES

There are many amazing revelations in the film, including the cosmic one at the end, which I’ll leave you to discover. There is a kind of brute force in him, such an insecure attitude towards the power of good and evil in the world that we want to evade. Sometimes it’s easier to sink into sentimentality and pious platitudes and forget that God created nature «bloody to the teeth and claws.» Bess does not have our ability to rationalize and evade, and fearlessly offers herself to God as she understands him. This performance Emily Watson reminds me of what Truffaut said about James Deanthat as an actor he was more like an animal than a man, acting according to instinct rather than thought and calculation. This is not a dark performance, and is often touched with humor and delight, which makes it all the more touching, as when Bess speaks out loud in a two-way conversation with God, speaking in both voices, making God a stern adult and herself a gullible child.

6. Schindler’s list

The French writer Flaubert once wrote that he didn’t like Uncle Tom’s Cabin because the author constantly preached against slavery. «Is it necessary to make remarks about slavery?» he asked. «Picture it, that’s enough.» And then he added: «The author of his book must be like God in the universe, present everywhere and nowhere to be seen.» This is how I would describe Spielberg, the author of this film. He portrays the evils of the Holocaust and tells the incredible story of how some of his intended victims were stolen from him. He does this without his crafty, directing and dramatic gimmicks that would inspire the usual melodramatic payoffs. Spielberg is not seen in this film. But his restraint and passion are present in every frame.

5. TRILOGY OF THREE COLORS: BLUE, WHITE AND RED

Think about it, reader. Don’t sigh and turn the page. Consider that I wrote them, and you read them, and the probability that any of us ever existed is much greater than one for all the atoms in the universe. «Red«is the completion of Kieślowski’s masterful trilogy after»Blue» and «Whitenamed after the colors of the French flag. He says he will retire now at 53 and won’t be doing any more films. At the end of «Red» the main characters of all three films meet – naturally, by coincidence. It’s the kind of movie that makes you feel very alive while you’re watching it and sends you out into the street after you’re ready to talk deeply and forcefully with the person you’re with, whoever that is.

4. FARGO

En route to a violent and unexpected climax, Marge has a drink at her hotel buffet with an old high school buddy who apparently still lusts after her, even though she’s married and pregnant. He explains in a statement filled with angst of potential layoffs: “I work for Honeywell. If you’re an engineer, you could do a lot worse.» Frances McDormand should have an Academy Award nomination lock with this performance that is true in every single moment, and yet sly, quiet, over the top in its cumulative effect. Written by Ethan Joel Coen (Directed by Joel, Produced by Ethan), and while I have no doubt that events like this actually took place in Minnesota in 1987, they elevate reality into a human comedy—the kind of film that makes us cuddle with the way it pulls one incredible scene after another. Films such asFargoThat’s why I love cinema.

3. GOOD GIRLS

What finally came to me after watching this movie – what makes it a great movie – is that I understood Henry Hill’s feelings. Just as his wife, Karen, was so engrossed in the inner life of the Mafia that her values ​​became her own, so was the film captivating. Sometimes you can almost think of the characters as the good guys. Their camaraderie is so strong, their loyalty is so undeniable. But the laughter is sometimes forced and forced, and sometimes it is an attempt to enjoy the party, and in the end, the whole mythology collapses, and then the guilt – the real guilt, the guilt that a Catholic like Scorsese understands well – does not disappear. that they have committed sinful acts, but want to do them again.

2. CRIMINAL FEELING

If the situations are inventive and original, so is the dialogue. A lot of movies these days use flat, functional language, with characters talking just enough to move the story forward. But people inCrime novel«love words for the sake of words. Tarantino and Avery’s dialogue is sometimes untrue, but it’s also hilarious. It also means that the characters don’t all sound the same: Travolta is concise, Jackson is precise, Plummer and Roth are listless love doves, Keitel uses shorthand for the busy A professional, Thurman learned how to be a whore by studying soap operas It’s a piece of folklore that Tarantino used when he worked as a clerk at a video store «Pulp Fiction» is inspired by old movies, not real life This movie is like a tour of sinister images that lie rolled up and locked away in all those boxes on blockbuster shelves Tarantino once called old paper magazines cheap, one-time entertainment that you could take to work, roll up and put in your back pocket, and not wait until lunch to start reading them again.

1. MANDATORY DREAMS

It’s about the ebb and flow of life over the course of a few years as the two boys’ careers go through such amazing changes that if it were fiction, we’d say it was unbelievable. The filmmakersSteve JamesFriedrich Marx and Peter Gilbert) filmed miles of film, 250 hours in total, which means they were present at several dramatic turning points in the lives of two young people. For both, there are twists of fate – life seems bleak, and then redeemed with hope, and sometimes even triumph. I was captivated by their fates, as I rarely find myself in fantasy thrillers, because real life can be exciting too. Many moviegoers don’t want to watch documentaries for reasons I never understood; good ones are often more captivating and interesting than fiction. «Dream HoopHowever, this is not only a documentary. It is also poetry and prose, exposure and exposure, journalism and controversy. This is one of the greatest events of my life in cinema.

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Lover of movies and series. rather. lover to the cinema in generating. I hope you like my blog.
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