![]() ![]() Yes, I had lots of free time on my hands. I downloaded the script off a janky BBS when I was in middle school and promptly memorized the whole thing. Suddenly a movie geek was taking all his geeky favorites and packaging them into something that felt mainstream and commercial. “Pulp Fiction” - Filmmakers find inspiration everywhere they look, but this was the first film where inspiration felt like it was coming squarely from within the aisles of the video store. A comedy? A drama? A thriller? It somehow executes all of those tones and each one is pitch-perfect. “Fargo” - I’m not going to say anything about “Fargo” that hasn’t already been said, but I will flag what I think is most significant: I have no idea what genre it is. When’s a guy supposed to get up and use the restroom if every scene is more magnetic than the last? I like you, Clarence always have, always will. The result is arthouse film masquerading as popcorn, without a single ounce of fat. This is the perfect marriage of the Tarantino homage-to-the-classics pastiche with the uber-commercial vision of Tony Scott. “True Romance” - “Fanboy as hero” would grow to become a ubiquitous offering throughout the 90’s, and it could be argued that this movie kicked off the trend. This movie is beautiful and haunting and irreverent and somehow still shrugs its shoulders and says “whatever….who cares?” If you haven’t watched the behind-the-scenes footage of Neil Young’s scoring session, do yourself a favor. “Dead Man” - “Dead Man” is quintessentially ’90s cool - Vaguely nostalgic for the 1970’s but still steeped in that grungy post-cold war ambivalence. In this way, the high concept never feels like it’s getting in the way of the fundamentally human story - the movie is ‘Malkovich Malkovich’ but it’s also about being satisfied with what you have and who you are. The filmmakers have gone out of their way to take this exceedingly absurd idea and make it feel mundane we shouldn’t even question it. Craig gets on the elevator for the first time and the woman next to him says “7 and a half, right? I’ll take ya through it.” And then we see the crowbar lying by the door, and the door has a million dents as though jamming a crowbar into it is the most natural thing in the world. “Being John Malkovich” - There’s one scene in particular that sums up why I love this movie. It’s beautiful and magical and it celebrates life, love and Los Angeles with the perfect amount of gloss Every viewing makes me want to sit outside and have brunch in the middle of an Earthquake with a twist of lemon. ![]() From a decade of excess into a decade of ripped jeans and nihilism, this film is in the middle of a pop-culture fade-in. Story” - Chuck Klosterman writes about the ’90s actually starting in 1991, and “L.A.” Story is a movie that perfectly encapsulates the weird and whimsical period of transition before grunge took hold. “The Rock” is a ride, perfectly executed and incredibly satisfying. This feels like the moment where the dam broke - where every shot suddenly became active and epic and it didn’t matter if it was a missile firing at San Francisco or two guys having a conversation. Michael Biehn taking things REALLY seriously. The perfect chemistry between Cage and Connery. “The Rock” - Michael Bay at the height of his powers.
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