I started the 1990s in my teens, and ended them in my mid-twenties. In between I essentially discovered cinema: all genres, all countries, and every style and period in between. There are so many films from this decade that I continue to adore – here are picks #175 down to #151.

175. The Doors
(1991, USA, d. Oliver Stone.)

Oliver Stone’s brilliantly evocative biographical picture on singer Jim Morrison and the Doors plays host to what is potentially the late Val Kilmer’s finest-ever performance. In fact the performances are what makes The Doors such a spectacular film: not just Kilmer, but Meg Ryan, Kevin Dillon, Kyle McLachlan, and Kathleen Quinlan. Robert Richardson’s photography is also superb.

174. What About Bob?
(1991, USA, d. Frank Oz.)

Bill Murray irritates Richard Dreyfuss into a nervous breakdown, in a knockout comedy that exploits the best talents of each actor. A great supporting cast includes Airplane‘s Julie Hagerty, Kathryn Erbe, Charlie Korsmo (one of the decade’s best juvenile actors), and Fran Brill. Discovering that Murray drove Dreyfuss to distraction in real life just makes it even more interesting to watch.

173. El Mariachi
(1992, USA, d. Robert Rodriguez.)

Robert Rodriguez’s first directorial feature is a scrappy endeavour, packed with an enthusiasm and energy that runs roughshod over any of its technical deficiencies. He may have remade it a few years later as Desperado, and that latter film is certainly more enjoyable, but somehow this ultra-low-budget original is the more impressive. It is a poster child for independent American cinema.

172. Shower
(1999, China, d. Zhang Yang.)

An upwardly mobile city executive is dragged home to help his elderly father tun the family bath house. He resents the imposition of course, and bristles at the prospect of dealing with his father and mentally challenged brother. Honestly one does not have to have seen many movies to guess what is going to happen, but that is sort of the point to this light-hearted drama about familial relations, traditions, and responsibility. This one brims with warmth.

171. Addams Family Values
(1993, USA, d. Barry Sonnenfeld.)

Both of Barry Sonnenfeld’s Addams Family films are wonderfully enjoyable, but it’s the second of the two that digs just a little deeper in terms of black comedy and scabrous nonsense. The highlight is the school camp rebellion of Wednesday (Christina Ricci), but it is always worth noting that Raul Julia and Angelica Huston absolutely own every frame of film in which they appear. Romantic passion has never quite felt so… unburdened.

170. 1492: Conquest of Paradise
(1992, USA, d. Ridley Scott.)

Ridley Scott really is the master of this kind of historical epic. Retelling at least with some vague accuracy the life of Italian explorer Christopher Columbus (Gerard Depardieu), the film looks breathtaking and comes packed with a string of excellent supporting talent including Sigourney Weaver, Michael Wincott, and a particularly effective Armand Assante. It is strange that Scott’s later epic Gladiator was so popular when 1492, which by and large failed commercially, did not capture the public’s attention. They share a lot of common attributes.

169. Cape Fear
(1991, USA, d. Martin Scorsese.)

Of course there was no pressing need for someone to remake 1960s classic Cape Fear, but Scorsese did it anyway and he did an exceptionally good job. Robert De Niro is brilliantly menacing, while Nick Nolte and Jessica Lange are superb as the couple tormented by De Niro’s vengeful stalker. Juliette Lewis is a particular standout: she does very strong work here, and made me a lifelong fan with one role.

168. Home Alone
(1990, USA, d. Chris Columbus.)

People remember the film for its pratfall-based climax, when really they should remember the previous 90 minutes of heartwarming comedy and drama that honestly make this one of the best Christmas movies that there is. John Williams’ musical score is one of his best-ever, and Joe Pesci and Daniel Stern are a superb comic act. Like a lot of popular movies that people tend to roll their eyes over, this one had a lot of excellent work being done in it.

167. Much Ado About Nothing
(1993, UK, d. Kenneth Branagh.)

Shakespeare’s play remains one of his most charming, and in 1993 Kenneth Branagh directed and starred in this pitch-perfect film adaptation. The dialogue sings, and the whole production is simply a pleasure to watch. There is also a remarkable boldness in Branagh’s casting, making use of some superb American talent like Denzel Washington and Michael Keaton – accents be damned. Even Keanu Reeves, widely mocked at the time, is pretty good fun.

166. Nightbreed
(1990, USA, d. Clive Barker.)

As released into cinemas, Nightbreed is an unholy mess of great design, imaginative ideas, and a messy, bonkers storyline. Even in the film’s superior director’s cut, released many years later, things are still pretty messy. The imagination involved, however, is spectacular. I think part of Nightbreed‘s appeal is that it is such a confusing, troubled production. The design is marvellous. Director David Cronenberg’s turn as the film’s villain is superb.

165. A Civil Action
(1998, USA, d. Steve Zaillian.)

Back in the 1990s, these kinds of smart, well-funded mid-range dramas were a dime a dozen, and with the 21st century industry bifurcated into the very cheap and the enormously expensive I would really appreciate the mid-range coming back again. John Travolta is excellent in the lead of this legal drama, one written and directed by Schindler’s List‘s Steve Zaillian and based on a tragic true story. It has a tremendous screenplay.

164. Wes Craven’s New Nightmare
(1994, USA, d. Wes Craven.)

Given the opportunity to return to his then-exhausted horror franchise A Nightmare on Elm Street, creator Wes Craven did not just reinvigorate the property, he ripped it open in a self-aware, hugely postmodern reflection of the slasher movie genre in which series villain Freddy Krueger steps out of the screen to torment the cast and crew of the original thriller. While Craven would direct a much more conventional postmodern take on the genre with Scream, there is nothing in that film that matches New Nightmare for sheer bravura.

163. Candyman
(1992, USA, d. Bernard Rose.)

Probably the best Clive Barker-related horror film of its decade, even though he did not direct this one himself. Urban myth combines with a study of racism and American history. It is rich in atmosphere and well performed by Virginia Madsen and Tony Todd. Importantly it is clever, and more sophisticated than the average slasher flicks that were rolling on through the first half of the 1990s. Its central antagonist is hugely memorable: that voice, the hook, the bees.

162. The Mask of Zorro
(1998, USA, d. Martin Campbell.)

It is astonishing that it took until 1998 for Hollywood to make a Zorro film with a Hispanic actor in the title role. Antonio Banderas is perfectly cast here, and I am not sure he has ever been as charismatic either before or since. Likewise Catherine Zeta-Jones makes a huge impact here – their chemistry together in that dance sequence is unforgettable. Add in superb sword-fighting and stunts, a clever story that acts as both sequel and remake, an innovative score by James Horner, and you have one of the best adventure films you can find.

161. Ever After: A Cinderella Story
(1998, USA, d. Andy Tennant.)

Cinderella reimagined so that she saves herself. This is an utterly charming film, nicely lensed by Andy Tennant, and boasting a world of amiable, fun performances: not just star Drew Barrymore, but Angelica Huston, Melanie Lynskey, Megan Dodds, Richard O’Brien, and Toby Jones. Its insertion of historical figure Leonard da Vinci into the fairy tale is wonderful. This, for me, is a sensational comfort film. It’s the cinematic equivalent of a warm blanket.

160. Romper Stomper
(1992, Australia, d. Geoffrey Wright.)

Geoffrey Wright’s bleak, uncompromising, and deeply uncomfortable film depicts neo-nazis in Melbourne with a real emotive force. Russell Crowe has never been more terrifying and potent. Jacqueline McKenzie and the late Daniel Pollock are exceptional. It achieves a tremendous balancing act of being gripping viewing but also avoiding sympathy for its deeply hostile characters. It is hardly material for repeat viewing, but I honestly think everybody should watch it once.

159. Naked Lunch
(1991, Canada, d. David Cronenberg.)

Surely there are few combinations of filmmaker and material so perfect for one another as David Cronenberg and William Burroughs. Naked Lunch was always one of the books deemed “unfilmable”, an accusation that is almost never ever true – as Cronenberg ably demonstrates here. Peter Weller’s central deadpan performance is brilliant for navigating all of the weirdness that turns up around him. Strange, but wonderfully so.

158. Quick Change
(1990, USA, d. Bill Murray and Howard Franklin.)

Going with its key flaw first: Quick Change‘s first act, with Billy Murray dressed as a clown robbing a bank, is so well-delivered that the remainder of the film does struggle to catch up. Even so, this comedy of errors of Murray’s robber fruitlessly trying to escape New York before the police catch up has so much great material in it. Geena Davis and Randy Quaid are excellent in support, as is Jason Robards.

157. Mrs Brown
(1997, UK, d. John Madden.)

Queen Victoria (Judi Dench), mourning the death of her husband, finds solace in countryside horse rides with her Scottish servant John Brown (Billy Connolly). The film’s two leads are simply fantastic, and essentially make the film the success it is. It is also very well written, with a lot to say about human behaviour, grief, friendship, and above all class. Back when this was released to home video, and I was working behind the counter of a suburban video library, this was considered a miracle movie because you could honestly recommend it to almost any customer and they would enjoy it.

156. Gods and Monsters
(1998, UK, d. Bill Condon.)

Gods and Monsters is a wonderful biographical film about James Whale, a World War I veteran turned film director – who famously directed both Frankenstein and Bride of Frankenstein. The film picks him up in retirement, played by Ian McKellen, and focuses on a fictionalised and complex relationship between him and his young gardener (Brendan Fraser). Both actors are brilliant. The screenplay is profound.

155. Robin Hood: Prince of Thieves
(1991, USA, d. Kevin Reynolds.)

We can criticise Kevin Costner’s lack of an English accent, or we can simply enjoy this wonderful crowd-pleasing adventure film with winning action sequences, a great sense of humour, a superb Michael Kamen score (one of the decade’s best), and the late Alan Rickman’s iconic silly performance as the villainous Sheriff of Nottingham.

154. The Rocketeer
(1991, USA, d. Joe Johnston.)

1991 was clearly a year for adventure films, because it also gave us this winning old-fashioned escapade about derring-do, a pilot who finds a stolen jetpack, and moustache-twirling Nazis. That The Rocketeer failed with audiences at the time is a deep tragedy, because I for one would have quite liked to see one or two action-packed sequels involving Cliff Second and his friends. A great cast includes Billy Campbell, Timothy Dalton, Jennifer Connelly, and Alan Arkin.

153. Fear and Loathing in Las Vegas
(1998, USA, d. Terry Gilliam.)

I feel that time has led a lot of viewers to overlook Terry Gilliam’s anarchic adaptation of Hunter S. Thompson’s book, and that is really a shame because it is one of his best films. Johnny Depp is in top form, back when he gave a damn, as is Benicio Del Toro. This was always going to be a challenging book to bring to the screen, and it is a hugely successful attempt. It’s brilliantly funny.

152. Galaxy Quest
(1999, USA, d. Dean Parisot.)

As far as parodies go, this film – in which the cast of a Star Trek-style cult television series are abducted to save an actual alien civilization – is pretty much faultless. It’s not just the cast, who are genuinely a league above what you’d normally see it a comedy like this, it’s the screenplay: it does a stunning job of being absolutely merciless and being infused with affection at the same time. There’s an argument to made that this is possibly the best Star Trek movie ever released.

151. The Opposite of Sex
(1998, USA, d. Don Roos.)

An absolutely savage satirical comedy that, along with Buffalo 66, broke Christina Ricci out of child roles and fully into a mature career. While Ricci is excellent, it is Lisa Kudrow that particularly excels – vigorously shaking off any trace of her famous Friends character and demonstrating just what a strong performing talent she is.

Favourites of the 1990s
#300-276: Executive Decision, Young and Dangerous, The Prophecy, October Sky, Beyond the Mat, Lake Placid, Demolition Man, Rosencrantz and Guildenstern are Dead, American History X, The Thin Red Line, Fantasia 2000, Toy Story, The Big Steal, The Legend of 1900, Cliffhanger, Hard Target, Dick Tracy, Young Guns II, Pump Up the Volume, Clueless, Waterworld, White Men Can’t Jump, Hamlet, Hana-Bi, 10 Things I Hate About You.
#275-251: Arlington Rd, Velvet Goldmine, Stargate, The American President, The Long Kiss Goodnight, Hocus Pocus, Scream 2, The Birdcage, Kindergarten Cop, Men in Black, Deconstructing Harry, Titanic, Being John Malkovich, I Stand Alone, The Bird People of China, Othello, Les Amants de Pont-Neuf, Donnie Brasco, Mulan, Star Trek: First Contact, Blade, Death Becomes Her, Star Trek VI: The Undiscovered Country, Armageddon, The Game.
#250-226: The Mummy, Crimson Tide, Showgirls, The Addams Family, Back to the Future Part III, Once Upon a Time in China, As Good As It Gets, Existenz, Walking and Talking, Sharkskin Man and Peach Hip Girl, The Prince of Egypt, The Thirteenth Warrior, Teenage Mutant Ninja Turtles, Lord of Illusions, Devil in a Blue Dress, The Three Musketeers, Total Recall, Wayne’s World, Twisters, Enemy of the State, Six Degrees of Separation, Nadja, Cube, Rushmore, Drop Dead Gorgeous.
#225-201: Army of Darkness, Tomorrow Never Dies, The Talented Mr Ripley, Crash, La Femme Nikita, New Dragon Gate Inn, Interview with the Vampire, Sneakers, Wild at Heart, Eyes Wide Shut, The Virgin Suicides, Ravenous, The Quick and the Dead, Shine, Lock Stock and Two Smoking Barrels, Copland, In the Mouth of Madness, The Young Americans, Tremors, Strictly Ballroom, Romy & Michele’s High School Reunion, Ghost, The Cable Guy, Police Story 3, Office Space.
#200-176: Goldeneye, Austin Powers: International Man of Mystery, Rebels of the Neon God, A Perfect World, Bullet in the Head, Newsies, Fearless, Simple Men, Dazed and Confused, Radiance, The Heroic Trio, Misery, Carlito’s Way, The Madness of King George, The Last Seduction, Serial Mom, Matilda, But I’m a Cheerleader, The Imposters, Buffalo ’66, Sleepy Hollow, Dingo, My Girl, The Frighteners, Broken Arrow.