Darkeve

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Best movie of the nineties
<b>Frank Henenlotter</b> • L.A. Confidential

13

Frank Henenlotter • L.A. Confidential

Curtis Hanson
<b>Darren Aronofsky</b> • Pi Greco: il Teorema del Delirio

30

Darren Aronofsky • Pi Greco: il Teorema del Delirio

<b>Camera</b> • Camera

33

Camera • Camera

Remy Belvaux- Il Cameraman e L'Assassino
<b>Gary Fleder</b> • Cosa Fare A Denver Quando Sei Morto

35

Gary Fleder • Cosa Fare A Denver Quando Sei Morto

Your comment on the chart
Comments on this chart
  • hjhhjij
    hjhhjij
    10 may 13
    Um, beautiful, I like it, I agree with many titles, but Goodfellas is from 1990 and Lost Highway is from '97, right? :)
     
  • Darkeve
    Darkeve
    10 may 13
    I put one for each director, otherwise I would have included the Hyenas too ;) and all the Coen.
     
    • hjhhjij
      10 may 13
      Oh yes. Alright, these are choices. Here’s the explanation for the absence of "L’Uomo che non c'era" in the other ranking.
  • mild
    mild
    27 may 13
    I would put The Green Mile by Frank Darabont, which that same year was nominated for the Oscar for Best Picture alongside American Beauty. My only doubt is, was it just bad luck that The Green Mile didn’t win the Oscar?
     
  • Darkeve
    Darkeve
    27 may 13
    I didn't like The Green Mile.
     
  • Geo@Geo
    Geo@Geo
    3 jun 13
    All good, but "for me" Matrix is at the top ;)
     
  • hjhhjij
    hjhhjij
    3 jun 13
    Am I wrong or Lost Highways has supplanted A True Story? I agree anyway, despite the fact that I LOVE the poetic gem of the Lynx from 1999. But L. Highways is something more. Geo, M-m-m-m-matrix above all this well of divinity of your choice? Sorry, I'm fainting (and I'm crazy about Matrix eh) :)
     
    • Geo@Geo
      3 jun 13
      But it's only because I really like Keanu Reeves;)) Jokes aside, I believe the trilogy is one of the true innovations in terms of storytelling (the alternative reality) and special effects from that time (let's say at least the Bronze Age).
    • Darkeve
      3 jun 13
      Lost Highway and a True Story are 2 bombs... I was uncertain, but in the end, you convinced me.
  • Ocean
    Ocean
    14 sep 13
    I completely agree. Pulp Fiction is the best film of the '90s. However, I don't think my reasons are the same as yours.
     
  • puntiniCAZpuntini
    puntiniCAZpuntini
    27 nov 13
    We're missing the one about Nicola Gabbia who drinks himself to death.
     
    • Darkeve
      27 nov 13
      Out of Las Vegas. Nice, but not among my favorites.
  • nes
    nes
    27 nov 13
    To me, the cameraman and the murderer were pretty crap... But maybe it’s not that they were crap, they just disturbed me beyond the bearable limit.
     
    • Darkeve
      27 nov 13
      Very peculiar and unsettling. Until the very end, I couldn't tell if I liked it or if it was terrible, the ending resolved any doubts.
    • Darkeve
      27 nov 13
      I've been wanting to ask you for a while: have you seen holy motors?
    • nes
      28 nov 13
      no, I will try.
  • March Horses
    March Horses
    16 dec 13
    Here, I'm reading L.A. Confidential and I have the movie waiting for me. If it’s at least on par with the novel, it will get me going.
     
    • puntiniCAZpuntini
      16 dec 13
      But are you reading L.A. without Big Nowhere? After L.A., read Big Nowhere and White Jazz, then watch the movie. Black Dalia is crap (for being by Ellroy), you can skip it.
    • March Horses
      16 dec 13
      uhm... okay, thanks.
    • puntiniCAZpuntini
      16 dec 13
      Sure, if you started from Big Nowhere it was better, still better than me who read them backwards starting from White Jazz. Since they are all clones of the same pattern, usually the one that is liked the most out of the three (because everyone recognizes Black Dahlia as crap) is the first one you read. Just out of curiosity, when you finish them let me know if the same happened to you.
  • Lao Tze
    Lao Tze
    16 dec 13
    aside 3/4 (which I won't mention), PERFECT.
     
  • RIBALDO
    RIBALDO
    6 feb 15
    I completely agree, but DELLAMORTE DELLAMORE no way, for God's sake! :)
     
  • Mr Wolf
    Mr Wolf
    26 feb 15
    Some films included in this list are a blasphemy and a crime against cinema.
     
  • RIBALDO
    RIBALDO
    26 feb 15
    Well, if we're going to nitpick, I find THE CROW over THE SPITTING IMAGE and HAPPINESS... ahahaha
     
  • Mr Wolf
    Mr Wolf
    26 feb 15
    Well, it’s enough for me that "The Crow" is found in a ranking of the best films of the '90s to give me goosebumps and apologize to cinema. But if only "The Crow" were the only one...
     
  • RIBALDO
    RIBALDO
    26 feb 15
    I would have never included the raven and death... of course, I wouldn't have put them in that order, but I believe he nailed quite a few films from that decade.
     
  • Mr Wolf
    Mr Wolf
    26 feb 15
    Sure, there are also great movies, I don't even consider the order because then it would never end. But "Natural Born...", "Fight Club," "A Day of Ordinary..." "True Lies" (to name a few) I consider mediocre/poor films, "Dellamorte" is pure garbage. From the Coens, I find "Barton Fink" their masterpiece and certainly not "Fargo." From Cronenberg, "M. Butterfly" is definitely more accomplished.
     
  • RIBALDO
    RIBALDO
    26 feb 15
    Alright, now you're exaggerating... NBK is a great movie, no doubt, and you're tough on the others you mentioned, but that’s okay... and I think you're wrong about the Coens too; Fargo is a fantastic film (it’s NEVER inferior to Barton Fink), but for me their masterpiece is Lebowski...
     
  • Mr Wolf
    Mr Wolf
    26 feb 15
    An American film by a bulimic director (NBK). "Barton Fink" remains their absolute best film for me, "The Big Lebowski" is a "gem," but if I had to choose, I would go for the atmospheres and direction of "Barton."
     
  • hjhhjij
    hjhhjij
    26 feb 15
    I believe that for the Coens it comes down to pure personal taste (if that's the case, I would choose, albeit with some difficulty, "The Man Who Wasn't There"), so I don't find it strange at all to choose a "Fargo" or a "Barton Fink." Reducing NBK to a mere American cliché seems a bit too "snobby" to me, and this is coming from someone who ultimately finds nothing particularly special about that film. Even calling "Fight Club" mediocre feels excessive, just as much as shouting masterpiece does; to me, it seems like one of those cases where the truth lies in between. It's a "normal" film.
     
    • Mr Wolf
      26 feb 15
      Well, for me mediocre means "normal." But being this the seventh art, the tones of a film must be these (in my opinion).
      I almost forgot, regarding the Coens, "Fargo," as I've already said, remains their masterpiece for me.
    • nes
      26 feb 15
      The man who didn't care is not one you choose, it's their best film, period. For cinematography, acting, settings, direction, and everything else. For the rest, there are personal tastes. I would tell someone that if one says: BF is the best of the Coens, when I ask them what’s the best of Tarantino and they respond JB, then that's the end of any possibilities for discussion.
    • Mr Wolf
      26 feb 15
      But you don't choose that "There Was..." is the best of the Coens, which I find slightly pretentious. I hope you’re not one of those who sees black and white in a modern film and shouts masterpiece photography.
    • nes
      26 feb 15
      "I hope you're not one of those who sees black and white in a modern film and yells masterpiece photography." Find me a film from the 2000s in B/W with better cinematography.
    • Mr Wolf
      26 feb 15
      Sure! Please send me the text you'd like me to translate.
    • nes
      26 feb 15
      here, exactly...
    • Mr Wolf
      26 feb 15
      I didn't understand your question...what does "anni zero" mean?
    • hjhhjij
      26 feb 15
      2000-2009.
    • nes
      26 feb 15
      from 2000 to 2009. but feel free to tell me one that came out recently if you have one in mind.
    • Mr Wolf
      26 feb 15
      "The white ribbon"
    • nes
      26 feb 15
      Yes, you’re right. However, it had to be Haneke that came up, "The Man Who Wasn’t There" is a blockbuster... not that this is a response that doesn’t satisfy my question, I repeat: it’s true, but you’ll realize that if you have to bring up one of the sacred monsters of contemporary cinema, all things considered, Deakins’ work is, more or less, on an exceptional level.
    • Mr Wolf
      26 feb 15
      Well, it’s not like they make black and white films every day now... But still, “C'era...” has beautiful cinematography and it's a very good film.
  • hjhhjij
    hjhhjij
    26 feb 15
    Now, however, I want to know what else doesn’t convince you because if you bring up the films of Raimi and Jackson, then the problem is no longer with the films (because you can actually share thoughts on Faigt Cleb and Natural Born Chiller in the end) but with genres that you don’t like. Oh, I’m just bracing for your response, you know :)
     
    • Mr Wolf
      26 feb 15
      I don’t judge films by genre (which I couldn’t care less about). Even regarding Gilliam, I would definitely choose "The Fisher King" over "the eserciyo...". Similarly, for Anderson, "Boogie Nights" is vastly superior to "Magnolia" (which is definitely too influenced by Altman). Others that I wouldn’t even consider from this list (which I remind you are the best films of the '90s) are: L.A. Confidential, American Beauty, The Sixth Sense, Pi, American History X, Edward Scissorhands, Forrest Gump, Strange Days.
  • hjhhjij
    hjhhjij
    26 feb 15
    Oh my God, I find myself in trouble with Cronenberg, I adore both films... "M. Butterfly" might even be more successful, but we mustn't forget the delirium from which "Naked Lunch" is drawn, and in the end, it turns out really well.
     
  • hjhhjij
    hjhhjij
    26 feb 15
    And I'm sure that "Matrix" doesn't suit your taste either :D
     
    • Mr Wolf
      26 feb 15
      "Matrix" may sound strange, but I have never seen it, so I'm not saying anything.
    • nes
      26 feb 15
      The Matrix is the most "heavy" film for the cinematic and television culture that has come after its release since I was born. Nowadays, it’s an incredibly dated movie, the sequels that have been made are atrocious, but The Matrix is beyond discussion.
  • RIBALDO
    RIBALDO
    26 feb 15
    NBK is not an American thing... be less superficial, in my opinion, yours is a coarse judgement!
     
    • Mr Wolf
      26 feb 15
      Stone is a mediocre director, and his way of directing films (not just this one) is redundant, bulimic, and if it’s not an American cliché, NBK, I don’t know what else could possibly be. It’s Hollywood a go-go.
    • RIBALDO
      26 feb 15
      Is he a mediocre director? If you say so... for me "Americanata" means something entirely different... the elegy of serial killers, the need to be seen at all costs... TV... considering where we stand today with social media and reality shows, I would say he hit the nail on the head 20 years ago. Don't underestimate this film...
    • Mr Wolf
      26 feb 15
      But I was already there 20 years ago, and I was older than a teenager, and these were topics that had already been discussed extensively (for years). But regardless of the theme, I'm talking about cinema, and from a cinematic standpoint, the film is mediocre and superficial. If I really want sociological essays, I read a book. "Citizen Kane" is not a great film because it deals with a newspaper magnate who has great power, but because it revolutionized the perspective and narrative of cinema.
    • nes
      26 feb 15
      "from a cinematic point of view, it is subpar" argue please.
    • Mr Wolf
      26 feb 15
      Again! It’s extremely redundant and bulimic. Too many scenes that exist solely for the sake of pleasing the (fake) "Hollywood against."
    • nes
      26 feb 15
      "it's extremely redundant and bulimic." this is not an argument, these are just adjectives... it's like saying: "it's beautiful and awesome, the best for a true cinephile." You'll realize that I haven't said anything at all, I've just expressed an opinion born from personal tastes. Then an opinion can be shared or not, and of course, being subjective, it's hard to argue against, but one thing is to say: it's a cinema I don't like, another is to say: it's cinematographically poor. It has an editing nbk that good luck and male heirs.
    • Mr Wolf
      26 feb 15
      For me, it's enough to say that it's a mediocre film; come on, it's a crowd-pleaser and a bit of a caricature. The review, when I feel like it, I'll do another day.
      Here it is, I was waiting for the sparkling editing.
      Yes, like a music video.
    • nes
      26 feb 15
      Yes, but you can also say that for you it's the worst movie ever made. I repeat: one thing is to say for me it’s a shitty movie, another is to say: from a cinematic point of view, it’s poor. I didn’t say vibrant, I said "auguri e figli maschi," because I’m not about to start talking about the editing of nbk in a comment; I would need a whole sheet of paper for that. And especially the desire. Let’s start by saying that editing together 18 different formats of film isn’t exactly the easiest thing. But oh well, let’s say vibrant; it makes everything easier...
    • hjhhjij
      26 feb 15
      Also, "I don't even consider Edward Scissorhands and Pi" isn't bad, sorry but you kind of scare me.
    • Mr Wolf
      26 feb 15
      Exactly, a pointless exercise. To say ohhhhhhh but how good he is, he does really difficult things... hj... I'm not saying that Edward is ugly, but to go from that to saying he's among the best of the '90s is frightening to me, the same goes for PIg.
    • nes
      26 feb 15
      Well, let's make up our minds: you said it's a Hollywood gogo film, then that it's made for the fake Hollywood against (which and what the real Hollywood is, I prefer to avoid knowing), then that it's caricatured, then that it's made to make people talk about how it's made, before you said that cinematographically it's lacking... in my opinion, if you had said: "I can't stand Stone, so I come off as a true cinephile who knows a lot," it would have been quicker.
      Pardon: "I can't stand Stone, so I come off as a true cinephile who knows a lot," it would have been quicker.
    • Mr Wolf
      26 feb 15
      Yes, because Hollywood pretends to embrace those films that should be shocking and unconventional, when in reality they are not even a little bit... But meticulously crafted instead.
      And it’s not my fault if Stone is mediocre... You just have to have watched other directors to realize it.
    • nes
      26 feb 15
      yes, but nbk wasn't exactly loved that much by Hollywood and the American press...
    • Mr Wolf
      26 feb 15
      That’s part of the game too. Once Hollywood funds it and sends it around (with cuts or not), it means it has passed the test... Otherwise, they wouldn't distribute it with a stick. Did Hollywood fund "Il cattivo tenete"? No, because that one is really a strong film by a troublesome director.
    • nes
      26 feb 15
      "Otherwise, with the piper they won't distribute it." Hollywood is a money-making machine; it distributes anything that brings in profit, just like Berlusconi aired anyone who brought audience, Luttazzi included. The Bad Lieutenant was a film that wouldn’t have made a dime; they knew it and preferred to avoid spending more money on it. Hollywood not producing or distributing something for reasons other than economic ones? Come on!
    • Mr Wolf
      26 feb 15
      Well, with the right CUTS Hollywood distributes everything, so much so that they distributed NBK because it's a Hollywood film galore.
    • Darkeve
      26 feb 15
      What a mess! Obviously, this is not a ranking of the best films of the 90s, but of my favorites. Don’t keep repeating “yeah, but the best films of the 90s.” I’m not a critic, I’m not Morandini or anything else. The Crow back in the day was a badass comic book movie, with an amazing atmosphere and incredible music. I was about ten years old. Of course, I have an attachment to it. Today it would lose millions of points, but it’s one of MY movies. The order is completely random. Barton Fink is really beautiful, but choosing just one from the Coens is tough. For me, BF ranks lower than both Fargo and Lebowski.
    • Mr Wolf
      26 feb 15
      But it's just to have a little chat... Then if you improve the tastes, it's a win for you ;)
    • Darkeve
      26 feb 15
      So recommend some movies ;)
    • Mr Wolf
      26 feb 15
      I don't know if they might be of interest to you, I limit myself to this decade and to 3 titles (the first ones I recall): America today, L'inferno (Chabrol, I specify because there is also another one with the same title), Totò che visse due volte...
    • nes
      27 feb 15
      Hollywood produces everything (EVERYTHING) that makes money, "Bad Lieutenant" made about one and a half million, which for a movie is really nothing, so you get it distributed by someone else, who says "we've already put up the money and now we just want to bring in some returns"... Then, no offense, but recommending to someone who drops this ranking stuff like "Totò che visse due volte" is idiotic (forgive me). We understand that anti-conformism thrives in your parts, but seriously: someone talks to you about Fincher, Tarantino, and Stone, and you respond: Ciprì and Maresco? (which I’ve never understood why, to show off, people keep bringing up Totò at the expense of Uncle from Brooklyn, not that one is worse than the other, it’s just that seriously, I don’t get this thing) since you were at it, you could have mentioned, I don’t know, "Satantango". That would have been a less predictable and equally idiotic choice, from a film that truly screams "Hollywood goodbye". Well, you can’t have everything in life.
      But the most important thing of all is that Morandini is not a critic, Morandini is a clever little bastard.
      I was forgetting to point that out...
    • aleradio
      27 feb 15
      I watched Natural Born Killers with my mother when I was 9. I don't think I need to elaborate.
    • Mr Wolf
      27 feb 15
      Dearest nes, like him, I also started getting interested in cinema at 14, and certainly not with films by Bunuel, Bergman, Ophuls, etc... But like him, with American films by Scott, Spielberg, Scorsese. However, when I discovered other cinema, I didn't put the first ones away (of course, they were reassessed), but I also found the latter exhilarating. Then I see that Kubrick appreciates them, and if he loves not only the stories but also the Kubrickian geometry, he cannot disdain the greatest Italian directors of the last 20 years (and not only Italians) who have drawn so much from Kubrick. As for "Totò...", I recommend it because I consider it a (their) masterpiece, but the others are just as good. And in any case, if you can read, I wrote the first 3 that come to mind and "I don't know if they might interest you". I didn't exactly recommend Monteiro or whatever... And anyway, I don't consider these 3 films so extreme... I don't care about Morandini, I've never read anything by him. One last thing, considering that there is other cinema does not mean being nonconformists, it means acknowledging that there isn't just one type of cinema.
    • nes
      27 feb 15
      Yes, wolf, but if Natural Born Killers is a "cinematically mediocre" film among all the cinema you've watched from the age of 14 until you discovered one of the other two hundred different types of cinema (and not another cinema), it seems like you're left with very little except the stories. And cinema is not just stories; cinema is images. It’s completely valid if you prefer one thing over another, but it's less valid for someone who speaks of mediocre cinema in relation to Natural Born Killers to question someone else's tastes. "I don't consider these 3 films that extreme..." But what you consider extreme should not matter when you recommend something; rather, you should relate your suggestions to the tastes expressed by the person you're talking to. Oh, the impression is that you're here saying: I know everything, and to prove it, you throw around names. Too bad, I hoped to find someone with whom we could really discuss cinema (shooting techniques, camera movements, color correction, backgrounds, machetes, and so on). That of Morandini was for Dark.
    • Mr Wolf
      27 feb 15
      If you ask me which movie I recommend, I’ll tell you the ones that interest me; otherwise, they can look for themselves if they want to keep seeing the same old thing (or not?). If the interlocutor had said, “recommend me movies in the genre pinco pallo,” fine, but having a free hand, I suggested they watch films that would open their cinematic horizons—maybe they simply don’t know them, and maybe once they see them, they’ll like them. Why should I give them titles of things they probably have already seen or at least know? It seemed clear to me that I was talking about a certain classic/narrative cinema and a non-narrative/experimental cinema, not genres. Then, I don’t know if you truly don’t understand or if you’re just saying that, but I’m the first one who doesn’t talk about stories but about vision. Aside from the fact that technique must serve and not become the goal—which is what happens with NBK, pure aesthetics and thus undermining the message that the film intends to convey, little more than an advertising spot.
    • nes
      27 feb 15
      "If you ask me which movie I recommend, I say the ones I'm interested in. If someone likes action films, you tell him: Fast & Furious is crap, and he replies: well, tell me some good movies, and you respond with 'Něco z Alenky' because you liked it? Alright, fine that you liked it, but what the hell does that have to do with the initial conversation? 'If I'm the first who doesn't talk about stories but about vision.' No wait, you describe the films and don't really discuss them: mediocre, sumptuous, beautiful, ugly... (I was just on your page) 'Leaving aside the fact that technique should serve the purpose and not become the goal, what happens in NBK,' no come on, in NBK the technique isn't just serving; it actually becomes a slave to the purpose of the film... let's leave it at that."
    • Mr Wolf
      27 feb 15
      It doesn't seem like he watches "Fast & ..." but he still has an interest in a certain type of cinema. Aside from the fact that "America Oggi" and "L'inferno" are two narrative films that I think he would certainly enjoy, I find your argument quite "fluffy," just because I suggested a film like "Totò." Sure, go check the comments on the reviews; I write a brief comment, I don't elaborate (when and if I feel like it, I'll make a proper review)... I actually saw the editing of NBK in exactly the opposite way, and I've seen more unsettling films than this, just a matter of perspective. Bye.
    • nes
      27 feb 15
      Sorry, but these aren't points of view: nbk tackles the TV theme and to do so mixes various television languages with Stone's cinematic language; if Tarantino had done it, he would be happier, and the film would be completely different. I haven't quite understood what the restlessness discourse has to do with it, but here is where I start not to understand a bit too much.
    • Mr Wolf
      27 feb 15
      For me, it’s a surface-level film; its critique fails as it is mere provocation for provocation’s sake. Where it aims to unsettle, it becomes grotesque.
    • nes
      27 feb 15
      "For me, it’s a film of surface; its denunciation hasn’t succeeded, it’s provocation for its own sake. We keep coming back to the same point: who cares about the weight of the message in a film with Woody Harrelson, Lewis, directed by Stone (who can only talk about war) and written by Tarantino??? Do you watch a Hollywood film to get messages? I imagine not. It’s entertainment, after all (lately, American entertainment has been pretty lacking, and on that, it would make sense to talk).

      As for unsettling... I remember it as a particularly giggly and super cool film, genuinely unsettling? I have no memory of that. Oh dear, he can talk about war and inner turmoil. Yeah, sure: Talk Radio weighs and counts as much as Platoon, maybe even more."
    • Mr Wolf
      27 feb 15
      Precisely, for me cinema is not just entertainment (or not only), and it's not in Stone's intentions either, given that he always wants to tackle significant themes, often staying on the surface. Anyway, it was you who attributed so much weight to the message, which was intended to be there and I agree here, it’s a pity he didn’t succeed. Then if you tell me it’s an adrenaline-pumping shoot 'em up, I can agree with you, but to say it’s a masterpiece, for me it doesn’t hold up.
    • nes
      27 feb 15
      "You are the one who has given so much weight to the message," WHERE???
    • Mr Wolf
      27 feb 15
      Indeed it wasn't you....
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