{"id":130115,"date":"2024-11-26T02:09:59","date_gmt":"2024-11-25T19:09:59","guid":{"rendered":"https:\/\/hotvideos24.online\/?p=130115"},"modified":"2024-11-26T02:09:59","modified_gmt":"2024-11-25T19:09:59","slug":"99-best-movies-of-1999","status":"publish","type":"post","link":"https:\/\/hotvideos24.online\/?p=130115","title":{"rendered":"99 Best Movies of 1999"},"content":{"rendered":"<p> <script async src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-3711241968723425\"\r\n     crossorigin=\"anonymous\"><\/script>\r\n<ins class=\"adsbygoogle\"\r\n     style=\"display:block\"\r\n     data-ad-format=\"fluid\"\r\n     data-ad-layout-key=\"-fb+5w+4e-db+86\"\r\n     data-ad-client=\"ca-pub-3711241968723425\"\r\n     data-ad-slot=\"7910942971\"><\/ins>\r\n<script>\r\n     (adsbygoogle = window.adsbygoogle || []).push({});\r\n<\/script><br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMaybe the thought first occurred to you during the end of March, when a graceful, modern update of a Shakespearean comedy and a groundbreaking science-fiction movie opened on the same weekend. Or perhaps it was the wave of summer releases that hit screens, from the single most anticipated blockbuster ever to Stanley Kubrick\u2019s swan song, that made you think something special was starting to happen. Or it could have been the tsunami of zeitgeist-surfing movies \u2014 all from a generation of filmmakers who, having come out of the Sundance labs and\/or cut their teeth on music videos, would resurrect the maverick spirit of the \u201970s auteurs \u2014 that convinced you that 1999 wasn\u2019t just shaping up to be a pretty good year at the movies. It was turning into a genuinely <em>great<\/em> year at the movies.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn fact, after the Golden Age apex of 1939 and the New Hollywood highlight of 1974, the last gasp of the \u201990s is now considered to be one of single best 12-month stretches of American moviemaking ever. Add in the number of international films that were finally making their ways to our screens during those 12 months, and it would turn out to be a banner annum for American moviegoing as well. Not to mention that the lineups at both Cannes and Venice would earmark this as a standout year for the festival circuit as well. Thanks to a perfect storm of talent, timing, and taste, 1999 would quickly be viewed as a major milestone for the medium. And a quarter of a century later, it only looks that much more like a pinnacle.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tSo, in honor of the 25th anniversary, we\u2019ve ranked the top 99 movies of 1999 \u2014 the best of the best, the box-office stand-outs, the big-name blockbusters, the brilliant indies and foreign-language landmarks, the bold documentaries, and a few of the batshit cult-movie outliers that helped define a truly outstanding year to be a movie lover.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>A quick note about our selection process: <\/strong>For better or worse, we\u2019re going by both release dates tied to a movie\u2019s theatrical run in America *and* film festival premiere dates. So, for example, you\u2019ll see <em>Audition, Ghost Dog, Ratcatcher <\/em>and <em>Beau Travail <\/em>here, even though each of these extraordinary works didn\u2019t officially grace American screens for a week or longer until 2000. Yet you will also see a few leftovers from previous years, such as <em>Lock, Stock, and Two Smoking Barrels,<\/em> <em>Princess Mononoke<\/em> and <em>Run Lola Run,<\/em> since they didn\u2019t get full U.S. releases until 1999. (There\u2019s one notable exception, which we\u2019ll single out below.)<\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical-loader u-gallery-app-shell-loader\">\n<ul class=\"pmc-fallback-list-items lrv-a-unstyle-list lrv-u-margin-t-2\">\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Dogma\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"197\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"DOGMA, from left: Matt Damon, Ben Affleck, 1999, \u00a9Lions Gate Films\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Dogma.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Dogma.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Dogma.jpg?resize=300,197 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"197\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Dogma.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"DOGMA, from left: Matt Damon, Ben Affleck, 1999, \u00a9Lions Gate Films\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Dogma.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Dogma.jpg?resize=300,197 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Lionsgate\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAfter the success of his 1994 low-budget hit\u00a0<em>Clerks<\/em>\u00a0and its more mainstream follow-ups\u00a0<em>Mallrats<\/em>\u00a0and C<em>hasing Amy,<\/em>\u00a0slacker wonderkind Kevin Smith attempted this ambitious riff on Catholicism, which was deemed to be \u201cpolluted\u201d by the American Society for the Defense of Tradition, Family and Property. The film\u2019s Weimer Nineties casting is cute:  Ben Affleck and Matt Damon are fallen angels trying to exploit a Papal loophole to get back into heaven; Chris Rock is a Black apostle written out of the Bible because of racism, Salma Hayek is a celestial muse turned earthbound stripper; George Carlin drops by as a New Jersey bishop trying to give the Church a cool new image; and Alanis Morrissette appears as God. By mish-mashing references to\u00a0<em>Star Wars<\/em>,\u00a0<em>The Piano,\u00a0<\/em>and<em>\u00a0Home Alone\u00a0<\/em>in with its riffs on stuff like the Virgin Birth, Sodom and Gomorrah, and plenary indulgences, the movie also genuinely reflected the experience of Catholic kids raised in the Seventies and Eighties who\u2019d transmogrified their ambivalence towards of the faith of their upbringing into an equally iconic embrace of a new moral system \u2013 the Church of Pop Culture. Today, we might call Smith\u2019s attitude \u201clol something matters.\u201d <em>\u2014Jon Dolan<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Boondock Saints\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/the_boondock_saints.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/the_boondock_saints.jpg 1600w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/the_boondock_saints.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/the_boondock_saints.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/the_boondock_saints.jpg 1600w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/the_boondock_saints.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/>\t\t\t\t\t<\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tYou can understand why writer-director Troy Duffy\u2019s crime thriller helped signal the end of a certain type of tough-guy movie that plagued the decade \u2014 even by the \u201990s indie-filmmaker-watches-first-two-Tarantino-movies-too-many-times standards, the abundance of self-conscious flourishes, proto-edgelord offensiveness and performances for which \u201cbad\u201d is too kind a descriptive is a lot to take. But you also get why this film still has a cult following, especially once the Irish-American MacManus brothers (played by Sean Patrick Flannery and future <em>Walking Dead<\/em> MVP Norman Reedus) decide to go from South Boston ruffians to full-on vigilantes, one hail-mary at a time. Plus it has one of Willm Dafoe\u2019s more gloriously eccentric performances, and considering we\u2019re talking about <a rel=\"nofollow noopener\" href=\"https:\/\/www.youtube.com\/watch?v=dKNxTvNYugI\" target=\"_blank\">this<\/a> <a rel=\"nofollow noopener\" href=\"https:\/\/www.youtube.com\/watch?v=4FoLdX8xeSo\" target=\"_blank\">guy<\/a>, that\u2019s saying something. <em>\u2014David Fear<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Varsity Blues\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"VARSITY BLUES, James Van Der Beek, Jon Voight, 1999, (c)Paramount\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/vb.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/vb.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/vb.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/vb.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"VARSITY BLUES, James Van Der Beek, Jon Voight, 1999, (c)Paramount\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/vb.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/vb.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Paramount\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn West Canaan, Texas, they worship God, guns and the gridiron state champions known as the West Canaan Coyotes \u2014 just not in that order. In this community, star quarterback Lance Harbor (Paul Walker) is considered the second coming of Roger Staubach, and whatever Coach Bud Kilmer (Jon Voight) says is akin to gospel. As for the team\u2019s second-string QB, Jonathan Moxon (James Van Der Beek), he\u2019s content to warm the bench and read the paperback of <em>Slaughterhouse Five<\/em> he has stashed in his playbook. Then Harbor gets hurt, Moxon has to sub in, and he discovers firsthand the agonies and ecstasies of end-zone heroism. Director Brian Robbins\u2019 fan favorite is best remembered today for its jock-jam soundtrack, the late Ron Lester\u2019s performance as offensive guard\/good ol\u2019 boy Billy Bob, and extolling the seductive virtues of \u201cwhip-cream bikinis.\u201d In terms of portraying high-school football\u2019s cultural hold on Lone Star small towns, it isn\u2019t fit to hold <em>Friday Night Lights\u2019<\/em> jockstrap. But it does give you a Hall-of-Fame sports movie villain in the form of Voight\u2019s monomaniacal coach, whose tyranny on and off the field is truly terrifying. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Big Daddy\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BIG DADDY, from left: Cole\/Dylan Sprouse, Adam Sandler, 1999, \u00a9Columbia Pictures\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDBIDA_EC025.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDBIDA_EC025.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDBIDA_EC025.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDBIDA_EC025.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BIG DADDY, from left: Cole\/Dylan Sprouse, Adam Sandler, 1999, \u00a9Columbia Pictures\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDBIDA_EC025.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDBIDA_EC025.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Columbia Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt may not reach the cinematic heights of his early classics <em>Billy Madiso<\/em>n and <em>Happy Gilmore<\/em>, but Adam Sandler\u2019s contributions to the Class of \u201999 features all the regular Sandler Players (Steve Buscemi as a bum, Rob Schneider as a delivery-man buddy) and hits all the reliable beats. To wit: Kinda-loser-with-heart-of-gold Sonny Koufax hatches a scheme to impress folks, which involves cavorting around Manhattan with an \u201cadopted\u201d five-year-old son (played by twins Cole and Dylan Sprouse). He teaches the kid the joys of pissing on public buildings and tripping passing rollerbladers. Then Sonny falls for a very pretty, very accomplished woman \u2014 in this case, Nineties staple Joey Lauren Adams. Yes, the film\u2019s attitude about the fairly random gay couple Sonny hangs with, while progressive-seeming at the time, reads much less so today. And yes, Sonny\u2019s obsession with his friend\u2019s fianc\u00e9e (Leslie Mann) having waitressed at Hooters feels, dare we say, slightly misogynistic. But even at his knowingly frattiest, Sandler is nothing less than endearing. <em>\u2014Maria Fontoura<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Music of the Heart\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"MUSIC OF THE HEART, Meryl Streep, 1999, \u00a9 Miramax\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUOF_EC001.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUOF_EC001.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUOF_EC001.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUOF_EC001.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"MUSIC OF THE HEART, Meryl Streep, 1999, \u00a9 Miramax\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUOF_EC001.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUOF_EC001.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Miramax\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWes Craven took a break from his master-of-horror duties to helm this based-on-a-true-story melodrama about Roberta Guaspari, a single mother who gets a job teaching the violin to kids in East Harlem. Everyone from her fellow teachers to the students\u2019 parents are skeptical of what appears to be another stranger with a savior complex, until Guaspari ends up empowering these young musicians; when the successful program is later in jeopardy thanks to citywide budget cuts, a host of real-life virtuosos come to the rescue. After <em>Scream<\/em> became a hit, Craven leveraged his industry currency to convince his Miramax patrons he was the right man to bring this to the screen. The result feels like a lot of the other semi-schmaltzy the studio put out in the late 1990s, though it helps that Meryl Streep is playing Guaspari, and that everyone from Angela Bassett to Cloris Leachman to Gloria Estefan is filling out the supporting cast bench. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Angela\u2019s Ashes\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"ANGELA'S ASHES, Joe Breen, 1999. \u00a9Paramount\/Courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Ang.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Ang.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Ang.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Ang.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"ANGELA'S ASHES, Joe Breen, 1999. \u00a9Paramount\/Courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Ang.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Ang.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paramount\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tFrank McCourt\u2019s harrowing memoir of an Irish childhood characterized by poverty, hardship and tragedy got the prestige-lit event-movie treatment \u2014 it was released on Christmas Day in 1999 \u2014 and while it didn\u2019t have quite the impact that the bestselling book did, it still left audiences dazed and reeling. No one would ever accuse Alan Parker (<em>Midnight Express, Angel Heart, Pink Floyd: The Wall<\/em>) of being subtle, and the director treats the squalor and the familial strife like he\u2019s directing a war movie. What keeps this from devolving into standard poverty porn are the performances, notably Emily Watson as Frank\u2019s long-suffering Ma; Robert Carlyle as his well-meaning drunk of a dad; Joe Breen as the young Frank (a literal poster boy, given that it\u2019s his face peering out from a stark, black-and-white picture in the film\u2019s marketing image); and Michael Legge as the teenage Frank, who manages to write his way out of hell and into heaven, i.e. the Statue of Liberty\u2019s home. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The World Is Not Enough\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"196\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE WORLD IS NOT ENOUGH, from left: Pierce Brosnan, Sophie Marceau, 1999, (c) MGM\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/the-world-is-not-enough.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/the-world-is-not-enough.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/the-world-is-not-enough.jpg?resize=300,196 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"196\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/the-world-is-not-enough.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE WORLD IS NOT ENOUGH, from left: Pierce Brosnan, Sophie Marceau, 1999, (c) MGM\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/the-world-is-not-enough.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/the-world-is-not-enough.jpg?resize=300,196 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: MGM\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt will forever be known as the 007 movie starring Denise Richards as an American nuclear physicist named Christmas Jones. [<em>Feel free to add your own snarky comment here.<\/em>] Yet the 19th James Bond films, the third to star Pierce Brosnan, and the last time the MI6 agent was licensed to kill in the 20th century has its moments, including a riff on <em>The Spy Who Loved Me<\/em>\u2018s ski chase and Brosnan being both straddled and strangled by top-notch femme fatale Sophie Marceau. Throw in Robert Carlyle\u2019s Renaud, a   chilling variation on the unfeeling Bond villain in that he literally has lost his sense of touch, Robbie Coltrane reprising his <em>Goldeneye<\/em> Russian mobster and the longest pre-credits sequence in the series\u2019 history, and it\u2019s enough to make you forget the franchise was in danger of running in fumes. (You know this is a very much a late \u201990s entry as well, given that Goldie plays a henchman and you can hear <a rel=\"nofollow noopener\" href=\"https:\/\/www.youtube.com\/watch?v=y_iBmG5Y_BU\" target=\"_blank\">turntablist scratching added to John Berry\u2019s theme music<\/a>.) Brosnan would play Bond one more time, in 2002\u2019s <em>Die Another Day,<\/em> before ceding the role to the actor <a href=\"https:\/\/www.rollingstone.com\/tv-movies\/tv-movie-features\/daniel-craig-best-james-bond-1234978\/\">who\u2019d recast the iconic character for the 21st century<\/a>. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Austin Powers: The Spy Who Shagged Me\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"204\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"1999 Mike Myers And Heather Graham Star In The New Movie &quot;Austin Powers The Spy Who Shagged Me.&quot;  (Photo By Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-51096784.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-51096784.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-51096784.jpg?resize=300,204 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"204\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-51096784.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"1999 Mike Myers And Heather Graham Star In The New Movie &quot;Austin Powers The Spy Who Shagged Me.&quot;  (Photo By Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-51096784.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-51096784.jpg?resize=300,204 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tYou can\u2019t overstate the cultural saturation of Austin Powers in the late Nineties \u2014 he shagged the zeitgeist, baby! Mike Myers and Jay Roach created a global obsession with the Swinging London spy who got frozen in 1967, then defrosted to battle his nemesis, Dr. Evil. The original 1997 <em>Austin Powers: International Man of Mystery<\/em> was a comedy polished with love and finesse, and while the summer-of-\u201999 sequel was an obvious bash-it-out quickie, it was still popcorn-pukingly funny. You got Myers once again doing double duty; Heather Graham as CIA agent Felicity Shagwell; Verne Troyer as Mini-Me; a music interlude from Burt Bacharach and Elvis Costello, a lunar base divided into Moon Unit Alpha <em>and<\/em> Moon Unit Zappa; Madonna\u2019s \u201cBeautiful Stranger\u201d; and the Russian assassin Ivana Humpalot. The third Powers entry may have sunk the franchise, but this second one kept the grooviness factor on 10. <em>\u2014Rob Sheffield<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Black and White\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BLACK AND WHITE, Brooke Shields, Robert Downey, Jr. =\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/bw.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/bw.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/bw.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/bw.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BLACK AND WHITE, Brooke Shields, Robert Downey, Jr. =\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/bw.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/bw.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Screen Gems\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tA.K.A. the movie in which a <a rel=\"nofollow noopener\" href=\"https:\/\/www.youtube.com\/watch?v=igSo3IBKb4s\" target=\"_blank\">pre-<em>Iron Man<\/em> Robert Downey Jr. gets slapped by Mike Tyson<\/a> \u2014 and that\u2019s maybe the fifth or sixth wildest thing that happens in writer\/director\/<a href=\"https:\/\/www.rollingstone.com\/tv-movies\/tv-movie-news\/over-30-women-accuse-director-james-toback-of-sexual-harassment-121470\/\">accused sexual predator James Toback<\/a>\u2018s satire on race, celebrity, and cultural appropriation. Brooke Shields is a documentary filmmaker making a movie about the impact of Black culture on white teens; Ben Stiller is a corrupt cop trying to get a basketball player (portrayed by New York Knicks\u2019 Allan Houston) to throw a game; everyone from Claudia Schiffer to members of the Wu Tang Clan show up at one point another and improvise scenes. It\u2019s the sort of film that opens with an explicit interracial threesome in Central Park and only gets more messy, outrageous and provocative from there. It\u2019s unforgettable, at the very least. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Red Violin\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE RED VIOLIN, (aka LE VIOLON ROUGE), from left: Greta Scacchi, Jason Flemyng, 1998, \u00a9Lions Gate\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/redvi.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/redvi.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/redvi.jpg?resize=300,202 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/redvi.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE RED VIOLIN, (aka LE VIOLON ROUGE), from left: Greta Scacchi, Jason Flemyng, 1998, \u00a9Lions Gate\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/redvi.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/redvi.jpg?resize=300,202 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Lionsgate\/ Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tA 17th-century Italian violinmaker believes he has finally crafted the perfect instrument \u2014 then tragedy strikes, and after varnishing it in a blood-red hue, he demands this cursed item be stricken from his sight.   Over the next few centuries, the violin will change hands a number of times, and end up affecting the lives of German child prodigy, a British wastrel, a Chinese apparatchik and an American appraiser (Samuel L. Jackson) who becomes obsessed with this legendary instrument when it comes up for auction. This multinational production from French-Canadian filmmaker Fran\u00e7ois Girard (<em>Thirty-Two Short Films About Glenn Gould<\/em>) is a good example of the extravagant, globetrotting costume dramas that filled arthouses throughout the decade, and gives Jackson a nice chance to play against type. <em>\u2014D.F.<\/em> <\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Jawbreaker\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"JAWBREAKER, from left: Julie Benz, Rebecca Gayheart, Rose McGowan, 1999. (image upgraded to 17.9 x 12 in)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/jawbreaker.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/jawbreaker.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/jawbreaker.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/jawbreaker.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"JAWBREAKER, from left: Julie Benz, Rebecca Gayheart, Rose McGowan, 1999. (image upgraded to 17.9 x 12 in)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/jawbreaker.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/jawbreaker.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9TriStar Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI killed the teen dream. Deal with it.\u201d With these gentle words, Rose McGowan takes her place in history as the teen-movie villain-queen canon. McGowan, Julie Benz, and Rebecca Gayheart play a trio of mean girls who rule the halls of Reagan High, until they accidentally snuff a rival with a piece of candy. It was arguably the darkest teen comedy since <em>Heathers<\/em> \u2014 and it remains one of the funniest. Writer\/director Darren Stein made this a nonstop barrage of Wildean bitch-quips (\u201cI don\u2019t believe we\u2019ve met, what with the cruel politics of high school and all\u201d) and Nineties fashion. Plus it\u2019s got a hell of a soundtrack, too, with the Donnas rocking the prom. McGowan chews up her \u201cSatan in heels\u201d role, especially when she orders her minions, \u201cYou are gonna walk into that school and strut your shit down that hallway like everything is <em>peachy fucking keen<\/em>!\u201d \u2014<em>R.S.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Bringing Out the Dead\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BRINGING OUT THE DEAD, Patricia Arquette, Nicolas Cage, 1999. (c) Paramount Pictures\/ Courtesy: Everett Collection. (image upgraded to 17.6 x 12 in)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/dead.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/dead.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/dead.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/dead.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BRINGING OUT THE DEAD, Patricia Arquette, Nicolas Cage, 1999. (c) Paramount Pictures\/ Courtesy: Everett Collection. (image upgraded to 17.6 x 12 in)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/dead.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/dead.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paramount\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMartin Scorsese reunited with his <em>Taxi Driver<\/em> screenwriter Paul Schrader for yet another nocturnal tour through the mean streets of New York City, and this time God\u2019s Lonely Man isn\u2019t a cabbie but a paramedic, perpetually working the graveyard shift and perilously perched on the edge of sanity. As played by somewhat restrained (for him) Nicholas Cage, this burnt-out EMT keeps hallucinating the ghost of a young woman he couldn\u2019t keep from flatlining and getting paired with a series of increasingly more unstable partners. Salvation comes in the form of Mary (Patricia Arquette), who our hero meets during a call involving her father, but even she can\u2019t totally save his soul. The closest thing to God in this world is a dispatch operator who keeps sending them through Gotham\u2019s seven circles of hell, and is blessed with the voice of Scorsese himself. It\u2019s a flawed movie, to be sure, yet it\u2019s still proof that even the auteur\u2019s minor works can still be wild rides. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018American Beauty\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"AMERICAN BEAUTY, Mena Suvari, 1999, \u00a9DreamWorks\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/American-Beauty.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/American-Beauty.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/American-Beauty.jpg?resize=300,199 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/American-Beauty.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"AMERICAN BEAUTY, Mena Suvari, 1999, \u00a9DreamWorks\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/American-Beauty.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/American-Beauty.jpg?resize=300,199 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: DreamWorks\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTo say that time has not been kind to the Best Picture Oscar-winner of 1999 would be the understatement of the year \u2014 and that notion still applies even if you don\u2019t factor what\u2019s happened <a href=\"https:\/\/www.rollingstone.com\/tv-movies\/tv-movie-news\/kevin-spacey-old-vic-theater-unveils-20-more-allegations-against-actor-129157\/\">regarding the movie\u2019s lead actor in the past seven years<\/a>. Sam Mendes\u2019 satirical look at the \u201cperfect\u201d American family was considered a significant statement on the fragile, fractured mindset of the paterfamilias at the end of the American century, and while you wouldn\u2019t call Lester Burnham\u2019s midlife crisis aspirational, the movie definitely treats regression back to his teen self as something like suburban liberation. The shot of a plastic bag whirling in circles, courtesy of Wes Bentley\u2019s boy-next-door videographer, is no longer a shorthand for existential ennui or finding the finding the beauty in the mundane; the movie\u2019s signature image of a teenage cheerleader naked under roses, however, has become twice as icky. Even at the time, the idea that this was the standout movie of a standout filmmaking year felt questionable. Yet it still went home with five Oscars, so\u2026. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Mystery Men\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"MYSTERY MEN, From left: Janeane Garofalo, Kel Mitchell, Wes Studi, William H. Macy, Hank Azaria, Ben Stiller, Paul Reubens, 1999.  \u00a9 Universal\/Courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MM.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MM.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MM.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MM.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"MYSTERY MEN, From left: Janeane Garofalo, Kel Mitchell, Wes Studi, William H. Macy, Hank Azaria, Ben Stiller, Paul Reubens, 1999.  \u00a9 Universal\/Courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MM.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MM.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Universal\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe MCU was not even a glint in Kevin Feige\u2019s eye when this parody of superhero teams \u2014 sprung directly from the pages of Bob Burden\u2019s <em>Flaming Carrot Comics<\/em> \u2014 hit screens in the middle of \u201999. (For context: The first X-Men movie was still a year away from being released.) When the beloved do-gooder Captain Amazing (Greg Kinnear) is kidnapped by his nemesis Casanova Frankenstein (Geoffrey Rush), Champion City suddenly finds itself without its main champion. For such Grade-Z superheroes as Mr. Furious (Ben Stiller), the Blue Raja (Hank Azaria) and the Shoveler (William Macy), however, this is finally the opportunity to prove they belong in the big leagues. Quicker than you can \u201cAvengers Assemble!\u201d, they\u2019ve recruited a handful of equally ambitious also-rans under the moniker \u201cMystery Men\u201d \u2014 such as Invisible Boy (Kel Mitchell), the Bowler (Janeane Garafalo) and Spleen (Paul Reubens), whose superpower is toxic flatulence \u2014 and try to save the day. At the dawn of the new millennia, this was a mildly funny comedy with a handful of alt-comedy and A-list talent. Now, in an age when every third-tier Marvel group gets their own franchise, it\u2019s a hundred times more hilarious. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Flawless\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"FLAWLESS, Philip Seymour Hoffman, Robert DeNiro, 1999. (c)MGM\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDFLAW_EC021.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDFLAW_EC021.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDFLAW_EC021.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDFLAW_EC021.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"FLAWLESS, Philip Seymour Hoffman, Robert DeNiro, 1999. (c)MGM\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDFLAW_EC021.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDFLAW_EC021.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: MGM\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWalter (Robert De Niro), a bigoted retiree who suffers a stroke, must learn to regain his speech by seeing a singing coach, a transgender woman named Rusty (Philip Seymour Hoffman). The odd-couple pairing, was one of the first Hollywood movies to focus on trans characters, a community that filmmaker Joel Schumacher had observed firsthand. (\u201cThe people that inhabit <em>Flawless<\/em> are very real for me,\u201d the writer-director <a href=\"https:\/\/www.bbc.co.uk\/films\/2000\/11\/20\/schumacher_3_interview.shtml\" rel=\"nofollow noopener\" target=\"_blank\">said<\/a>. \u201cSchumacher, \u201cThese are interesting communities and people pass them by without even noticing them.\u201d) With modern eyes, we can see how this film would be made differently today \u2014 for instance, a trans actor would play Rusty, although Hoffman\u2019s performance is exceedingly lovely and nuanced, eschewing stereotypes. Nonetheless, the movie stands as a bold step into a world that, to that point, mainstream American cinema had been too timid to touch. <em>\u2014Tim Grierson<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Summer of Sam\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SUMMER OF SAM, Adrien Brody, Jennifer Esposito, John Leguizamo, Mira Sorvino, 1999, in the Italian restaurant\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Samm.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Samm.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Samm.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Samm.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SUMMER OF SAM, Adrien Brody, Jennifer Esposito, John Leguizamo, Mira Sorvino, 1999, in the Italian restaurant\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Samm.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Samm.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Buena Vista Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tSpike Lee returns to the long, hot New York summer of 1977, when a serial killer known as \u201cthe Son of Sam\u201d had everyone in the five boroughs on edge. If you\u2019ve read Jonathan Mahler\u2019s invaluable history <em>Ladies and Gentlemen, the Bronx Is Burning,<\/em> then you know this was a crazy year, from the Yankees\u2019 Reggie Jackson breaking records to looters breaking shop windows during an epic blackout. For Lee and his cowriters Victor Colicchio and a pre-<em>Sopranos<\/em> Michael Imperioli, all that terror and chaos was mostly a good excuse to dive into cultural divides and the neighborhood tribalism that\u2019s still part of NYC\u2019s DNA. It\u2019s a bit of a spirit-of-\u201977 hodgepodge, complete with disco and punk scenes, a Plato\u2019s Retreat interlude, and the era\u2019s paranoia dialed up to 11, along with a straight-outta-early-Scorsese storyline in which John Leguizamo\u2019s nice Catholic hairdresser struggles with a serious Madonna v. Whore complex. Both the camerawork by Ellen Kuras and the acting \u2014 notably Adrien Brody as a part-time male hustler and full-time CBGB\u2019s habitue, and Mira Sorvino and Jennifer Esposito as two Brooklynites navigating respectively rocky relationship terrain \u2014 keep this from devolving into late \u201970s cosplay. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Winslow Boy\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"197\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE WINSLOW BOY, Guy Edwards, Jeremy Northam, 1999, (c) Sony Pictures Classics\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDWIBO_EC005.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDWIBO_EC005.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDWIBO_EC005.jpg?resize=300,197 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"197\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDWIBO_EC005.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE WINSLOW BOY, Guy Edwards, Jeremy Northam, 1999, (c) Sony Pictures Classics\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDWIBO_EC005.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDWIBO_EC005.jpg?resize=300,197 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Sony Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMany were thrown by the fact that David Mamet, the poet of the four-letter word, would be interested in something as genteel as Terence Rattigan\u2019s play, set in upper-crust England in the 1910s. But at heart, Mamet has always cared about ethics and behavior \u2014 why we\u2019re drawn to do the things that we do \u2014 and so it was no surprise that his adaptation would focus on moral codes and the sinister strictures of social mores. Sir Robert Morton (Jeremy Northam) is a renowned defense attorney hired to represent Ronnie Winslow (Guy Edwards), a teenage naval cadet accused of stealing a postal note, resulting in his expulsion. This is no simple courtroom drama, however, with Mamet equally focusing on how the trial affects the Winslow family \u2014 in particular, the boy\u2019s prideful father (Nigel Hawthorne), who risks his reputation on the word of his son. Nobody drops a F-bomb, but the man behind <em>Glengarry Glen Ross<\/em> and <em>The Spanish Prisoner<\/em> remains fixated on duplicity, self-deception, and how the people around us are far more unknowable than we could possibly grasp. <em>\u2014T.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Cider House Rules\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE CIDER HOUSE RULES, Michael Caine, Tobey Maguire, 1999, (c) Miramax\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cider.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cider.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cider.jpg?resize=300,202 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cider.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE CIDER HOUSE RULES, Michael Caine, Tobey Maguire, 1999, (c) Miramax\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cider.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cider.jpg?resize=300,202 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Miramax\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tCelebrated author John Irving adapted his own bestselling novel, which tells the story of Homer Wells (Tobey Maguire), who grows up in an orphanage in Maine. The doctor who runs the home, Wilbur Larch (Michael Caine), also performs secret abortions, and trains young Homer, a reluctant pupil, in obstetrics. After Charlize Theron\u2019s Candy shows up (on the arm of Paul Rudd, in a rare dramatic role as a World War II fighter pilot) in need of Larch\u2019s services, Homer is suddenly inspired to leave the orphanage and experience life \u2014 which includes apple-picking (for work), fornicating with Candy (for pleasure), and uncovering dark family secrets about his fellow pickers that compel him to use his ill-begotten doctoring skills. Directed by Lasse Hallstr\u00f6m, the film won Irving a screenplay Oscar as well as a second Best Supporting Actor statuette for Michael Caine. But its most lasting contribution to the culture may be Larch\u2019s ritual bedtime farewell to his charges. Say it with us now: Good night, you princes of Maine, you kings of New England. <em>\u2014M.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Following\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"204\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"FOLLOWING, Lucy Russell, Jeremy Theobald, 1998\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Following.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Following.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Following.jpg?resize=300,204 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"204\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Following.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"FOLLOWING, Lucy Russell, Jeremy Theobald, 1998\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Following.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/Following.jpg?resize=300,204 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Zeitgeist Films\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tA frustrated writer (Jeremy Theobald) begins pathologically stalking random strangers on the streets of London, partially out of a need for inspiration and partially out of boredom. One of his marks turns out to be a thrill-seeking thief named Cobb (Alex Haw), who is less interested in stealing things for profit than the perverse glee of disrupting people\u2019s lives. Soon, the stalker is recruited to join as a partner in crime. Then he spies one of their victims in a bar \u2014 a sultry blonde (Lucy Russell) \u2014 and decides on a whim to approach her. Nothing is ever quite what it seems here, however. Made on a shoestring budget and shot in black &amp; white, this modest, clever thriller played a few festivals and got a brief run in the spring of \u201999. It might\u2019ve been just another one of those come-and-go indie projects were it not for the fact that its first-time filmmaker, a 28-year-old named Christopher Nolan, was about to become one of the defining writer-directors of the 21st century. And when you watch this inside-out neo-noir now, you can see that so many of the thematic obsessions and stylistic tics associated with the Oscar-winner\u2019s work were all there, right from the very beginning. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Muse\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE MUSE, Sharon Stone, 1999, \u00a9 October Films\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUSE_EC004.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUSE_EC004.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUSE_EC004.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUSE_EC004.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE MUSE, Sharon Stone, 1999, \u00a9 October Films\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUSE_EC004.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/M8DMUSE_EC004.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9October Films\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tEvery screenwriter faces two great fears: losing their edge and losing their position in an industry that already treats them like lepers. Stephen Phillips, the sad-sack scribe at the center of writer-director-comic genius Albert Brooks\u2019 comedy, happens to be dealing with both issues at once. Luckily, his best friend (Jeff Bridges) thinks he has the solution: work with a muse \u2014 it turns out they\u2019re real! \u2014 who can help get his career back on track. Then Phillips meets this high-maintenance mythological woman played by Sharon Stone, and every aspect of his life is completely thrown into chaos. Brooks\u2019 farce works better as a satire of Hollywood fickleness than a self-directed star vehicle for his neurotic persona (Martin Scorsese\u2019s rant about remaking <em>Raging Bull,<\/em> \u201cbut with a thing guy\u2026 like, <em>really<\/em> thin!\u201d remains a hilarious self-own, while the joke in which James Cameron is advised to \u201cstay away from water\u201d plays 20 times funnier post-<em>Avatar<\/em> sequel). To say Stone steals the movie suggests that Brooks didn\u2019t hand this to her on a silver platter from the get-go; the divine-diva-run-amuck role feels tailor-made for her strengths as a comedian, and dear Zeus, does she ever make the most of it. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Double Jeopardy\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"DOUBLE JEOPARDY, Ashley Judd, Tommy Lee Jones, 1999, flooding in the car\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/DJ.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/DJ.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/DJ.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/DJ.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"DOUBLE JEOPARDY, Ashley Judd, Tommy Lee Jones, 1999, flooding in the car\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/DJ.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/DJ.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paramount\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt\u2019s a scenario familiar to most of us: One minute, you\u2019re making sweet, sweet love to your husband on your expensive boat, the next you\u2019re waking up with his blood all over you, he\u2019s nowhere to be found and the cops, unsurprisingly, have <em>lots<\/em> of questions. This revenge movie became one of the big surprise hits of 1999, and helped establish Ashley Judd as a name-above-the-title lead outside of the Indiewood world. Accused of murdering her spouse, her everywoman is sent to prison, only to discover that \u2014 spoiler alert! \u2014 her husband (Bruce Greenwood) faked his death and left her to take the fall. Thanks to the titular legal ruling, she can\u2019t be convicted for the same murder twice, which clears the path for her to hunt him down and <em>actually<\/em> kill the rat bastard. Meanwhile, her parole officer Tommy Lee Jones, <a href=\"https:\/\/www.youtube.com\/watch?v=8BCvbSIOQDE\" rel=\"nofollow noopener\" target=\"_blank\">who has plenty of experience hunting down fugitives<\/a>, is hot on her trail. Is it ridiculous? Of course! Is it also the sort of late \u201990s star B movie that turns solid actors into A-list movie stars, and makes you miss when these kind of films were part of a well-balanced moviegoing diet? Also yes! <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Tarzan\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"TARZAN, Tarzan, Jane, 1999, (c)Buena Vista Pictures\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/tarzam.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/tarzam.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/tarzam.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/tarzam.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"TARZAN, Tarzan, Jane, 1999, (c)Buena Vista Pictures\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/tarzam.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/tarzam.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Buena Vista Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDisney\u2019s big animated movie of \u201999 wasn\u2019t a fairy tale, an ancient fable, or a princess-driven musical \u2014 instead, they opted for a tween-friendly take on Edgar Rice Burroughs\u2019 famed king of the jungle. Raised by Glen Close\u2019s motherly ape, the man-cub will grow up to sound like Tony Goldwyn, look like Eddie Vedder circa <em>Ten<\/em> and have the agility of Tony Hawk on a half-pipe. Everything\u2019s hunky-dory until British explorers show up, complete with a hunter intent on bagging and selling the jungle\u2019s simian residents. On the plus side, they\u2019ve also brought a comely young lass named Jane (Minnie Driver) and, well, you know the rest. We may eventually forgive the soundtrack\u2019s insipid Phil Collins\u2019 song \u201cYou\u2019ll Be in My Heart\u201d for winning the Oscar over <a rel=\"nofollow noopener\" href=\"https:\/\/www.youtube.com\/watch?v=fXeWT8CQ6uc\" target=\"_blank\">\u201cBlame Canada!,\u201d<\/a> though that day won\u2019t be today. But awards snafus aside, the Mouse House\u2019s animation is particularly on-point, the set pieces move like gangbusters (see: <a rel=\"nofollow noopener\" href=\"https:\/\/www.youtube.com\/watch?v=fpJv__lH4nM&amp;list=PLAaxtWfBB1REOO1omP5zSdzKGi_Zq9jg4&amp;index=3\" target=\"_blank\">this fight between Mama Ape and a leopard over Lil\u2019 Tarzan<\/a>) and Driver gives her heroine the perfect mix of wit, grit and romantic grace. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018She\u2019s All That\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"205\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SHE'S ALL THAT, Rachael Leigh Cook, Freddie Prinze Jr., 1999(c)Miramax\/courtesy Everett Collection (image upgraded to 17.7 x 12.1 in)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/shesallthat_bd3007.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/shesallthat_bd3007.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/shesallthat_bd3007.jpg?resize=300,205 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"205\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/shesallthat_bd3007.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SHE'S ALL THAT, Rachael Leigh Cook, Freddie Prinze Jr., 1999(c)Miramax\/courtesy Everett Collection (image upgraded to 17.7 x 12.1 in)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/shesallthat_bd3007.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/shesallthat_bd3007.jpg?resize=300,205 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Miramax\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt was the end-of-the-decade romp that set out to be a mash-up of every teen rom-com ever made\u2014it\u2019s practically a <em>Now That\u2019s What I Call High-School Prom Movies!<\/em> sampler. But it\u2019s pure charm, thanks to the power couple of Rachel Leigh Cook and Freddie Prinze Jr. It\u2019s your basic <em>Pygmalion<\/em>-via-<em>Breakfast Club <\/em>makeover: Can the misfit art student turn into the prom queen just by taking off her glasses? Can the hero make a stupid bet but still win her heart at the end? Can you imagine a high school with Kieran Culkin, Paul Walker, Anna Paquin <em>and<\/em> Lil\u2019 Kim? And most importantly, can Usher play the prom DJ who sends everyone home happy with \u201cThe Rockafeller Skank\u201d? The answers are: Yes, yes, yes, and check it out now, the funk soul brother. <em>She\u2019s All That<\/em> was the last movie Gene Siskel ever reviewed; he came through with his final thumbs-up. <em>\u2014R.S.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Man on the Moon\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"MAN ON THE MOON, Jim Carrey, 1999. \u00a9 Universal Pictures\/ Courtesy: Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/manmoon.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/manmoon.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/manmoon.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/manmoon.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"MAN ON THE MOON, Jim Carrey, 1999. \u00a9 Universal Pictures\/ Courtesy: Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/manmoon.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/manmoon.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Universal Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tJim Carrey went full Method-acting madness to play divisive comedian Andy Kaufman; he was so devoted to diving into the role that, in fact, that he drove everyone from his fellow cast members to director Milos Forman around him on set crazy. (Costar Danny DeVito looks like he\u2019s ready to slug him at any moment.) The performance and the biopic remain remarkable, however, with one genius paying homage to another. Kaufman cannonballs from one outrageous subversion of celebrity niceties to another, from wrestling women to reading the entirety of <em>The Great Gatsby <\/em>to an audience in defiance of his club audiences. Few artist portraits are as playful or as combative, offering no middle ground for the viewer \u2014 you\u2019re either on Kaufman\u2019s (and Carrey\u2019s) uncompromising wavelength or your sense of humor needs a tuneup. In a decade in which \u201cselling out\u201d was still considered a sin, <em>Man on the Moon<\/em> found hilarity and poignancy in an unapologetically joyous original insisting on being himself. <em>\u2014T.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018For the Love of the Game\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"FOR LOVE OF THE GAME, from left: Kelly Preston, Kevin Costner, 1999, \u00a9 Universal\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/FTL.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/FTL.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/FTL.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/FTL.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"FOR LOVE OF THE GAME, from left: Kelly Preston, Kevin Costner, 1999, \u00a9 Universal\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/FTL.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/FTL.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Universal\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe star of\u00a0<em>Bull Durham<\/em>\u00a0and\u00a0<em>Field of Dreams<\/em>\u00a0returns to the mound for one more affectionate ode to America\u2019s pastime. You don\u2019t need to know a splitter from a 98-mile-an-hour heater to appreciate the salty pathos Kevin Costner brings to Billy Chapel, an aging Detroit ace looking to close out his career with a perfect game \u2014 that is, if he can keep his mind from wandering to Kelly Preston\u2019s dream-girl-who-got-away, introduced through flashbacks that lay out the bumpy course of their romance. Sam Raimi, the\u00a0<em>Evil Dead<\/em>\u00a0maverick calling the pitches, forgoes his usual demonic fastball in favor of a style as relaxed as a Sunday on the couch with a double header on the tube. It\u2019s a right-down-the-middle Dad Movie \u2014 and a nice victory lap for an actor who always looks at home with his eyes on home plate. <em>\u2014A.A. D<\/em>owd<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Titus\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"TITUS, Allen Cumming, Anthony Hopkins, 1999. TM and Copyright (c) 20th Century Fox Film Corp. All rights reserved.&#13;&#13;Courtesy: Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDTITU_EC004.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDTITU_EC004.jpg 1700w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDTITU_EC004.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDTITU_EC004.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"TITUS, Allen Cumming, Anthony Hopkins, 1999. TM and Copyright (c) 20th Century Fox Film Corp. All rights reserved.&#13;&#13;Courtesy: Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDTITU_EC004.jpg 1700w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDTITU_EC004.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a920thCentFox\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tFresh off her visually stunning, Tony-winning Broadway adaptation of <em>The Lion King<\/em>, director Julie Taymor attacked the big screen with an equally bold vision, turning one of Shakespeare\u2019s least-loved tragedies into a striking, absurd extravaganza. Anthony Hopkins, at his most scene-chewing virtuosic, makes a meal out of Titus Andronicus, the mighty Roman general who returns home victorious after slaying the Goths, his impetuous execution of the eldest son of the defeated Goth regent Tamora (Jessica Lange) backfiring when she becomes Queen of Rome, setting the stage for a series of increasingly twisted reprisals between the two combatants. Written when the Bard was young and looking for a bloody, gruesome hit that would strike a chord with the masses, <em>Titus Andronicus <\/em>lacks the elegance of his later masterworks like <em>Hamlet<\/em> or <em>King Lear. <\/em>But Taymor\u2019s visual flair, cheeky irreverence and inspired extravagance argue that it may be Shakespeare\u2019s most shamelessly entertaining drama. In her impertinent, lavish retelling, revenge is a dish best served cold \u2014 and also with a bit of a wink. <em>\u2014T.G<\/em>.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Miss Julie\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"MISS JULIE, Peter Mullan, Saffron Burrows, 1999, (c) MGM\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MissJulie.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MissJulie.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MissJulie.jpg?resize=300,202 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MissJulie.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"MISS JULIE, Peter Mullan, Saffron Burrows, 1999, (c) MGM\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MissJulie.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MissJulie.jpg?resize=300,202 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9MGM\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThere had been screen adaptations of August Strindberg\u2019s 1888 drama about the sexual tension between a Count\u2019s daughter and her father\u2019s personal valet both before and after director Mike Figgis (<em>Leaving Las Vegas, The Loss of Sexual Innocence<\/em>) gave us his interpretation, including a well-respected 2014 movie starring Colin Farrell and Jessica Chastain. But there\u2019s something about this \u201999 iteration, starring Saffron Burrows as the title character and Peter Mullan as the object of her fancy and her cruelty, that taps into the more feral aspects of the story\u2019s master-and-servant dynamic. The handheld camerawork only ups the instability of the situation, making you feel as if everything will either explode or unravel at a moment\u2019s notice. It\u2019s proof that the play could still be a powder keg more than a century after the fact. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Sweet and Lowdown\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SWEET AND LOWDOWN, from left: Sean Penn, Uma Thurman, 1999, \u00a9 Sony Pictures Classics\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sweetlow.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sweetlow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sweetlow.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sweetlow.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SWEET AND LOWDOWN, from left: Sean Penn, Uma Thurman, 1999, \u00a9 Sony Pictures Classics\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sweetlow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sweetlow.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Sony Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe 1990s were a weird decade for Woody Allen. (We\u2019re talking professionally \u2014 <em>personally<\/em> is a whole other discussion.) He made some of his biggest hits (<em>Bullets Over Broadway, Mighty Aphrodite<\/em>), one bona fide masterwork (<em>Husbands and Wives<\/em>), and a lot of miscellaneous debris. But he closed the 20th century out on a surprisingly high note, with this cross between a mockumentary about a fake jazz -guitar legend named Emmet Ray (Sean Penn) and an oddball rom-com. A contemporary of Django Reinhardt, Ray is talented jerk with big ideas; you wouldn\u2019t think he\u2019d fall for the mute laundress (Samantha Morton) he meets at the beach, and yet they make for a cute couple. It\u2019s only later that he realizes she\u2019ll be the one who got away, and that heartbreak makes for good artistic inspiration. And while Penn provides the proper amount of lowdown, it\u2019s Morton\u2019s absolutely sweet, silent-comedy take on his object of affection that truly makes the movie work. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018An Ideal Husband\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"AN IDEAL HUSBAND, from left: Rupert Everett, Minnie Driver, 1999. ph: \u00a9 Miramax \/ courtesy Everett collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDIDHU_MX002.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDIDHU_MX002.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDIDHU_MX002.jpg?resize=300,199 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDIDHU_MX002.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"AN IDEAL HUSBAND, from left: Rupert Everett, Minnie Driver, 1999. ph: \u00a9 Miramax \/ courtesy Everett collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDIDHU_MX002.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDIDHU_MX002.jpg?resize=300,199 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Miramax\/ Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tOscar Wilde\u2019s 19th century play gets a late-20th century Miramax makeover, complete with <em>Masterpiece Theater<\/em>-worthy production design, a Brit cast who excelled in adding extra bite to Wilde\u2019s witty bon mots (lookin\u2019 at you, Rupert Everett and Jeremy Northam) and a host of late 1990s stars (Julianne Moore, Minnie Driver, and a positively babyfaced Cate Blanchett). Everett\u2019s Lord Goring, \u201cthe idlest man in London,\u201d wants nothing more than to traipse around the city and indulge in his every lascivious whim. Then a blast from his past, Mrs. Cheverly (Moore), shows up, with political maneuvers, blackmail and revenge on her mind. \u201cAre you not just a little bit please to see me?\u201d she asks Goring. \u201cPossibly even less than that,\u201d he replies. If you just tittered a little reading this as you took a sip of Earl Grey tea, then this adaptation is most certainly for you. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Limbo\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"LIMBO, from left: Simon Baker, Natasha Wanganeen, 2023. \u00a9 Music Box Films \/ Courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Limbo.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Limbo.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Limbo.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Limbo.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"LIMBO, from left: Simon Baker, Natasha Wanganeen, 2023. \u00a9 Music Box Films \/ Courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Limbo.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Limbo.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Music Box Films\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tJoe (David Strathairn), a small-town Alaska handyman, is trying to live down a tragic mistake from his past. He falls for a singer, Donna (Mary Elizabeth Mastrantonio), who\u2019s dealing with her own emotional baggage. The limbo of the title refers not just to this frozen hinterland but to the hesitant main characters who risk giving love a try, only to have their lives upended by a shock twist involving Joe\u2019s brother. As always, filmmaker John Sayles has a sharp eye for the customs and rhythms of the world he chronicles, which give this movie a richness that extends to the weathered, weary performances from Strathairn and Mastrantonio. As for the film\u2019s divisive ending, it speaks eloquently to the anxiety of the unknowns that await us all \u2014 from day to day, we\u2019re never sure if we\u2019re living in a gentle comedy or a dark thriller. <em>\u2014T.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Stuart Little\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"STUART LITTLE, Jonathan Lipnicki, Stuart Little, 1999\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/stu.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/stu.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/stu.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/stu.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"STUART LITTLE, Jonathan Lipnicki, Stuart Little, 1999\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/stu.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/stu.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Columbia Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tSome advice to filmmakers hoping to turn classic kids-lit into memorable movies: Get Michael J. Fox to voice your animated, anthropomorphized heroes. The former Marty McFly is the definitely the secret sauce that makes Rob Minkoff\u2019s take on E.B. White\u2019s famous book \u2014 about a tiny white mouse who is adopted by humans, and must eventually choose between his biological rodent parents and his new Homo sapien family \u2014 work way better than you\u2019d expect it to. There\u2019s an innocence and joy he brings to his miniature CGI hero, especially in scenes with his initially reluctant new brother Jonathan Lipnicki, as well as a pathos to lines such as \u201cI feel an empty space inside me, and I just wanna know what was there before.\u201d The rest of the cast is nothing to sneeze at, of course \u2014 this breezy, enjoyable kids\u2019 flick is the answer to the trivia question, \u201cWhat movies features the talents of Geena Davis, Hugh Laurie, Nathan Lane, Chazz Palminteri, Dabney Coleman, Steve Zahn, Jennifer Tilly, Julia Sweeney, Brian Doyle-Murray, Estelle Getty, David Alan Grier, Bruno Kirby <em>and<\/em> comic legend Stan Freberg?\u201d But it\u2019s Fox who gives this \u201clittle\u201d movie a big heart. <em>\u2014D.F. <\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Cradle Will Rock\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"CRADLE WILL ROCK, Corina Katt Ayala, Joan Cusack, Rub\u00e9n Blades, John Cusack, 1999, (c)Buena Vista Pictures\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cradle.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cradle.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cradle.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cradle.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"CRADLE WILL ROCK, Corina Katt Ayala, Joan Cusack, Rub\u00e9n Blades, John Cusack, 1999, (c)Buena Vista Pictures\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cradle.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/cradle.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Buena Vista Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tStarting with its extended, single-shot opening \u2014 which immediately connects the dots between the theater space, the politically active artist and trod-upon everyday people \u2014 writer-director Tim Robbins\u2019 boisterous drama shows that its willing to risk wearing both its ambitions and its intentions all over its sleeve. Combining the behind-the-scenes workings of the Federal Theater Program, Orson Welles attempt to stage the lefty musical <em>The Cradle Will Rock<\/em> for the FTP, and Nelson Rockefeller\u2019s commissioning of Diego Rivera to paint a mural in the lobby of Rockfeller Center (along with a few other burbling subplots), this look back at the complicated relationship between commerce, the arts and agitprop is itself a work of agitprop, sounding the alarm about what happens when creative types cozy up to corporate bigwigs. Robbins raided his Rolodex for the fit-to-burst ensemble cast, which includes Bill Murray, Cherry Jones, Hank Azaria, Emily Watson, Susan Sarandon, John Turturro, Paul Giamatti, Vanessa Redgrave, Rub\u00e9n Blades, two Cusacks (John and John) and both members of Tenacious D. And while no one would accuse it of being anything less than unganily, it\u2019s the sort of overly sincere big swing we could use more of right now. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Deep Blue Sea\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"DEEP BLUE SEA, Thomas Jane, 1999, (c)Warner Bros.\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDDEBL_EC027.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDDEBL_EC027.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDDEBL_EC027.jpg?resize=300,199 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDDEBL_EC027.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"DEEP BLUE SEA, Thomas Jane, 1999, (c)Warner Bros.\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDDEBL_EC027.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDDEBL_EC027.jpg?resize=300,199 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Warner Bros\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cJust what the hell did you do to the sharks!?\u201d asks Samuel L. Jackson, with the same booming outrage he\u2019d later reserve for motherfucking snakes on a motherfucking plane. The pseudoscientific answer to his question might have put a toothy grin on Michael Crichton\u2019s face. Crossbreeding\u00a0<em>Jaws<\/em>\u00a0with\u00a0<em>Jurassic Park<\/em>, junk-cinema maestro Renny Harlin unleashes a school of brainy maneaters \u2014 some brought to life via the prehistoric wonder of animatronics \u2014 on a water-logged research facility. The improbabilities mount faster than the bodies. Is that Michael Rapaport as a brilliant scientist? Did that shark just try to cook LL Cool J in an oven? What gives this glorified B-movie some real bite is the merciless glee in which it chows down on its overqualified cast. No role is so big that it guarantees survival. No monologue is so inspirational that it can\u2019t be ferociously cut short. <em>\u2014A.A.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Sleepy Hollow\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SLEEPY HOLLOW, from left: Johnny Depp, Christina Ricci, 1999. \u00a9 Paramount \/ Courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sleepyh.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sleepyh.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sleepyh.jpg?resize=300,199 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sleepyh.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SLEEPY HOLLOW, from left: Johnny Depp, Christina Ricci, 1999. \u00a9 Paramount \/ Courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sleepyh.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/sleepyh.jpg?resize=300,199 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paramount\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTim Burton applies his Grand Guignol mall-goth vibes to Washington Irving\u2019s short story, about a hapless man named Ichabod Crane who has a first-hand encounter with local urban legend \u201cthe Headless Horseman.\u201d This time around, Crane gets promoted from schoolteacher to a New York City police constable sent upstate to investigate a series of mysterious decapitations; he also goes from the gangly, lanky figure of the Disney cartoon to resembling Johnny Depp, who pairs well with Christina Ricci\u2019s pale-skinned heiress Katrina Van Tassel. The vibe here channels a lot of vintage Hammer horror and the 1960s Edgar Allan Poe cycle of films from American International Pictures, and while the overal pedigree is strong (Francis Ford Coppola is an executive producer, <em>Seven<\/em>\u2018s Andrew Kevin Walker wrote the screenplay and god-tier cinematographer Emmanuel \u201cChivo\u201d Lubezki shot it), it\u2019s very much a Burton film from start to finish. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018October Sky\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"OCTOBER SKY, William Lee Scott, Jake Gyllenhaal, Chris Owen, Chad Lindberg, 1999\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/oct.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/oct.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/oct.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/oct.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"OCTOBER SKY, William Lee Scott, Jake Gyllenhaal, Chris Owen, Chad Lindberg, 1999\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/oct.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/oct.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9MCA\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn the West Virginia town of Coalwood circa 1957, you either work in the mines or you teach kids who will eventually grow up to work in the mines. You <em>don\u2019t<\/em> usually go on to become a rocket scientist. But young Homer Hickam \u2014 look how baby-faced you were, Jake Gyllenhaal! \u2014 watches the recently launched Sputnik go blazing through the night sky, he suddenly becomes obsessed with building his own rocket. His friends and the school brainiac help him build miniature prototypes. His working-class father (Chris Cooper, in is his other big toxic-repressed-male role of \u201999) disapproves of such foolishness. A kindly teacher (Laura Dern) thinks this project will not only take him to the national science fair, but possibly be his ticket to a brighter future. Director Joe Johnston also made <em>The Rocketeer, <\/em>so he\u2019s clearly down for the cause as well. A lovely biopic about a real-life dreamer \u2014 Hickam would becoime a real-life aerospace engineer at NASA \u2014 which adds a nice bit of grit to its Norman Rockwell-esque Americana. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Judy Berlin\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"206\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"JUDY BERLIN, Edie Falco, Aaron Harnick, 1999\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/JudyBerlin.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/JudyBerlin.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/JudyBerlin.jpg?resize=300,206 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"206\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/JudyBerlin.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"JUDY BERLIN, Edie Falco, Aaron Harnick, 1999\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/JudyBerlin.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/JudyBerlin.jpg?resize=300,206 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: The Shooting Gallery\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBefore she was Carmela Soprano, Edie Falco gave us the title character in Eric Mendelsohn\u2019s black-and-white indie gem: an aspiring actor with a unflappably upbeat attitude. She\u2019s on her way to make it big in the moving pictures in Hollywood, USA, i.e. the same Tinseltown that just chewed up and spit out her old high school crush, a would-be filmmaker named David (Aaron Harnick). Meanwhile, both of their respective sets of parents \u2014 including the great Madeline Kahn, in her final film role \u2014 seem to be stuck living lives of quiet desperation and an extremely symbolic eclipse is enveloping their hometown of Babylon, Long Island, in darkness. It\u2019s a great example of how the New York wing of late-1990s independent filmmakers were combining the wry DIY aesthetic of Hal Hartley, etc., with the whimsical humanism of their Park City cohorts. That Mendelsohn\u2019s character study won him the Best Director award at that year\u2019s Sundance isn\u2019t the least bit shocking. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The End of the Affair\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE END OF THE AFFAIR, Julianne Moore, Ralph Fiennes, 1999, \u00a9Columbia Pictures\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDENOF_EC080.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDENOF_EC080.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDENOF_EC080.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDENOF_EC080.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE END OF THE AFFAIR, Julianne Moore, Ralph Fiennes, 1999, \u00a9Columbia Pictures\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDENOF_EC080.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MCDENOF_EC080.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Columbia Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tRalph Fiennes had already demonstrated he was an expert at showing simmering passions coming to a spilling-over boil courtesy of <em>The English Patient<\/em> three years earlier \u2014 and for this adaptation of Graham Greene\u2019s novel about jealousy, adultery and Catholic guilt, he happily turns the temperature up even further. Tracing an on-again, off-again obsession intertwined with WWII, this look at the fallout of a tempestuous affair between Fiennes\u2019 novelist and Julianne Moore \u2014 who\u2019s the wife of an old acquaintance \u2014 balances prestigious stiff-upper-lip period drama with explicit scenes of two lovers in a mutual state of heat. Indeed, there may not be a more dizzying, swoonworthy moment in either actors\u2019 filmography (or director Neil Jordan\u2019s back catalog) than the couple walking out a restaurant after a faux-polite conversation and suddenly kissing each other compulsively under a raincoat. And as in Greene\u2019s novel, there are matters of faith that complicate their infidelity, adding a whole other layer to their unbridled lust during wartime. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Ride with the Devil\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"RIDE WITH THE DEVIL, Jeffrey Wright, Tobey Maguire, 1999, (c)USA Films\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDRIWI_EC038.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDRIWI_EC038.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDRIWI_EC038.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDRIWI_EC038.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"RIDE WITH THE DEVIL, Jeffrey Wright, Tobey Maguire, 1999, (c)USA Films\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDRIWI_EC038.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDRIWI_EC038.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: USA Films\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe tagline for Ang Lee\u2019s stab at a \u201970s-style revisionist Western set during the Civil War was that soldiers \u201cdidn\u2019t fight for the Blue and the Gray\u2026 they fought for their friends and their family.\u201d It helps set the context for his unusual, highly visceral take on the War of Southern Aggression, given that we\u2019re asked to ride with pro-Confederate guerrillas like Quantrill\u2019s Raiders and Missouri\u2019s \u201cBushwhackers\u201d \u2014 any recognizable, binary notions of good-vs.-evil and us-vs.-them get muddied from the moment the movie hits the ground running. The scenes of battle aren\u2019t designed to be rah-rah rousing, and in following Tobey Maguire\u2019s young, German immigrant (who takes up the Confederate cause out of revenge) and Jeffrey Wright\u2019s former slave as they seek shelter in between raids, you get to see their more personal conflict play out off the battlefield as well. Kudos go to singer Jewel Kilcher as well, who makes the most of her role as a widow who crosses their path. In a year filled with so many extraordinary movies across the board, it was easy for something like this to fall through the cracks. Now that Lee\u2019s longer \u201cdirector\u2019s cut\u201d is out in the world, this is one of those \u201999 movies ripe for rediscovery. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018POLA X\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"POLA X, Guillaume Depardieu, Delphine Chuillot, 2000\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/polax.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/polax.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/polax.jpg?resize=300,202 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/polax.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"POLA X, Guillaume Depardieu, Delphine Chuillot, 2000\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/polax.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/10\/polax.jpg?resize=300,202 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9Winstar Cinema\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWho better to tackle Herman Melville\u2019s 1852 novel <em>Pierre; or, the Ambiguities<\/em> \u2014 a \u201ccuriosity of literature\u201d filled with sex, subversiveness and a warped spirituality that had critics calling its creator immoral \u2014 than a filmmaker who understood what it was like to push envelopes and piss off tastemakers? Like the <em>Moby Dick<\/em> author, Leos Carax was coming off a magnum opus (1991\u2019s <em>The Lovers on the Bridge<\/em>), and the French writer-director\u2019s adaptation manages to tap into his romanticism (capital and lower-case R versions) and a palpable sense of rage. Pierre (Guillaume Depardieu, a.k.a. Gerard\u2019s kid) has a doting mom (Catherine Deneuve), a fianc\u00e9 (Delphine Chuillot), and a successful novel under his belt. Then, one night in the forest, he encounters Isabelle (Yekaterina Golubeva), and falls so head over heels for her that not even the disclosure that she\u2019s his half-sister can stop them from an <em>amour<\/em> most <em>fou.<\/em> What follows is extremely unsimulated sex, a waterfall of blood, some incredible Scott Walker songs, and the sense that you\u2019ve either witnessed the demented work of a genius <em>or<\/em> the work of a demented genius. We favor the second one. <em>\u2014D.F.<\/em> <\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Jesus\u2019 Son\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"201\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MV5BMjA2NjQ1MDI0OF5BMl5BanBnXkFtZTcwNzQ0MDYwNA@@._V1_.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MV5BMjA2NjQ1MDI0OF5BMl5BanBnXkFtZTcwNzQ0MDYwNA@@._V1_.jpg 1600w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MV5BMjA2NjQ1MDI0OF5BMl5BanBnXkFtZTcwNzQ0MDYwNA@@._V1_.jpg?resize=300,201 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"201\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MV5BMjA2NjQ1MDI0OF5BMl5BanBnXkFtZTcwNzQ0MDYwNA@@._V1_.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MV5BMjA2NjQ1MDI0OF5BMl5BanBnXkFtZTcwNzQ0MDYwNA@@._V1_.jpg 1600w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MV5BMjA2NjQ1MDI0OF5BMl5BanBnXkFtZTcwNzQ0MDYwNA@@._V1_.jpg?resize=300,201 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/>\t\t\t\t\t<\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBased on Denis Johnson\u2019s short-story collection, this stark, starling indie film follows FH (Billy Crudup), a junkie flailing through the 1970s, eventually clawing his way to recovery. Premiering at Telluride in 1999 and released in the States the following year, the movie is raw but funny, seeing in its shambling protagonist the sort of idiosyncratic antihero who wouldn\u2019t have been out of place during the New Hollywood era. The supporting cast features a who\u2019s who of dazzling character actors and rising stars, including Samantha Morton, Denis Leary, Jack Black and Michael Shannon. But the focus is always on how heroin\u2019s promise of transcendence is undermined by the ugliness of all it takes from its luckless users. <em>\u2014T.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Analyze This\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"ANALYZE THIS, Robert De Niro, Billy Crystal, 1999 (image upgraded to 16.7 x 11.3 in)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDANTH_EC005.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDANTH_EC005.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDANTH_EC005.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDANTH_EC005.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"ANALYZE THIS, Robert De Niro, Billy Crystal, 1999 (image upgraded to 16.7 x 11.3 in)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDANTH_EC005.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/MSDANTH_EC005.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Warner Bros\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhat, you thought Tony Soprano had a lock on the whole Mafia-boss-goes-to-therapy racket? This Robert De Niro and Billy Crystal comedy, about a <em>cosa nostra<\/em> <em>capo<\/em> getting in touch with his feelings thanks to a reluctant, neurotic shrink \u2014 we\u2019ll let you guess which actor portrays which character \u2014 hit theaters a few months after HBO\u2019s flagship show premiered. But the idea had been percolating way before Tony started freaking out over a family of ducks, and plays the idea of a tough-guy gangster not for pathos but strictly for laughs. It helps that the legendary Harold Ramis is calling the shots (he also contributed to the script alongside Kenneth Lonergan and <em>The Larry Sanders Show<\/em> writer Peter Tolan), and that De Niro also seems to be having a blast both channeling and making fun of his past Mob-movie turns. To paraphrase the man himself: You\u2019re good, you. You are very good, <em>Analyze This.<\/em> Read it in a De Niro voice and it sounds better. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Princess Mononoke\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Princess-Mononoke.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Princess-Mononoke.jpg 1706w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Princess-Mononoke.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Princess-Mononoke.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Princess-Mononoke.jpg 1706w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Princess-Mononoke.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/>\t\t\t\t\t<\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tFollowing a prolific period in the 1980s when he produced several classics in quick succession, including <em>Castle in the Sky <\/em>and <em>My Neighbor Totoro<\/em>, legendary Japanese animator Hayao Miyazaki went five years between 1992\u2019s <em>Porco Rosso<\/em>and this epic fantasy tale, and you can feel the effort and care in every frame of the film, which made his allegiance to the natural world as overt and impassioned as any in his remarkable, environmentalist oeuvre. Set in medieval Japan, <em>Princess Mononoke<\/em> chronicles a growing conflict between the human world and the spirits who protect the forest \u2014 in the middle of that feud is a noble prince, Ashitaka, who\u2019s on a journey to rid himself of a terrible curse. This beautifully hand-drawn drama \u2014 the lengthiest of Miyazaki\u2019s films \u2014 took two years after its Japanese premiere to finally reach the United States, where it was released by Miramax\u2019s Harvey Weinstein, who dared to suggest trims to the master. Thankfully, Miyazaki wasn\u2019t having it. \u201cI did go to New York to meet this man, this Harvey Weinstein,\u201d he <a href=\"https:\/\/www.theguardian.com\/film\/2005\/sep\/14\/japan.awardsandprizes\" rel=\"nofollow noopener\" target=\"_blank\">recalled in 2005<\/a>, \u201cand I was bombarded with this aggressive attack, all these demands for cuts.\u201d With great pride, Miyazaki added, \u201cI defeated him.\u201d <em>\u2014T.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Bowfinger\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BOWFINGER, from left: Eddie Murphy, Steve Martin, 1999. \u00a9Universal Pictures \/ Courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Bowfinger.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Bowfinger.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Bowfinger.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Bowfinger.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BOWFINGER, from left: Eddie Murphy, Steve Martin, 1999. \u00a9Universal Pictures \/ Courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Bowfinger.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Bowfinger.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tGeorge Festrunk and Mr. Robinson, together at last! Franz Oz\u2019s sublimely silly showbiz satire casts Steve Martin as a modern Ed Wood shooting a Z-grade science fiction opus guerilla-style, with a movie star who doesn\u2019t even know he\u2019s in the movie. Eddie Murphy is that star, a vain, flakey A-lister being clandestinely filmed (re: stalked) by the amateur production. Murphy also plays the actor\u2019s nerdy twin brother \u2014 a bit of inspired dual casting that allows this gifted chameleon to both spoof his own celebrity and offer another gentle caricature of misfit sensitivity, \u00e0 la\u00a0<em>The Nutty Professor<\/em>. Oz clowns on everything from the insidious influence of Scientology to the sexual quid pro quo driving so much casting without ever stooping to mean-spiritedness. That\u2019s the joy of his farce: It looks at the cynical truth of Hollywood through widely innocent eyes, all while colliding the unexpectedly simpatico shtick of two comedy legends. <em>\u2014A.A.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Thomas Crown Affair\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Pierce Brosnan and Rene Russo sitting in a car together in a scene from the film 'The Thomas Crown Affair', 1999. (Photo by Metro-Goldwyn-Mayer\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-159824094.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-159824094.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-159824094.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-159824094.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Pierce Brosnan and Rene Russo sitting in a car together in a scene from the film 'The Thomas Crown Affair', 1999. (Photo by Metro-Goldwyn-Mayer\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-159824094.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-159824094.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Metro-Goldwyn-Mayer\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tLike every 007 before and after him, Pierce Brosnan has played a few debonair ladykillers outside of the tuxedo, too. A mere three months shy of reprising the role of James Bond in\u00a0<em>The World is Not Enough<\/em> (see above), he unofficially refined it, deviously tweaking his preppy charisma to portray a suave art thief in this effortlessly stylish remake of a 1968 Steve McQueen caper. Rene Russo matches Brosnan step for step as the smart, sexy insurance investigator on his tail; the two dance wittily around their mutual attraction, before surrendering to it during the kind of steamy Hollywood love scene now as rare as an original Monet. Most actual Bond movies would kill for their chemistry \u2014 or for a scene as nimble and playful as the closing heist, which\u00a0<em>Die Hard<\/em>\u00a0director John McTiernan sets to the jaunty, timeless accompaniment of Nina Simone\u2019s \u201cSinnerman.\u201d <em>\u2014A.A.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Dick\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"DICK, Kirsten Dunst, Michelle Williams, Dan Hedaya, 1999\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Dick.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Dick.jpg 1700w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Dick.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Dick.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"DICK, Kirsten Dunst, Michelle Williams, Dan Hedaya, 1999\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Dick.jpg 1700w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Dick.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: TriStar Pictures\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe \u201990s loved the aesthetics of the 1960s. (Remember that every present hippie smiley face?) But maybe no film did kitschy \u201960s aesthetics better than Andrew Fleming\u2019s delightful but also delicious political comedy. Kirsten Dunst and Michelle Williams are two goofy girls who accidentally stumble upon the Watergate break-in. They soon become persons of interest for both Richard Nixon himself (a perfect Dan Hedaya) and Woodward and Bernstein (Will Ferrell and Bruce McCulloch), all while maintaining their gloriously cluelessness. Tricky Dick never stood a chance. <em>\u2014Esther Zuckerman<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Instrument\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Ian MacKaye, lead singer for Fugazi, performing at the Roseland Ballroom, 1993. New York. (Photo by Steve Eichner\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-83928861.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-83928861.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-83928861.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-83928861.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Ian MacKaye, lead singer for Fugazi, performing at the Roseland Ballroom, 1993. New York. (Photo by Steve Eichner\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-83928861.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/GettyImages-83928861.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Steve Eichner\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis love-letter to indie-rock heroes Fugazi was a lot like the band\u2019s music: uncompromising and intense, at times a bit tedious but ultimately uniquely rewarding. Dispensing with crutches like narration or contextual hand holding, filmmaker Jem Cohen, a trusted friend of the band for years, deep-dives into a impressionistic blur of live and studio footage, as well as interviews with the band and their fans (including an adorable clip of singer-guitarists Ian McKaye and Guy Picciotto on a cable access show hosted by a teenage girl). The performance clips are often spellbinding, including an instantly legendary moment from a show in a high school gym where Picciotto\u00a0sings suspended upside down from a basketball hoop. And the band\u2019s unparalleled integrity and determination come through in every grainy, disjointed, process-obsessed, passion-filled minute. <em>\u2014J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Felicia\u2019s Journey\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"FELICIA'S JOURNEY, Bob Hoskins, Elaine Cassidy, 1999\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Felicias.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Felicias.jpg 1768w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Felicias.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Felicias.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"FELICIA'S JOURNEY, Bob Hoskins, Elaine Cassidy, 1999\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Felicias.jpg 1768w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/Felicias.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Artisan Entertainment\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnthony Hopkins isn\u2019t the only stocky Brit with a deranged chef on his resume of \u201990s roles. To his alphabetical right stands Cockney tough guy Bob Hoskins, who brings a rather subtle, subdued menace to this haunting thriller about an Irish teenager who goes looking for her lost love and instead falls into the clutches of a seemingly kindly cook with some dangerously unresolved mommy issues. Just don\u2019t expect cheap serial-killer thrills \u2014 not with Atom Egoyan behind the camera and keyboard. The\u00a0<em>Exotica<\/em>\u00a0director fractures his William Trevor source material into another puzzle-box tragedy of childhood trauma, predatory men, and a past that keeps bleeding (via a trickle of flashbacks) into the present. The sound design, an overlapping din of voices, industrial noise, and staccato violin, suggests the room tone of a disturbed mind. But it\u2019s the English bulldog in the lead who really opens a window into that space, letting us see the pitiable boy behind the madman. <em>\u2014A.A.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Holy Smoke\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"HOLY SMOKE, Harvey Keitel, Kate Winslet, 1999, (c) Miramax\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/HS.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/HS.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/HS.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/HS.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"HOLY SMOKE, Harvey Keitel, Kate Winslet, 1999, (c) Miramax\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/HS.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/HS.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Miramax\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThere\u2019s a part of us who gets giddy at the idea that, having thrilled to Kate Winslet\u2019s performance in <em>Titanic,<\/em> a gaggle of recently converted Winslet-ites then flocked to see this truly cracked psychodrama, about a young Australian woman who falls under the spell of a cult-like leader while in India. Once she\u2019s eventually cajoled back to her hometown in Sydney, Winslet\u2019s character is sequestered with an American   (Harvey Keitel) who\u2019s an expert in deprogramming brainwashed ex-cult members. Let\u2019s just say that neither of them plan on giving up without a fight, and that the lines of what is and isn\u2019t acceptable social behavior gets severely blurred in Jane Campion\u2019s underrated take on spiritual voids and sexual power plays. Had Winslet\u2019s previous movie not already been named <em>Hideous Kinky,<\/em> that title would have been equally appropriate here. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Ravenous\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"RAVENOUS, Guy Pearce, 1999, TM and Copyright (c) 20th Century Fox Film Corp. All rights reserved.&#13;&#13;Courtesy: Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/ravenous.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/ravenous.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/ravenous.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/ravenous.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"RAVENOUS, Guy Pearce, 1999, TM and Copyright (c) 20th Century Fox Film Corp. All rights reserved.&#13;&#13;Courtesy: Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/ravenous.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/ravenous.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: 20thCentFox\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMost tales of how we tamed the wild, wild west leave out some of the more grisly footnotes \u2014 luckily, director Antonia Bird\u2019s berserk frontier-horror parable is more than happy to fill in the gaps. A traumatized army lieutenant (Guy Pearce) is transferred to a remote outpost in California after the Mexican-American War had left him \u201cunfit\u201d for normal duty. He\u2019s barely settled in with his fellow misfits and scallywags when a mysterious Scottish drifter (Robert Carlyle) shows up on their doorstep. It seems he was a member of a settlers\u2019 party heading West through the Sierra Nevadas, and after they became stranded without food for several weeks\u2026 let\u2019s just say that desperate times begat desperate measures. The soldiers accompany him to the scene of the crime to rescue his fellow survivors , at which point they discover that both old habits and new appetites are hard to shake off. A singular mix of revisionist Western, stalker flick, survivalist thriller and, yes, even wackadoo comedy, <em>Ravenous<\/em> distinguished itself as one of the sickest jokes of 1999 \u2014 a reminder that America\u2019s origin story includes cowards, cannibals and good old-fashioned psychopaths. <em>\u2014D.F.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Hurricane\u2019<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"THE HURRICANE, from left: Vicellous Shannon, Denzel Washington, 1999. \u00a9 Universal\/courtesy Everett Collection\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/hurric.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/hurric.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/hurric.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/hurric.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"THE HURRICANE, from left: Vicellous Shannon, Denzel Washington, 1999. \u00a9 Universal\/courtesy Everett Collection\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/hurric.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/11\/hurric.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Universal\/Everett Collection\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn 1975, Bob Dylan released \u201cHurricane,\u201d a song that decried the false conviction of middleweight boxer Rubin \u201cHurricane\u201d Carter, who was given lifetime sentences for the 1966 killing of three people in a New Jersey bar. Director Norman Jewison chronicles his story in a stirring biopic that is part sports film and part courtroom drama, starring Denzel Washington, masterful as usual playing a man lethal in the ring but powerless in the face of a cruel legal system. The protest anthem helped keep Carter\u2019s case alive in the culture years after he was initially incarcerated (he eventually had his conviction overturned in 1985). Yet the movie aided in putting a human face to this torn-from-the headlines story of racism and injustice, as well as reminding audiences of the work that activist groups (like the one led by Liev Schreiber in the film) do to free the innocent from prison.  <em>\u2014T.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div>\n<p><script async src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-3711241968723425\"\r\n     crossorigin=\"anonymous\"><\/script>\r\n<ins class=\"adsbygoogle\"\r\n     style=\"display:block\"\r\n     data-ad-format=\"fluid\"\r\n     data-ad-layout-key=\"-fb+5w+4e-db+86\"\r\n     data-ad-client=\"ca-pub-3711241968723425\"\r\n     data-ad-slot=\"7910942971\"><\/ins>\r\n<script>\r\n     (adsbygoogle = window.adsbygoogle || []).push({});\r\n<\/script><br \/>\n<br \/><div data-type=\"_mgwidget\" data-widget-id=\"1660802\">\r\n<\/div>\r\n<script>(function(w,q){w[q]=w[q]||[];w[q].push([\"_mgc.load\"])})(window,\"_mgq\");\r\n<\/script>\r\n<br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/tv-movies\/tv-movie-lists\/best-movies-of-1999-ranked-1234817346\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Maybe the thought first occurred to you during the end of March, when a graceful, modern update of a Shakespearean comedy and a groundbreaking science-fiction movie opened on the same &hellip; <a href=\"https:\/\/hotvideos24.online\/?p=130115\" class=\"more-link\">Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-130115","post","type-post","status-publish","format-standard","hentry","category-entertainment","entry"],"_links":{"self":[{"href":"https:\/\/hotvideos24.online\/index.php?rest_route=\/wp\/v2\/posts\/130115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hotvideos24.online\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hotvideos24.online\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hotvideos24.online\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hotvideos24.online\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=130115"}],"version-history":[{"count":0,"href":"https:\/\/hotvideos24.online\/index.php?rest_route=\/wp\/v2\/posts\/130115\/revisions"}],"wp:attachment":[{"href":"https:\/\/hotvideos24.online\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=130115"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hotvideos24.online\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=130115"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hotvideos24.online\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=130115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}