Just as micro-brewery beer, coffeehouse java and indie style came out of the underground to infect the tastes of Americans in the ’90s, so too did the film industry get a boost from a change in public tastes.

Americans were no longer satisfied with the tried and true formulas of the past. They wanted to see new artists, experience the work of unknown independent filmmakers and hear the voices of those who would no longer remain silent.

Like no other time before, we have been willing, if not eager, to see the grainy, cinema verity, black-and-white visions of 20-somethings fresh from film school.

Gays, blacks, Indians, AIDS sufferers, Holocaust survivors, the disenfranchised youth of America. All had their stories told in the ’90s.

Choosing the 90 best movies of the decade would be a daunting task. But choosing the 90 essential movies is different. These are the films that stand out above the rest.

The 90 essential movies defined genres, influenced future filmmaking, introduced important people and sometimes even made us laugh, cry or ponder.

The important thing is each movie did something.

And now — our feature presentation. (GJ)

1 “Pulp Fiction” The most essential film of the ’90s brought Quentin Tarantino to the forefront of American pop culture, revitalized the flailing career of John Travolta and reintroduced dialogue as an important concept to film audiences.

“Pulp Fiction” was witty, stylish and violent.

It threw many viewers — corn-fed a steady diet of linear plotlines and black-and-white morality — into a tizzy by virtue of being presented out of chronological sequence and never telling the audience what it should think about the characters.

There were no obvious good guys and bad guys. We were meant to like the gangsters. Every character was abundantly real, and each one was equal parts sinner, saint and indifferent.

Underlying the film’s violence and hip dialogue was a subtle theme of redemption. Two hit men faced with the same unexplainable act of mercy while executing a contract react in opposing manners.

One sees the hand of God and the other does not. The audience is unaware of this for much of the movie since it happens out of sequence in the final of four vignettes.

Afterward, one of the hit men is spared again as his boss’s wife overdoses on his heroin, yet he is still not redemptive.

He meets his death at the hands of a boxer he was sent to kill. Having failed to redeem himself, he ultimately pays for it.

“Pulp Fiction” is deceptively brilliant. On first viewing, it seems to be a simple gangster movie with no deep meaning or hidden messages. Upon repeated viewings, it unfolds with many varied interpretations.

What is in that briefcase? Is it Marcellus Wallace’s soul or a Royale with Cheese?

The appeal seems to be that the audience can either revel in these varied meanings or ignore them, because the film works either way.

“Pulp Fiction” is steeped in retro charm. The soundtrack reflects this by using many songs from the ’50s, ’60s and ’70s.

Another remarkable phenomenon brought about by “Pulp Fiction” was its ability to raise John Travolta’s career from the dead. His most prominent roles prior to this were “The Boy in the Plastic Bubble” and the “Look Who’s Talking” series. Suddenly and without warning, Travolta went from the model of a ’70s has-been to the height of a ’90s hip film icon.

Now, that’s a bold statement. (GJ)

2 “Schindler’s List” No film released in the ’90s garnered the emotional response of “Schindler’s List.” Never before had a big-budget, Hollywood film taken such an honest look at the Holocaust. The result was a work of art that powerfully explores the film medium.

“Schindler’s List” brought director Steven Spielberg his first Oscar, and a very well-deserved one. One knock against Spielberg had always been his use of sentimentality to conjure up an emotional reaction. Spielberg has said he made a conscious effort to avoid anything like that while making “Schindler’s List.”

What truly sets “Schindler’s List” apart is that it is not just a valuable history lesson, but a tremendous film as well. The beauty of black-and-white film is its high contrast, and Spielberg makes it his canvas. As the only color scene in the movie, the little girl in the red coat made an indelible mark on our minds, emerging as the most striking film image of the decade.

At the core of any great film is great acting, and “Schindler’s List” is no exception. Liam Neeson and Ralph Fiennes both turned in performances of a lifetime. They should be given no end of credit for not simply portraying a good guy and a bad guy, but rather creating fully real human beings.

Neeson’s Schindler is a womanizer and doesn’t even realize the power of his own materialism until the end of the film. Fiennes’ Amon Goeth is one of the most chilling characterizations of all time, and yet, there is a humanity to him. We see his fear, his shyness, his loneliness — and, therefore, cannot simply dismiss him as a villain. This makes his atrocities all the more gut-wrenching.

The fact that “Schindler’s List” achieved some degree of commercial success bodes well for American cinema. It was not a film that set out to break any box-office records, but instead tried to tell an important story with brutal honesty. Thank God people still make movies like this. (BG)

3 “Clerks” Kevin Smith is, without question, the poster boy for Generation X. The New Jersey native made the quintessential, low-budget, black-and-white, independent, dialogue film of the decade.

Smith almost single-handedly brought independent films out of the underground arthouse and into theaters where everyone from the intelligentsia to the pizzeria could enjoy it equally.

“Clerks” had no special effects, no sets and no real budget. With the exception of two or three scenes, the entire film was set in and around one convenience store.

Smith was by no means the newest genius to hit the scene. What made his work stand out was his common touch. Smith has the ability to address the human condition as it appears to him as a slacker with a poignant vocabulary and a dream.

Though his script as well as his actors were equally stilted and stiff, this couldn’t take away from the irreverent charm. It was always presented in the slickest of manners, but Smith had something to say about a generation educated enough to understand how it was living beneath its own potential.

His characters, Dante and Randall, are two clerks riding the counter and hating it. But Dante sees himself as something of a martyr. He is called in to work on his day off and gets stuck there until closing. Meanwhile, he must choose between his faithful girlfriend and an ex who used to cheat on him.

Along the way, the two clerks argue fine points of philosophy: the inability to enact change in one’s life, responsibility, role strain, pornography.

Shot entirely in black and white, “Clerks” looks more stark than it is, and perhaps that added to its appeal.

For renewing our interest in small-budget independent films and independent voices, “Clerks” will remain as one of the most influential of films long after Smith sells out on big-budget action flicks. (GJ)

4 “Silence of the Lambs” Is there anyone who wasn’t freaked out by “Silence of the Lambs?” Undoubtedly the most successful thriller of the decade, it pushed the limits of psychological terror on screen.

Sir Anthony Hopkins is larger than life as psychiatrist turned psychotic Dr. Hannibal Lecter. The restraint and simplicity with which Hopkins portrays Lecter is what makes the film. Hopkins could have easily made Lecter an over-the-top caricature, but instead he gives him a calm demeanor that is even more unnerving.

Also eminent is Jodie Foster as FBI Agent Clarice Starling. (Both Foster and Hopkins won Academy Award.). Starling is a woman in a man’s profession, and the sexism she faces is one of the subtler undertones of the film.

In order to get Lecter to help her catch a serial killer called “Buffalo Bill,” Starling must open up to him about her own life. The scenes where Lecter uses this information to unravel Starling are the best in the film.

Other than an ending that has been called a cop-out by some, “Silence of the Lambs” has been almost universally lauded. Its overwhelming commercial success also paved the way for other intelligent, psychological thrillers such as “Seven.” (BG)

5 “Thelma & Louise” Hollywood is one of the most segregated places in America. Women’s roles are almost always secondary to male leads. A film driven by a female lead is rare, and one with two female leads? Unheard of. But that’s the premise for “Thelma & Louise.”

Not only are the women of “Thelma & Louise” the central characters, they are actually lashing out at the male-dominated world they have been trapped in for their entire lives. For a brief time, they have control of their world, before everything comes tumbling down. In the end, they decide that moment of freedom from the subtle and not-so-subtle controls of men is worth giving up their lives for.

It’s important to remember that “Thelma & Louise” is not an anti-male movie. If it was, it wouldn’t have been nearly as important.

Geena Davis and Susan Sarandon expertly portray women who have been pushed to the edge, and after watching what they’ve gone through, it’s surprising more women don’t rebel in the same way.

“Thelma & Louise” was also a breakthrough film for Brad Pitt, who turns in one of the sexiest performances of the decade. (BG)

6 “Shawshank Redemption” Not only does 1994’s “Shawshank Redemption” have one of the best endings in cinema history, it bumped Tim Robbins to the top of many critics’ lists of great actors.

The unforgettably soothing voice of Morgan Freeman as narrator served as a wonderful means to portray the film, and his acting added more bricks to the wall that built his wonderful career.

The movie covers many interesting subjects, such as when an innocent man is stuck in jail ,and how making friends at the worst of times can truly help you survive.

While challenging us to think about so many different aspects of life, “Shawshank Redemption” posed a question of morality.

Is it OK to break the law when you have no other options?

The irony grows thicker as the movie pushes on, climaxing with an unforgettable conversation between Andy (Robbins) and Red (Freeman).

Andy says he was clean while on the “outside” and didn’t become a crook until he got to prison. It’s a statement that rings in your head louder than anything Alanis Morissette ever sang.

If this was a list for the best movie endings of the decade, “Shawshank Redemption” would win by a longshot. (KM)

7 “Goodfellas” “Goodfellas” provides a glimpse into the wise guy, mobster scene that no gangster movie had ever given. Although “The Godfather” takes the title for all-time classic mob movie, it lacks the real-life violence and behavior “Goodfellas” brings to life.

Martin Scorcese takes the mob scene to another level with raw violent scenes that are definitely not for the faint of the heart. At the same time, the film doesn’t lose the deep drama and screenplay that earned it several Academy Award nominations and a spot on the American Film Institute’s Top 100 movies of all time.

With an all-star cast of Ray Liotta, Joe Pesci, Paul Sorvino and gangster superstar Robert DeNiro, it’s easy to see why this 1990 film goes down as a classic.

Pesci brings new meaning to the word psychopath in his character, Tommy DeVito, a role for which he won an Oscar for Best Supporting Actor. And Ray Liotta gives a solid performance as protagonist Henry Hill.

But no one can outshine DeNiro when it comes to gangster movies. And this point is proven by his chilling performance as Jimmy Conway. The role is arguably one of DeNiro’s best performances ever and solidifies the significant role of “Goodfellas” in film history. (TF)

8 “Boyz N the Hood” “Either people don’t know, don’t show or don’t care about what’s goin’ on in the hood.” Ice Cube’s chilling words summed up “Boyz in the Hood,” the 1991 film that opened the eyes of middle-class America.

Tackling gang violence in South Central Los Angeles, the film made the problems of the ghetto more of a reality for the naive masses. It was a mission thoroughly accomplished by director John Singleton.

The harsh truthfulness that “Boyz N the Hood” stood for was something that needed to be shown at a time when death and violence were going unnoticed.

Providing breakthrough acting performances for Cuba Gooding Jr. and Ice Cube, the movie contained many defining moments for both actors.

While portraying many African Americans in all walks of life, it set a strong distinction between stereotype and reality.

Other issues that were taken on in “Boyz N the Hood” were favoritism in the family, self-esteem and the need for positive male role models. The juxtaposition of the two characters’ households made a strong statement about personality development.

After one of the least likely characters is killed in the end, one underlying statement lingers: Gang violence happens every day, and it can happen to anyone. It’s up to us to see that the horrible trend isn’t perpetuated. (KM)

9 “Fargo” The Coen brothers found their greatest success to date in this true story turned into chilly suspense, eerie enough to scare the stocking cap off Paul Bunyon and the blue off of Babe.

Bullets, axes and woodchippers numbed more toes than the Minnesota weather in this 1996 thriller.

Events transpiring in this fact-based film bordered on ridiculous and unbelievable. Untainted acting and a genuine script made this obscure story one to avoid before bedtime.

Steve Buscemi’s comedic criminal works with William H. Macy as corrupt car salesman Jerry Lundegaard to devise one of the most ass-backwards, money-hungry kidnappings in film history.

Many of the great conversational pieces in the film are contributed by Brainerd Police Chief Marge Gunderson (Frances McDormand) and her Norwegian, “Ya, ya, you betcha.”

“Fargo” had a way of reaching the five senses through film. Director Joel Coen painted the smells, tastes and textures on a medium made for sight and sound.

This picture was more than a silly story played by silly actors with silly accents. “Fargo” championed the theme of sin.

The seductive power of human greed and gluttony are conveyed by Buscemi, who strives to quench his desires in every form imaginable.

Few true story recreations capture the story’s true moods and inspire such driving, thought-inspiring themes as “Fargo.” (TB)

10 “Ace Ventura: Pet Detective”

Jim Carrey’s energy-driven antics and rubber-face humor catapulted him from the white guy on “In Living Color” to comedic superstardom in 1994 with the surprise hit, “Ace Ventura: Pet Detective.”

Directed by Tom Shadyac and arguably the funniest movie of the decade “Ace Ventura” introduced us to Carrey’s oddball low-brow brand of humor that gave us something inventive to laugh at: singing opera with his butt and using it as means of communication,.

Who could forget the line, “Excuse me, may I ass you a few questions?”

Calling Tone Loc or Dan Marino “Lu-ho-suh-hers” and examining Snowflake’s empty tank Star Trek style are just a few of Carrey’s memorable moments.

For its astounding humor and introduction of the greatest comic actor of the decade, “Ace Ventura” is an essential movie. All-righty then! (DH)

11 “Titanic” Not only did “Titanic” gross a box-office record of over 1 billion dollars nationwide and snag just about every Oscar possible, it was also one of the few films ever to produce amazing special effects and still have a complex storyline.

Many movies began using dazzling effects in the ’90s but most forgot to put in the all-important plot. Director and self-declared “King of the World,” James Cameron, however, found a way to reach into our hearts (and our pockets) in 1997 with a heart-wrenching film to which everybody could relate.

Thanks to the technological leaps and bounds of the decade, we were able to experience firsthand the horrific events that took place on the Titanic as the ship slowly sunk to its doom.

“Titanic” made Leonardo hotter than The Backstreet Boys, Celine Dion and Mariah Carey, and rescued Titanic items hotter than Beanie Babies.

However, our hearts will go on to the next decade, where dramatic films will forever be forced to compete with the mighty “Titanic.” (DH)

12 “Swingers” You’re so money you don’t even know it.

Not only did Doug Liman’s 1996 indie comedy “Swingers” change the way the ’90s man spoke, ala “beautiful babies,” it shoved Mom’s classic just-be-yourself advice back into her face.

Written by and starring Jon Favreau, “Swingers” both revived swing music and introduced one of the brightest young male stars of the decade in Vince Vaughn, who has gone on to star in must-sees “Return To Paradise” and “Clay Pigeons.”

As Trent, or T, Vaughn takes us on a bachelor’s dream tour of both Vegas (baby!) and L.A., slowing down only to give out his money vibe a few times.

Liman’s clever directing, which includes spoofing “Reservoir Dogs” and giving wisdom to an answering machine, won him an MTV Movie Award for Best New Director and served as a launching pad for his next film, 1999’s underrated “Go.”

“Swingers” is a high-fiving adrenaline rush for the Mr. Sensitive Ponytail Man in all of us. (CM)

13 “Dead Man Walking” “Dead Man Walking” slaps you in the face from the opening, holding you captive until the very end. Tim Robbins’ adaptation of Sister Helen Prejean’s book is a striking look at both sides of the issue of capital punishment.

Robbins not only shows the humanity of the killer, Matthew Poncelet, but also the horrible pain he has caused the victims’ families. At the moment when we most sympathize with the Poncelet, Robbins shows us the grizzly rape and murder as it happened.

Sean Penn as Poncelet and Susan Sarandon as Prejean put forth remarkable performances. The final 30 minutes of the film, in which Prejean waits with Poncelet the night of his execution, represent the most incredible screen acting perhaps ever. The fact that Penn did not win the Oscar for Best Actor is proof positive the Academy is a joke.

“Dead Man Walking” is an emotionally difficult film to watch, but it’s well worth the effort. (BG)

14 “Il Postino” Possibly one of the sweetest films ever made in any country and in any decade, “Il Postino” is the story of a simple Italian postman named Mario who falls in love.

Mario’s father is a fisherman, as are most of the people in his village. But Mario hates fish. He hires on as a postman to handle the influx of mail due to exiled Chilean poet Pablo Neruda’s arrival. After a cold start, the two become friends.

Mario falls in love with Beatrice, the most beautiful woman in the village, and finds himself incapable of doing anything about it until Neruda teaches Mario about the power of poetry.

Soon, he is wooing Beatrice and winning her heart.

It is a simple story filled with beauty and a love of life that one can usually only find in really good Italian films such as this one.

Even while reading the subtitles, it is impossible not to get lost in this film. (GJ)

15 “Seven” David Fincher’s thriller about a serial killer bent on delivering a bizarre sermon was and still is one of the most visually shocking films of the decade.

The film stars Brad Pitt and Morgan Freeman as two detectives in search of a killer whose modus operandi is the punishment of people committing the seven deadly sins.

Pitt plays a relatively inexperienced detective to Freeman’s veteran near retirement. The two begin at odds with each other but eventually come to depend on the other as their search brings them closer to the dark side of human nature than either has been before.

It is a brutal commentary on life in our time. The killer is played masterfully by Kevin Spacey, who doesn’t even show his face until the last 20 minutes. The film had one of the most disturbing endings of any film made in the ’90s and left audiences in stunned silence.

“Seven” was filled with a stark, evil reality that posed more questions than it answered. It was an intelligent mystery movie with an edge like a razor. (GJ)

16 “Saving Private Ryan” War movies have always been a fixture in our culture, as they’re made to celebrate patriotism and further inspire the American dream.

Steven Spielberg completely reversed these ideals and added to his award-winning library with his 1998 drama “Saving Private Ryan.”

This brief three-hour reality brought 70-year-old men to tears and inspired a pinch of understanding in Gen X-ers who have yet to experience the horrors of a world war.

While Tom Hanks and Matt Damon offered their acting expertise, the photography and visual perfection hoisted this film to greatness.

One of the few war films created to make viewers take a stance on their values concerning human life and conflict, “Saving Private Ryan” forces a decision.

In a film set in foreign lands, Spielberg instilled in audiences a realization that the concepts of “home” and “family” are often taken for granted. (TB)

17 “The Usual Suspects” Never before has an audience been so duped into believing that the bad guy was a good one. Kevin Spacey won a very deserved 1995 Best Supporting Actor Oscar for his portrayal of Verbal Kint, the defenseless cripple who proved that “the truth is always in the last place you look.”

It’s just too bad that only one actor could receive the honor. This film was packed with some of the most underrated and under-cast actors of our generation.

With an incredible lineup and an ending that calls for some serious abuse of the rewind button, “The Usual Suspects” turned the wheels of imagination in screenwriters’ minds across Hollywood.

No movie has come along since unique enough to make us sit there and wonder, “What the hell just happened here?” (KF)

18 “Forrest Gump” “Life is like a box of chocolates; you never know what you’re gonna get.”

Possibly the most interesting fictional character of the ’90s, it was impossible for people not to love Tom Hanks and his southern accent as the mentally-challenged Forrest Gump.

Directed by Robert Zemeckis in 1994, “Forrest Gump” took home a handful of Oscars and, perhaps more importantly, coined more terms than any movie of the decaded (“Stupid is as stupid does,” “My name is Forrest, Forrest Gump”).

Add a career-defining performance by Gary Sinise as Lieutenant Dan, and it completes the formula for a film that the American public would embrace more widely than most in the ’90s. (DH)

19 “Rushmore” Some of the most refreshing comedies of the ’90s were made by the writing team of Wes Anderson and Owen Wilson, and they hit their peak with “Rushmore.”

What makes their films great is they aren’t just a series of set-ups and punch lines. Their characters are fascinating creatures who happen to be caught in hilarious situations.

The central character in “Rushmore” is Max Fischer, a 15-year-old prep school student who is involved in every school club, but he is failing every class. His best friend is a depressive, 50-year-old millionaire, Herman Blume (played exquisitely by Bill Murray). The two wind up falling for the same woman, a teacher at Max’s school, and Max winds up spiraling out of control.

Such original characters and situations are the cornerstone of any Anderson/Wilson film. Though snubbed by the Oscars, “Rushmore” was glorified as the film of the year by many critics, and Murray earned several awards for his most touching role to date. (BG)

20 “American History X” Racism had never been rammed in our faces like it was in Tony Kaye’s amazingly powerful 1998 directorial debut, “American History X.”

With an opening scene that shows neo-Nazi Derek (played brilliantly by “Primal Fear’s” Edward Norton) viciously killing two black burglars just a few feet away from his horrified younger brother (Edward Furlong), the film captivates you like a disturbing drug.

Intersplicing black-and-white footage with color and relying on real footage from L.A. beach communities, “American History X” is a visual masterpiece with an authoritative message. (CM)

21 “Unforgiven” Clint Eastwood directed what is widely considered to be his best western. It’s more than a simple story set in the wild west. It is Eastwood’s own form of personal redemption.

After decades of starring in spaghetti westerns, Eastwood shows everyone the classic tales of western adventure need not be told with simple moral lessons for a backdrop. They can be as complex as any modern tale.

The old west was not a time of simplicity, and this master of the genre takes us out of the simple ’60s and makes the ’90s the decade in which cowboys came back with a vengeance.

“Unforgiven” took westerns, and Eastwood himself, to a new level of greatness. (GJ)

22 “Trainspotting” In a film where drugs turn surreal dreams to reality, Begbie, Spud, Sick Boy, Diane, Tommy and Renton (Ewan McGregor) are friends trying desperately to “Choose life.”

Searching the bowels of a toilet for an opium suppository, stealing a friend’s homemade pornos and going on dozens of heroin trips supply the character’s entertainment.

Director Danny Boyle’s 1996 work depicts the darker side of Edinburgh, Scotland and London, England. Many scenes include humorous tones surrounded by horrifying hallucinogenic episodes. (TB)

23 “Beauty and the Beast” Disney proved in 1991 that a tale as old as time could carry its weight on the big screen. As the only animated film to ever win an Academy Award for Best Picture, the film prompted a Broadway adaption and set a new standard for other animated classics such as “The Lion King,” “Mulan” and “Pocahontas” to incorporate lavish musical soundtracks and big-budget animation.

The blockbuster hit demonstrated that an old story from a childhood fairytale collection could be tailored to appeal to kids — and their parents. (AH)

24 “Scream” “Scream” single-handedly revived horror movies in 1996, ironically by creating a spoof of the style. Pointing out the clich‚s of horror, it mocked the very genre it embodied and poked fun at moviegoers who were actually scared of the film’s horror movie predictability.

The movie’s success would later bring us a sequel (and a third “Scream” is in the works) and heavily influence other teen horror flicks including “I Know What You Did Last Summer” and “The Faculty.”

So with all the new horror films, what’s your favorite scary movie? (DH)

25 “Billy Madison” Adam Sandler’s breakthrough comedy is stocked with raunchy, unintelligent, slapstick humor. In other words, “Billy Madison” is a necessity to the college survival kit.

With more dumb dialogue than Sandler’s post-“Madison” flicks combined — “He called the shit, poop,” “Shampoo is better …” — the movie is also packed with memorable characters played by Chris Farley, Norm McDonald and Steve Buscemi.

And must we not forget Bridgette Wilson as wet dream teacher Veronica Vaughn. So hot, want to touch the heiny. (CM)

26 “Malcolm X” Spike Lee was undoubtedly one of the most prominent directors of the ’90s, and he made the most noise with his epic biography, “Malcolm X.”

Critics were skeptic whether Lee’s own political beliefs would skew his portrait, but they generally agreed the result was a fair look at the slain leader. The film was carried by an inspired performance from Academy Award-Nominated Denzel Washington. (BG)

27 “Good Will Hunting” Two inexperienced, congenial pals — Matt Damon and Ben Affleck — dreamed up a screenplay originally written as a college assignment.

A few years later, it won an Oscar, and they were at the top of the Hollywood “It” list.

“Good Will Hunting” earned Robin Williams his first Academy Award (for Best Supporting Actor) for his clever on-screen skills to get Will to quit being afraid.

“Good Will Hunting’s” diverse characters and deep bonding bring laughter and pride to the screen. (PR)

28 “Kids” If “Kids” didn’t stop you from having unprotected sex, than nothing ever will.

A movie of shocking reality, “Kids” takes you into 24 hours of a group of inner city teenagers. Conservative groups all across the nation were against the release of this movie, and it’s no surprise. Fights, drugs, HIV and almost anything else the imagination can hold, make up the twisted plot.

“Kids” gives a painfully real-life account of what is going on all over America, and unfortunately, it’s not a pretty picture. (TF)

29 “Natural Born Killers” Oliver Stone’s surreal masterpiece took us on a voyage through the eyes of psycho killers Mickey and Mallory Knox — sending “Natural Born Killers” into heaps of controversy in 1994.

The film’s sparkling, unconventional cinematography teamed up with a mood-setting soundtrack to place it in the ranks of splendid filmmaking.

“Natural Born Killers” made a bold statement about the media’s glorification of violence, drawing upon the O.J. Simpson trial, Lorena Bobbitt, the Menendez brothers’ case and other news stories that shook the ’90s.

Some critics would discredit “Natural Born Killers” for being guilty of the same offense it supposedly denounced. The movie got lost in the controversy, garnering less attention than it truly deserved. (CB)

30 “Pi” “Pi” was a dark piece of science fiction. The brain child of Darren Aronofsky, it was a philosophical brain-teaser that took a hard look at the life of a paranoid mathematician obsessed with finding a string of numbers within pi that might hold the key to the mysteries of the universe.

“Pi” was filmed in high-contrast black and white with quickly edited montages. The cinematography aided the well-crafted paranoia. Again, an independent film showed what mastery was possible on a shoestring budget. (GJ)

31 “The Blair Witch Project”

Daniel Myrick and Eduardo Sanchez did for horror films what Kevin Smith did for comedy. They made an independent film that blew away the majors.

While no one would have been surprised to see a comedy cheaply made, no one believed it possible to scare audiences without big special effects and lots of fake blood. This was classic, camp-fire story telling at its best. (GJ)

32 “Braveheart” Literally defining the title of the movie, William Wallace (Mel Gibson) was the character every man wants to be. Wallace’s bold, outspoken and determined character won him and his fellow Scots “FREEEEDOM” from the narrow-minded English.

Taking the Oscar for Best Picture, Braveheart helped the ’90s understand the meaning behind a brave heart. (PR)

33 “Philadelphia” “Philadelphia” details the life of Andrew Beckett (Tom Hanks), a lawyer whose struggle with the AIDS virus causes him to be wrongfully terminated from the law firm into which he poured his heart and soul.

The film was one of the first to depict the prejudices, insecurities, fears and misconceptions that entail AIDS.

Beckett brings an AIDS discrimination suit against the powerful firm and enlists the help of one-time competing attorney, Joe Miller (Denzel Washington), who must overcome his own fears and misconceptions of the disease.

“Philadelphia” took on a controversial topic and helped make it more widely acceptable among the American public. For that reason, it was revolutionary. (JK)

34 “Dazed and Confused” Almost a staple in any college student’s room, Richard Linklater’s 1993 comedy brought back bell-bottoms, butterfly collars, pot smoking and school hazing.

Everyone with an over-age high school groupie could relate to Wooderson’s (Matthew McConaughey) comments, “That’s what I like about these high school girls. I get older, they stay the same age.”

This film was an easy place to find good music, good laughs and almost as much fun as doing it all yourself. (TB)

35 “Life is Beautiful” It took a serious historical event, the Holocaust, and built a comedy around it.

In the nightmare of concentration camp existence, a young Italian boy and his father found inspiration at a time when life seemed devoid of hope. Filling the void through comic relief, Guido (Roberto Benigni) endured the tribulations of World War II, with his spirit living on through his son.

Because of its uniqueness, peculiarity and captivating characters, “Life is Beautiful” should have become one of few foreign films to win Best Picture. It was sadly defeated by in that category by “Shakespeare in Love” in 1999. (CB)

36 “Dances with Wolves” This film put a different spin on westerns. It was one of the first times a movie focused on Indians and the effect westward expansion had on them.

It earned Kevin Costner a Lakota tribal membership and became the excuse many white people needed to start buying dream catchers.

Starring just about every Indian actor in the United States and Canada, it managed to be sweet without being patronizing. (GJ)

37 “The Crying Game” No one saw this one coming. It was impossible to see “The Crying Game” without foreknowledge that “the woman is a dude.”

It was the story of an IRA soldier hiding out in London looking for forgiveness from the girlfriend of a soldier his cohorts killed.

“The Crying Game” turned into the gender-bending film favorite of 1992. It was Neil Jordan’s baby from start to finish, and the story drew everyone in. (GJ)

38 “The Crow” “And I say I’m dead and I move.” With these cryptic words, Brandon Lee, took his role as antihero Eric Draven, conveying more truth than he ever knew.

Just as bullets could not stop Draven from carrying out his mission of love and vengeance, Lee’s tragic death on the movie set could not stop filmmakers from utilizing digital technology to complete the cult classic.

As the movie adaptation of James O. Barr’s comic book, “The Crow” spawned a sequel and several other successful comic book vigilante films like “Spawn” and “Blade.” (JD)

39 “Sling Blade” Billy Bob Thornton wrote, directed and starred in this film about a mentally challenged man recently released from a mental institution. He befriends a little boy with a troubled life and soon finds that the meaning of life is that we have the choice to give it up so that others may be happy.

The film was sweet but not syrupy like “Forrest Gump.” It made Thornton a star and showed that story is the most important element any film should possess. (GJ)

40 “Reality Bites” Dubbed the movie for Generation X, “Reality Bites” was more about introducing gas card spending rampages and pop can bongs to 20-nothings than it was summarizing their existence.

Either way, the intelligent blend of comedy and drama made the film irresistible.

Starring Winona Ryder, Ethan Hawke, Ben Stiller, Janeane Garofalo and Steve Zahn, the film was a cult classic before it was even released.

And not since John Cusack blasted “In Your Eyes” has a love song meant as much as U2’s “All I Want Is You” did in the closing minutes of “Reality Bites.” (CM)

41 “Jurassic Park” Adapting Michael Crichton’s wildly popular novel, Stephen Spielberg tapped into worldwide moviegoers’ dinosaur fascination telling us a tale about the fallibility of science and human ambition.

The visually stunning film packed theaters, broke box-office records and added terms such as “velociraptor” to pop culture. The movie’s success was a double-edged sword, as Crichton later brought audiences both the terribly derivative “Congo” and the exceptional television drama series “ER.” (JD)

42 “Waiting to Exhale” “Waiting to Exhale” told the story of four friends in Phoenix sharing their lives and loves. It was a chick flick that broke the mold and once again gave everyone an intimate look at the internal lives of women, their trials, expectations and losses.

The portraits it painted were of four different African-American women and how they supported each other through everything. It became the favorite film of many in 1995. (GJ)

43 “Basic Instinct” This mystery/thriller will be best remembered as the last time Michael Douglas had the gall to show his bare ass on screen and the first time Sharon Stone “accidentally” showed the world her bush.

Not necessarily groundbreaking in its writing or directing, it still came off as a classic thriller. But the film was so brutal and mystifying no one knew who the killer was until right before the credits rolled. (GJ)

44 “Higher Learning” “Higher Learning” delivered a brutal punch to college students in 1995, as it forced us to think more closely about campus race relations and question how far we have truly come.

The film documented the many racial cliques at a large university, addressing topics such as date rape, individuality and peer pressure, using separate groups of characters whose lives intertwined but rarely met within the story.

John Singleton couldn’t have handed over a more important message to college students in the ’90s. (CB)

45 “Romeo and Juliet” Putting an unconventional modern twist on a classic tale, Baz Luhrman’s 1996 film “Romeo and Juliet” enabled people of all ages to appreciate the brilliance of William Shakespeare.

Featuring huge up-and-comers of the time, Leonardo DiCaprio and Claire Danes, and combining great cinematography and colorful surroundings, the movie quickly became a must see, Shakespeare fan or not. (KM)

46 “A League of Their Own”

This lineup of colorful, enigmatic women brought to life a little-known moment in our country’s history.

It was World War II, and our boys were away to war. With our sports heroes overseas, the women of this country stepped up to the plate to save a national pastime.

Forget about sappy romances. “A League of Their Own” was the decade’s ultimate chick flick. (KF)

47 “Lost Highway” Eighties film guru David Lynch proved the ’90s were no match for him as he continued to make the most bizarre film of the decade. Dark, hip, sexy, mysterious, evil — temptation and Bill Pullman in his darkest role ever.

It marked the return of Robert Blake and may be the best movie Patricia Arquette ever does. The postmodern film is the hallmark of weird and cool. (GJ)

48 “Toy Story” Taking animation to infinity and beyond, Pixar’s “Toy Story” broke ground as the first, full-length, entirely computer-generated film. It was a shining example of the confluence of technology and storytelling that continues to influence the film industry.

Disney characters like Woody (Tom Hanks) and Buzz Lightyear (Tim Allen) interacted with classic toy characters such as Mr. Potato Head, little green army men and a slinky-dog, spanning generations of childhood playthings and striking up nostalgia in all of us. (JD)

49 “Dumb and Dumber” “Wanna hear the most annoying sound in the world?”

Jim Carrey and Jeff Daniels act a fool in their quest for love interest Lauren Holly and the search for a clue.

Riding in a sheepdog with wheels from Connecticut to Colorado, these buffoons command gut-busting laughter from beginning to end. Every viewer lost a few brain cells cheering for the two nitwits in Peter Farrelly’s 1994 exhausting laugh fest. (TB)

50 “Reservoir Dogs” Transforming Quentin Tarantino almost overnight from a small-time actor to one of the ’90s’ most influential filmmakers was 1992’s “Reservoir Dogs.”

Though not as recognized as “Pulp Fiction,” this film began the innovative camerawork and creative scene-organization style that would thrust Tarantino into status as a genius filmmaker.

With Harvey Keitel, Steve Buscemi and a handful of other great actors, “Reservoir Dogs” also hatched a new style of dialogue that caused moviegoers to focus more on the important aspects of a film and not the flashy effects that many people get so consumed with. (KM)

51 “Boogie Nights” It rejuvenated Burt Reynolds’ flat-lining career and boosted Mark Wahlberg into a legitimate Hollywood star.

Sex, drugs, disco and Dirk Diggler intertwined in a thrilling look into the ’70s porn movie scene. Thematic elements in “Boogie Nights” transcended way beyond the porn industry, despite those who would walk out of the theater early on, dismissing it as perverted trash.

Wahlberg introduces us to his partner in crime at the end of the movie in undoubtedly one of the most shocking scenes of the decade. (TF)

52 “A Few Good Men” “A Few Good Men” saw Tom Cruise and Jack Nicholson go head to head in a compelling courtroom drama that illustrated the differences between civil and military justice.

It highlighted the public’s mistrust of authority and the military during a time in American politics when the Reagan-Bush years were winding down and the Gulf War was still fresh in everyone’s mind.

The film’s most poignant moment became the buzz phrase of the year: “You can’t handle the truth!” (GJ)

53 “Singles” No other film captured the grunge period of the early ’90s as well as “Singles.” Set in Seattle, the film doesn’t miss a beat. From coffeehouse chic to apathy over environmental issues, no stone is left unturned.

It is rife with cameos by Eddie Vedder, Chris Cornell, Tim Burton and Eric Stoltz, as well. It’s an episodic romantic comedy in which the main characters meet at an Alice in Chains concert and later fall in love. We follow them and their coffeehouse “friends” as they try to figure out how to grow up. (GJ)

54 “12 Monkeys” Director Terry Gilliam scored big with this time travel tale that kept audiences asking from beginning to end: Is this guy nuts or is he really from the future?

It had many themes in common with Gilliam’s “Brazil” with a distinctive ’90s fear of the future. A dark vision of a world on the brink of an apocalypse of its own creation, “12 Monkeys” may ultimately prove to be more prophetic than we ever suspected. (GJ)

55 “Shakespeare in Love” In the ’90s, romance was dead. It took a tale from 1593 to bring back the love. John Madden’s Shakespearean romance beat out a Spielberg flick to take home the Oscar for Best Picture in 1999.

It also sent Best Actress winner Gwyneth Paltrow’s career into orbit, causing critics to take notice of her as a serious actress. Romantic comedies as we knew them were forever changed by this film of substance. (KF)

56 “Ed Wood” The story of Edward D. Wood Jr. — the filmmaker considered the worst in the history of cinema — became remarkable in the hands of Tim Burton and Johnny Depp, who brought the cross-dressing hack to life for a new generation.

The film was an homage to Wood, not just his biography. It had the look and feel of a ’50s B-movie. Martin Landau richly deserved his Oscar for playing Bela Lugosi so well it was frightening. (GJ)

57 “Leaving Las Vegas” Nicolas Cage gave the performance of a lifetime as the alcoholic who moves to Las Vegas in order to drink himself to death. Meanwhile, Elizabeth Shue made being a whore look easy.

Together they told a story about desperate people finding each other in all of the chaos that is life. It never apologized for its darkness, and it never had to. (GJ)

58 “The People vs. Larry Flynt”

“The People vs. Larry Flynt” stars Woody Harrelson as the outspoken Larry Flynt and depicts his battle for his First Amendment rights. The film takes an autobiographical look at life from his moonshining days as a young boy to his numerous court battles and outrageous courtroom antics over his controversial magazine Hustler.

The film manages to paint Flynt as an American patriot who battles against censorship for every American. (JK)

59 “The Joy Luck Club” Sixteen tales of Chinese mothers and daughters told through the ages, “The Joy Luck Club” brought Amy Tan’s compelling novel to the masses.

It employed juxtaposing scenes stretching between generations, pinpointing the differences between the tradition-oriented older generation and the acculturated, Americanized younger one.

Sketches of Chinese culture that stuck in our minds and fueled our spirits. In the ’90s, “The Joy Luck Club” was the film equivalent of “Chicken Soup for the Soul.” (CB)

60 “Like Water For Chocolate”

Drenched in hyperbole, symbolism and lyrical brilliance, “Like Water For Chocolate” boasted the smooth style of director Alfonso Arau as he adapted Laura Esquival’s poetic novel.

He captured the story of a traditional Mexican family and the rebellious protagonist, Tita, who brought fire to the screen with an amazing performance.

“Like Water For Chocolate” became one of the highest-grossing foreign language films of all time, winning praise from critics and audiences alike. (CB)

61 “Star Wars Episode One: The Phantom Menace”

Long lines formed months in advance to purchase tickets. Darth Maul action figures flew out of stores faster than a Jedi Master could say, “May the force be with you.” Promotions with KFC, Pizza Hut, Taco Bell, Pepsi and numerous other companies competed for consumer attention.

Sadly, what is probably the most-hyped movie of all time featured the Pauly Shore of the Star Wars universe, Jar Jar Binks.

The latest edition to George Lucas’ saga pleased the eye, lacked a plot, and emptied pockets, the epitome of successful marketing. (JD)

62 “The Thin Red Line” “The Thin Red Line” showed the horror of war with many faces.

Terence Malick only makes one film about every decade so big names rushed to be in this film. It showed how there are many more stories in a war than just the one in the history books.

It was brutal and beautiful at the same time. (GJ)

63 “Jerry Maguire” OK, so “Show me the money” got a little old. But there’s so much more to Cameron Crowe’s (“Say Anything,” “Singles”) splendid romantic comedy than one-liners.

In his best role since Maverick, Tom Cruise stars as Jerry Maguire, a self-declared “King of the Living Room” who comes to the startling realization that his sports agency business has serious issues.

Renne Zellweger is lovely as his assistant and eventual love interest, while Cuba Gooding Jr.’s Oscar-winning performance is brilliant comedy.

A man’s chick flick, “Jerry Maguire” is a one-of-a-kind date movie. It had you at hello. (CM)

64 “Pleasantville” A cinematic triumph painted a literal picture of how colorful life can be when we notice the beauty in the people around us.

There is no doubt the black-and-white made Technicolor world of “Pleasantville” welcomed a leap in movie technology. But it also took us back in time to Dorothy’s first step into Munchkinland. When that dull, gray door opened into a color-filled universe, it took our breath away. (KF)

65 “Friday” “I’m gonna get you high today, cuz it’s Friday, you ain’t got no job and you ain’t got shit to do.”

Craig (Ice Cube) and Smokey (Chris Tucker) find more laughs and more trouble in one day than humanly possible in this 1995 comedy.

“Friday” exposes the measures anyone will go to enjoy themselves with nothing to do. It’s a laugh-a-second, with enough sayings and gestures to keep moviegoers busy for weeks. “And you know this, man!” (TB)

66 “Misery” Rob Reiner turns writer Stephen King’s story about a novelist into a stomach-churning suspense that will make anyone gasp.

Kathy Bates offers one of the most memorable and deplorable characters as the obsessive Annie Wilkes who imprisons famous author Paul Sheldon (James Caan).

With a sledge hammer and a piece of lumber, “Misery” gives a gruesome new meaning to the word ‘hobbling.’ (TB)

67 “Falling Down” Joel Schumacher directed this jarring portrait of a man pushed over the edge. Michael Douglas plays the main character, never given a name, who embarks on a campaign of violence through several of L.A.’s ethnic neighborhoods.

Forcing us to feel the frustration of the man, at times the film is quite difficult to watch. In addition to Douglas, Robert Duvall is superb as the cop who hunts him down. (BG)

68 “Wayne’s World” One of the first “Saturday Night Live” skits to transcend into a successful film, “Wayne’s World” helped distinguish the now extremely famous Mike Myers quote, “Yeah, and monkeys might fly out of my butt!” and the always hilarious Dana Carvey from the rest of the “SNL” pack.

It also introduced us to the beautiful Tia Carrere. Schwing! (DH)

69 “Wag the Dog” Satirizing both Hollywood and politics, “Wag the Dog” featured stellar performances by Robert DeNiro and Dustin Hoffman.

The true stars of this film, however, were the coincidental parallels it had with actual events in the White House.

Presidential affairs with black-bereted girls and threats against small foreign nations tied the film to real life and lent a prophetic hand to “Wag the Dog,” which strangely had gone into production prior to Monicagate.

Audiences were forced to wonder, “How true is this, really?” (JD)

70 “The Program” “The Program” takes a look at a one-time college football powerhouse that has fallen from grace. James Caan plays Coach Winters, who is under pressure by the school to win. The film also explores controversial issues that plague many athletic programs, including cheating, sexual assault, players being paid and steroid abuse.

A scene in the movie depicted players preparing for an upcoming game by laying in the middle of a busy highway at night.

The scene was eventually cut from the movie after copy cat instances. (JK)

71 “Fear and Loathing in Las Vegas”

This film is without a doubt one of the most bizarre movies made in the ’90s. But what else can you expect from a movie based on the classic novel by Hunter S. Thompson?

The substance-induced outrageous ride through Las Vegas featured more drugs than your local pharmacy with twice the humor, thanks in large part to Johnny Depp’s stellar performance as Raoul Duke.

You either love it or hate it, but you will never see anything as wild and mind-blowing. (TF)

72 “The Full Monty” Few British films can crack the American market and take hold as anything more than an oddity. But “The Full Monty” was easy for many Americans to identify with in the ’90s.

The comedic tale of men unsure of their role in society taking back some small dignity by baring themselves made audiences laugh as well as grimace. It was gritty, funny and not at all sexy, but showed how sometimes in life, you just have to take a chance. (GJ)

73 “Soul Food” This film may have been somewhat rocky in its production values, but few other movies did as well to present an African-American family in such a positive manner.

It is the story of three daughters as told by a 10-year-old boy who understands that his grandmother is the one who holds everyone together in spite of the different directions they are heading. It also made a lot of people hungry. (GJ)

74 “Hoop Dreams” The bible of every aspiring basketball player, this documentary gave an in-depth look at two highly recruited star basketball players, showing the long, hard road to success in the NBA.

With painful accuracy, “Hoop Dreams” highlighted the rock bottoms of the two young athletes, making you wonder why you always thought you could be a professional athlete when you were young. (TF)

75 “Terminator 2” When Arnold said “I’ll be back,” he wasn’t lying. “Terminator 2” may very well be the most successful sequel ever made.

Directed by James Cameron in 1991, this action-packed thriller was one of the first to use computer-aided special effects. The film also gave the word “budget” more attention as the producers spent an enormous amount of money. (DH)

76 “Welcome to the Dollhouse”

Todd Solandz’s “Welcome to the Dollhouse” made a splash at the Sundance Film Festival and has since become a modern cult classic. The brutally honest look at the life of a junior high girl was both hysterical and heart-wrenching at the same time.

With a series of tender strokes, Solandz paints one of the darkest pictures of suburban life in recent memory. (BG)

77 “The Rock” Combining all the elements of a great action movie, 1996’s “The Rock” put two of Hollywood’s biggest actors on the screen together.

Nicolas Cage has quickly become one of the movie industry’s finest and “The Rock” helped him achieve that status.

Sean Connery is loved by people of many generations and this movie proved he can still go strong in the world of action films. (KM)

78 “What’s Eating Gilbert Grape?”

This film introduced Leonardo DiCaprio as a retarded boy. He was brilliant and so believable he was lucky he didn’t get type-cast.

The film was based on the book by Iowa boy Peter Hughes and told a tale of being desperately locked into a situation. It wasn’t the most flattering tale of life in Iowa, but it was well told and subtly disturbing in its vision of small town life. (GJ)

79 “Slacker” Capturing the essence of Generation X and coining the term “slacker” to define its members, Richard Linklater’s 1991 film debut proved to be one of the most crucial independent films of all time.

Taking a stream of consciousness approach, “Slacker” examined the 20-something culture in Austin, Texas, shadowing everyone from musicians and coffee shop poets to chronic schizophrenics and high school dropouts.

The film had no plot. No constant characters. It was just a snapshot of what took place in a 24-hour period. (CB)

80 “Smoke Signals” Indians got their big chance to represent in this independent film. For the first time, a film by Indians for Indians made its way into theaters around the country.

After wowing crowds at Sundance, “Smoke Signals” did the same nationwide. It told a story about growing up Indian in the middle of a country that seems like islands of Indianness separated by oceans of whiteness. (GJ)

81 “American Pie” Directed by Paul and Chris Weitz, this raunchy tee-nage comedy about a group of teen-age boys trying to lose their virginity earned quite a bit of controversy to go along with its unexpected profits.

Sex with baked goods, semen-flavored beer and extremely suggestive themes helped “American Pie” barely squeeze an R-rating and gratitude from teen-age viewers.

The “Porky’s” of the ’90s. (DH)

82 “The English Patient” Yet another of the intensely romantic offerings of the decade. This one saw Ralph Fiennes as a horribly scarred amnesiac unable to remember how he came to such a lowly state.

The film didn’t loose impact when it was discovered that Fiennes’ character sold out the Allies for a plane in which to pick up his nearly dead girlfriend. The ladies had no problem with that aspect as they went to see this film over and over again. (GJ)

83 “Eyes Wide Shut” This film marked the swan song for one of cinema’s most influential directors, Stanley Kubrick. Tom Cruise and Nicole Kidman failed to deliver the on-screen fire some had anticipated, but Kubrick’s command of the film palette was impeccable.

Visual, musical, and thematic abstractions weaved throughout the film and underscored the basic elements of the plot. It was an unabashed, beautiful piece of film making. (BG)

84 “L.A. Confidential” From the opening sequence, which closely mimicked Edward Hopper’s “Nighthawks,” “L.A. Confidential” was a dark cop story full of mystery and intrigue.

This film abandoned the routine and jumped the rails to bring some well-done film-noir into a jaded decade that could use a little old-fashioned guile. It introduced Russell Crowe to Americans and made Kim Basinger less of a joke for a while. (GJ)

85 “Chasing Amy” Kevin Smith’s first attempt at a somewhat serious film in 1997 was a far cry from the plots in “Mallrats” or “Clerks,” but it helped distinguish Smith as an eminent director in the filmmaking business.

Starring the usual cast of Jason Lee, Ben Affleck, Silent Bob and Jay, “Chasing Amy” was one of the first films of the ’90s to tackle the unscathed and contentious gay theme. (DH)

86 “The Truman Show” Jim Carrey proved in his drama debut that he can do more than just make people laugh. Directed by Peter Weir, “The Truman Show” is a clever analysis of “The Real World” phenomenon.

Surprisingly, Carrey was up for Oscar consideration and even won a Golden Globe for his dramatic performance in possibly one of the most creative screenplays of the decade. (DH)

87 “Beautiful Girls” Characters were key to ’90s cinema and few movies proved that better than Ted Demme’s 1996 comedy “Beautiful Girls.”

From Willie (Timothy Hutton), the struggling piano man contemplating a career in supply sales, to Paul (Michael Rapaport), the heartbroken, supermodel-obsessed snow plow, the film is packed with “I know a guy just like that”-type of characters.

Although Rosie O’Donnell, Matt Dillon, Mira Sorvino, Lauren Holly, Uma Thurman and Martha Plimpton contribute superb performances, the show stealer here is the irresistibly cute Natalie Portman. (CM)

88 “Army of Darkness” Trapped in time, surrounded by evil and low on gas, “Army of Darkness” was one of the only good old-school horror movies released in the ’90s.

Bruce Campbell returned as Ash to once again fight the forces of evil in the classic Evil Dead tradition. Classic one-liners such as “Good, bad, I’m the guy with the gun,” made Army of Darkness quite possibly one of the funniest horror movies ever. (TF)

89 “American Beauty” Just in time for the millennium came a film that was a perfect representation of the entire decade. Cinematically and emotionally beautiful, “American Beauty” made us laugh while staying true to the realistic troubles of ’90s life.

Kevin Spacey brought everyday guy Lester Burnham to life and strived to achieve the unattainable goal of “a life that doesn’t so closely resemble hell.” This film made us realize our lives aren’t really that bad. (KF)

90 “Fight Club” Though time may tell a different story, “Fight Club” looks as if it may well be the male version of “Thelma & Louise.” Deceptive in its violence, it has more to say about the male condition in the late ’90s than almost any film has ever dared to say.

Its message may get lost in the fray, but it shows us how man has become a cog in the machinery of consumer society. Self-improvement is masturbation and self-destruction may be our only hope of evolving. (GJ)

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9 Essential Chick Flicks of the ’90s

“Sleepless in Seattle”

“While You Were Sleeping”

“Bed of Roses”

“French Kiss”

“My Best Friend’s Wedding”

“Only You”

“Sabrina”

“Dance With Me”

“Father of the Bride”

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9 Essential Porno Knockoffs of the ’90s

“Shaving Ryan’s Privates”

“Pulp Friction”

“Foreskin Humps”

“Anal-ize That”

“Edward Penishands”

“Shakespeare in Lust”

“Pleasureville”

“Schindler’s Fist”

“Good Will Humping”