My Favorite Movies from 1999
An Essay Written by Victor DeBonis
Today’s list is going to focus on the movies I love the most from what is considered by many film journalists to be one of the best years in cinema and what is my personal favorite year in movies: 1999. It was a year in which many filmmakers, including the great ones and the ones starting to make a name for themselves, provided some of their best work and one in which artists were using their personal voices and styles to tell weird, unique stories that had plenty to say and made many moviegoers happy. In my opinion, 99 and the time around it feels almost as the last part of an era in which studios didn’t enforce as much control on artists and allowed them to craft their own art or story to their heart’s content.
Those who read my past lists on movies know the general rules by this point. There’s a ton of ground to cover with this list, so any unfamiliar with the guidelines can check them out one of my past “Top 10” lists from the previous years.
There will be only one change for this one: The movies will be numbered, but there won’t be any particular ranking as there are in other lists I usually make.
I will mention which films affect me more on a personal level than others, but, since this is a special year and subject for me, I wanted to focus more on giving shout-outs to art itself and not rank which is the best or better this time around.
In no specific order, here are some Honorable Mentions:
“Being John Malkovich”
“The Blair Witch Project”
“Bringing Out the Dead”
“Go”
“The Hurricane”
“The Mummy”
All of these are definitely worth checking out, and I recommend them all.
After we get to number 10, I’ll go into a little more detail about why this year is significant to me and why I chose to write about it, but, until then, grab your popcorn (or the closest and most delicious snack you find next to you), and, as they say in the theaters, enjoy the show!
- “The Iron Giant”
Director Brad Bird’s animated classic makes it hard for me to have a bad mood whenever I return to view it. Part of the charm comes from the gorgeous animation, which boasts of warm colors that help create a comforting atmosphere for the movie’s small-town background. The friendship between the giant robot and the boy in the movie is superbly built up with the latter actually not being terrified when he wants to find it and, instead, finding amazement with his metallic buddy that slowly blends with a deep respect for someone who will eventually become the literal hero of him and his town.
Vin Diesel brings tons of humor and sincerity to a bellowing voice limited in its responses, and the script does great in encouraging me to care about almost every character in this town, including the caring, hardworking mother of the boy and the witty, laidback artist. Even the robot-loathing nutcase detective (voiced to great effect with the perfect balance of unbalanced paranoia and hilarity by Christopher McDonald) is someone I’m fascinated by following. He’s horrible in trying to destroy the gentle giant of the movie, but I also recognize that he represents the lost paranoid mindset embodied by many unfortunate Americans during the time period of this story.
Choosing to destroy what one doesn’t understand or falsely accuses someone of will only lead to destruction for everyone, and this movie beautifully voices that and voices bigger ideas than some might anticipate from a family movie.
Additionally, my heart always goes towards a movie in which Superman inspires someone to go out and do good with the choices they make. What a heart-warming idea to inspire in both kids and adults! Bird has done great work with “The Incredibles” but, in my eyes, “The Iron Giant” will always be his greatest achievement.
2. “10 Things I Hate About You”
This might legitimately be one of my favorite romantic comedies ever made (a genre that I’m astonishingly picky about). The entire cast is charming and absolutely hilarious to a tee. Younger Joseph Gordon-Levitt and David Krumholtz do great work here, playing likable nerds who are striving to find acceptance at their high school, and Larry Miller is exceptional in capturing the lovably uptight and goofy presence of an uptight father. Upon first glance, the plot is a little tricky to point down in terms of a few characters’ motivations, and a few events occur as it winds down to the climax that are expected to happen from this genre. Yet, the dialogue, comedic reactions, and wonderfully explored relationships overshadow all of these elements.
Late-great Heath Ledger and Julia Stiles, in particular, have excellent chemistry as the main couple. I’m smiling as much as Stiles is when Ledger does his famous rendition of “I Can’t Take Your Eyes Off of You” on the football field because of the proud foolishness and charm he demonstrates as he stomps across it. They may be one of my most beloved on-screen romantic couples because they are two lovable outcasts adorably finding a joy and higher spirit through their newfound connection. Their smiles and playful conversations with each other elevate the joy I see when they’re together as the movie goes on and hate it when their connection is threatened. I admire the bond Stiles develops with her sister, Bianca (portrayed with playfulness by Larisa Oleynik) and their conversations about standing true to who they are and the secrets leading to their tougher lives at their school.
I care about Ledger and Stiles. I love how Stiles is a rock-music adoring oddball like myself. I even love Levitt trying to get together with Oleynik because of the nice connection they develop. The rock soundtrack rules with a terrific cover of “I Want You to Want Me” as performed (in the film itself) by Letters to Cleo. It’s impossible for me to not love this upbeat, goofy movie.
3. “Run Lola Run”
“Run Lola Run” is pure, unabashed energy and love for filmmaking shown through the delightfully off-the-wall approach taken to creating its story. Some sections of the story are told in roughly drawn animation, while the rest of the story is presented through hyperactive live-action. A sturdy mix of 360 degree camera motions and split-screen scenes and other editing techniques add on top of one another to help heighten the pulse-pounding energy and execution of the unique premise, and the playful mood of the action only adds while never losing track of its suspense.
Of course, the story itself takes a charmingly different approach: What if the hero of the story made an unfortunate mistake to saving someone and had the option to try again, similar to a video game protagonist?
Director Tom Tykwer openly stated the strong influence of video games in telling this story, which is admirable in itself. I’m not much of a gamer, but I have played my share of them back when I had a console, and, while I’m not that good at them, I openly recognize video games as a creative medium that is overlooked as a medium of storytelling, so I’m happy a playful movie of this type plays into a similar “What if I took this route, instead?” narrative. The destiny of the heroine, as well as other people who happen to cross her path, drastically swerves in one unexpected way or another with one simple change, and it adds to the tension and hilarity of the situation.
I’m confident many people wonder how something they did in the present or the past might have turned out if they had made one change or taken a different path, and it’s fun and even satisfying to see this concept played out with this story. Franka Potente herself is excellent in the titular role, and she bolts down the streets of Germany with purpose and a strong sense of urgency while still somehow keeping just calm enough to look to her sides to see what her options are.
I greatly care for her and the boyfriend she’s trying to rescue. Both of them have made major slip-ups in their past, but that’s part of what adds to their humanity. Furthermore, the exasperation and fear about each other and what they are in danger of facing comes out as clear as day in their frantic voices and the actions they choose in their separate paths. The lengths to which they both express their own vulnerability towards one another shows the great depths to how much they care for each other.
“Run Lola Run” may be one of the best love stories under half an hour that I’ve ever seen.
It also holds one of the most addictively awesome soundtracks I’ve heard from a movie. The pulse-pounding techno music of “Run Lola Run” thrives along to the same wild rhythm of the story itself, and I bobbed my head to almost the entire run. I still do when I revisit it. “Run Lola Run” is a wild ride and an extravagant exercise in storytelling and creative filmmaking.
4. “Office Space”
Perhaps one of my favorite comedies ever, “Office Space” wasn’t a hit in theaters when it first came out. Despite being helmed by Mike Judge of “King of the Hill” and “Beavis and Butthead” fame, it only made about $12 million against a $10 million budget, due partly to abysmal advertising and barely any promotion for the film. Much like “Iron Giant” the movie slowly but surely developed a strong following, thanks to home video (something I highly miss, especially in a present time in which theaters are not doing great business).
Its underdog status as a film matches perfectly with the excellent underdog story it tells.
The characters are easily likable and identifiable through their frustrations with where they work. When Ron Livingston as the main underdog hero, Peter, and his buddies (played humorously by Ajay Naidu and David Herman) work as closely as they do to attempt to overcome the oppressiveness of their workplaces and look out for each other as they do, there is a believable camaraderie that makes the rest of the movie enjoyable to witness.
Also “Office Space” is easily one of the most delightfully quotable movies ever.
“Uh-oh, sounds like someone’s got a case of the Mondays!” “Why should I change my name? He’s the one who sucks!” “I would really like my stapler back…” “Yyyeahh, if you would do (fill in the blank) for me…that would be great…”
The jokes are great, and the lengths to which Livingston fearlessly goes to show him having had it with his dubious employers and profession are brave, unexpected, and, of course, hilarious.
My favorite scene in the movie is the epic moment in which Livingston and his pals demolish a completely useless copier, similar to a couple of gangsters taking out a target who had it coming.
Yet, my other favorite moment is when he and his pals are debating with a coworker about what they hope to achieve by trying to break free of their job environment and how trapped they and everyone else is by specific systems that give jobs. It’s a strong example of what I love most about “Office Space”: its relevance to anyone who has undergone an awful job experience or an unfair job system or is still going through it.
Livingston wears his weariness and uncertainty on his sleeves, early on, and his emotional freedom and devotion to causing comedic pain to the employers who hurt him and others is a good representation of those who have ever been hurt by a crooked employer or malicious workplace and are yearning to find something not necessarily easier but less abusive to them. This movie is unquestionably silly. Yet, it’s incredibly smart and has so much more to say and does it better than many comedies I’ve seen normally do, especially from recent years.
5. “American Beauty”
The content of this film caused controversy around the time in which it was released, and it still pops up when it is discussed today. Also, in the years following its release, evidence has revealed a specific main actor from it to be a horrible person who has committed awful actions in Hollywood. I’ll plainly state that this movie won’t be for everyone. In spite of the controversial nature of this movie, however, I’m not going to lie. I absolutely love this movie.
While most of the characters, in general, do unwise actions on some level, there is a vivid sense that most of them are lost and trapped in their current place. Many of them are seeking meaning in their lives or greater freedom from where they’re at, and a few are revealed to be lying to others and even themselves to conform. It’s hard for me to think of many recent movies that discuss the lengths to which some people will go to find meaning or ultimate satisfaction in their lives and break free from the society or system restraining them. What makes this movie special is its ability to allow a few sillier moments here and there along with some imagery that some may find on-the-nose (ie: the green bars in a computer screen representing the imprisonment of someone who is reflected in it in their job and current life), yet it never loses its quietness and its devotion to seeing these characters try to find fulfillment and escape what personally confines them.
This movie reminded me of “The Graduate” through its story presenting characters who are intriguing to follow despite making questionable choices that we are not on board with. Annete Bening, for instance, is great at comedically leaning into her character’s arrogant and foolish side just to get higher in her career but still evoking heartbreak for the loneliness of her situation. Chris Cooper is terrific at representing those who are prejudicial and want to enforce specific ideals but are too lost themselves to accomplish much.
The actors, in general, do great work with their performances and give what is needed for their characters. Director Sam Mendes does excellent work and balances the stone-cold seriousness and dark comedy of the situations involving these characters almost perfectly. Thomas Newman’s music score is beautiful to listen to and is even peaceful to listen to from specific selections. In fact, when I was in high school, I was eager to find more scores from Newman after hearing his wonderful work from “Shawshank” and I remembered wanting to repeatedly listen to his music from “American Beauty.” In some ways, this movie was one of my introductions to further appreciating film through its music. The score of this film is probably one of my favorites in movies, and it still holds up.
The scene involving the floating bag is my favorite moment in the movie. Newman’s tranquil music, combined with Wes Bentley’s quiet expression of what this unexpected image voices to him about finding life and breaking free, eloquently discusses the idea of finding beauty through following one’s own path in life and not looking back. I love the discussion and interesting debates surrounding this film, and, as time goes on, I only appreciate this movie’s ideas and the intelligence and craftsmanship flowing through it only more.
6. “The Virgin Suicides”
Director Sofia Coppola seals herself as a gifted filmmaker with this remarkable directorial debut. She tells a story with subtle sincerity and wistfulness, and, in between its tragic moments, it shines with soul when the Lisbon sisters and the anonymous young brothers of the movie experience love and joy. Giovanni Ribisi terrifically narrates this story with yearning for the happy moments in his youth and through getting to know the girls and a quiet heartbreak for knowing that the times of innocence and those who made an impression on him and his brothers are gone. The connection felt between the sisters and brothers in this movie is humorous and heartwarming, and it makes me happy to witness, especially when isolation further lingers on.
Kirsten Dunst, much like Elijah Wood, is a great example of a fantastic performer whose talents are clear back then as they are, now. This movie is one of the best examples of her skills from back then as someone born to perform. Here, Dunst expresses an outward confidence hiding a deep pain from the emotional pain inflicted upon her and her siblings. She and her sisters embrace the beautiful things about life, including music and love, because they only know about emotional abuse and suffocation from their house at the hands of their parents played by Kathleen Turner and James Woods. Turner puts many helicopter parents to shame via attempting to control everything her daughters do and attempt to feel freedom and happiness because she is a true example of a cold person who takes all of the wrong lessons from her faith. Woods is successfully frustrating as the complicit accomplice to his wife and disconnected to his core from his family.
This film also contains an excellent soundtrack. Matching well with the era of its narrative, the songs in the film also provide a poignant glimpse at the shifting moods of the people at the center in all of their emotional highlights and low points. Furthermore, the story itself understands the beauty of music, and there is a scene involving its characters and records that joins the piano scene from “The Deer Hunter” as one of my favorite cinematic moments for a similar reason: Both scenes depict music in its power to provide happiness and connection in the present moment. People come and go, and relationships and times of peacefulness and “golden eras” end, but music will live forever.
On top of discussing teenage angst and the wonder of youth and innocence and the destruction that parental abuse leaves in its wake, this movie explores one idea that seals this as one of my favorites. It’s a movie about the impact someone leaves on your life after you know them. Your time with someone important in your life doesn’t have to be long. You know that someone made a great influence on you when you feel grateful for having known them and notice the heaviness in your heart when that person is suddenly gone forever. Kudos to this movie for beautifully expressing this.
If I had to make a list of movies that make me want to do a script of my own someday, “The Virgin Suicides” would be on there. What a moving work of art and a poignantly crafted story.
7. “Fight Club”
Similar to “American Beauty” David Fincher’s “Fight Club” courageously dares its audience to break beyond what society tells them to do or act and find freedom beyond it. Yet, while Sam Mendes’ film is somewhat calmer in expressing its themes, Fincher’s movie takes a far more aggressive and in-your-face approach with its ideas. It works just as well and leaves me grinning from the wickedness and turns it takes. Brad Pitt’s Tyler Durden and Edward Norton’s anonymous main character are a blast to follow. Their relationship intriguingly follows them trading blunt yet truthful insights to mocking the other for their decisions to, of course, throwing physical fists as hard as possible. When I ponder over the concept of a pair that both helps and hurts each other by being together in comedic fashion, Pitt and Norton are two guys I think of.
As increasingly insane as Pitt’s rabbit hole becomes in which Norton is dragged down, the former utters truths and frustrations that increase in their relevancy as years pass for me. Similar to Pitt, I, along with other people, loathe corporations and the harm they do to human beings in order to gain more money. I loathe people and groups who mentally box people into believing that everyone must think only one way or act or speak a specific way. I navigate specific websites and see a disturbing increase in advertising’s efforts to attempt to get someone to buy this product or another to feel “fulfilled” or become “better.” Specific companies, along with the use of AI, nowadays work harder to somehow find one’s interests or concerns (creepily, I might add) and use that to try to get someone to purchase or view something to build identity or meaning off of it. Durden’s bitter feelings regarding society and its approach to instructing others exactly how to feel or think become increasingly understandable as time goes on, and Pitt does wonders for his role via embracing the nihilistic and chaotic presence of his character.
I will always love movies and art, in general, that constructively dares someone to go against a system, particularly one confining and unfairly treating others, and David Fincher helps add this film to that category in part because of the gritty and grimy presence he adds to this film. “Fight Club” is down and dirty to its core in its visuals and in its violence and humor, and it makes no apologies for it. It is also worth mentioning that I love the relationship between Norton and Helena Bonham Carter. Many of my favorite relationships in movies center around couples who are both weird and off-the-wall and fall further into love with each other because of it (See Robin Williams and Amanda Plummer in “The Fisher King”), and these two fit the bill. Similarly isolated and broken, Norton and Carter recognize their attraction and connection to the other through their differences when others around them are shallow and only want to go by their world’s absurd rules at all times. If that’s not love, I’m not sure what is.
The humor can occasionally waver in its strength in the second half, but the overall success of it and the intelligence of its ideas and its presentation of them results in a knockout winner from this dark comedy.
8. “The Insider”
If one is seeking a movie about the great lengths to which someone is willing to go to help a fellow hero spread the truth, look no further than Michael Mann’s “The Insider.” Russell Crowe almost disappears into what I consider as one of his finest performances. Evidently, he bleached his hair for a number of times and added over 30 pounds to his weight in order to physically live up to the part. Playing someone based on a person from real-life who was vital in exposing an industry trying to cover up its horrible acts, Crowe is soft-spoken and impressively intelligent. He unleashes his frustrations when he’s further backed into a corner by the corporations trying to silence him, but it is hard to imagine who wouldn’t under the staggering stakes stacked against him. His character openly admits his awareness of his own faults, and that only adds my already immense respect for him.
Al Pacino also stars in this film as the television producer devoted to helping Crowe’s character get his story of what he’s witnessed out in the open. As expected, he is mesmerizing to watch with his ferocity and tenacious wit. Listening to him in conversations with fellow colleagues and vocalize his frustrations against a network going against what it is supposed to stand for is a treat. Pacino’s passion for what he does and his determination for ensuring that Crowe’s story is properly heard is admirable, and he heads to different ties and friends to get the job done when foul companies are trying to cover up. He is the epitome of someone you want in your corner in small part from his connections but in greater part from his sheer devotion to sticking to his integrity and looking out for those he respects.
The relationship between Pacino and Crowe is fascinating to witness in itself through their share of intense debates about the fierce situation in front of them and their quiet exchanges of respect that they eventually express towards each other. Here are two men who are similarly brilliant and tough to handle in their own ways, and, through their occasional quarrels, they understand that, when things become most conflicted, they trust each other more than probably anybody else.
Michael Mann is also fantastic at telling this story and setting up a somber and subtly gripping atmosphere amidst these people, too. The conversations involved in planning how to assist Crowe’s character and the lengths to which other performers, particularly character actor Bruce McGill and late-great Christopher Plummer, shine with their passion and fury all work towards crafting a smart thriller about going up against an organization selfishly absorbed in its own profit and fighting hard for a respected friend and colleague.
9. “The Matrix”
“Free your mind.” This simple line of dialogue certainly represents what this film helped tons of people to do in some form or fashion during its release. Similar to many films from 1999, the original “Matrix” film is important for encouraging its moviegoing audience to have sincere discussions about what they had just seen. The film discusses the idea of challenging what is “real” or doesn’t feel right, but it can also be viewed as a story about challenging what a system or others have told you or led you to believe for a very long time. In today’s time, however, one can also see this story as a prophetic and even frighteningly spot-on one about the dangers that society face with technology when we rely too much upon it. Going even further, a moviegoer could also look at this cyberpunk tale about discovering one’s purpose and identity for one’s self and finding enlightenment from the journey.
There are many ways to look at this movie, and it adds to my love for it with repeated viewings.
Around the time that DVD’s were starting to catch on and become the new way for viewing movies at home, I bought “The Matrix” after hearing about it in interest, and I watched it again and again and found myself impressed with the rock music and vibrant score blasting in the background and interest with the greatly done action, but, in my teenage days, I also found myself loving it for its themes and this movie’s ability to make me question and reflect more than I was used to doing from other movies I had seen at that time. In many respects, “The Matrix” was one of those works essential to developing my love for movies, in general. It was one of the first instances in which I was introduced to the idea of film serving as a work of art that could help its audiences to ponder and think more. I loved this movie so much as a kid that one of the first book I borrowed from my local library was a book discussing the philosophy and ideas of the film in greater detail.
Setting this film’s ideas aside, the movie is great to experience with its slickly executed action sequences and the heart of the hero and his journey at the center. Keanu Reeves as Neo terrifically nails the soul and subtle intensity of a man discovering great power from within by tearing away from what he has been told his entire life and finding guidance from the wisdom and love of those who support him. He is an excellent example of a quiet soul whose sympathetic expressions voice the heart and strength driving him and channeling him in greater amounts as the film progresses.
All of the actors do great in lending what’s needed for their roles and what they’re discussing. Hugo Weaving, in particular, embraces the arrogant malevolence as the villain, pausing in his speech in places to savor what his character thinks is best for others. He provides great amusement through his performance, and he assembles a great foil for the hero at hand.
Slow-motion action was done before this film’s release to be sure, but this film was significant in greatly pulling it off in its presentation, thanks to the intense choreography and heavy influence of techniques from martial arts films. The lobby fight scene is still a blast to watch, and it’s one of those sequences that I have to turn up the volume on my speakers as loud as I can (without disrupting neighbors) when I view it at home.
Maybe, one of the other things I respect the most about the movie is one of my favorite themes in cinema: the simple idea of love inspiring people to do great things. The love between Reeves and Carrie Anne Moss as Trinity doesn’t contain a ton of dialogue, but it shows both of them establishing their love through assisting each other in the face of danger and simple acts of kindness to show how much they care about the other. Notice when Trinity silently provides dinner to a sleeping and physically hurting Neo or when she wipes blood away from him and encourages him to fight on as he is attempting to escape the world created by the machines.
And, the ultimate moment in which Trinity directly expresses her love for Neo and denies him being dead is a beautiful representation of love literally saving someone. In a conflicting world, love will ultimately be able what saves us and keeps the darkness from completely winning. Love from ones I care about have helped me through my challenges in life more times than I can count, and I love seeing this idea expressed in this film. This scene might be one of my favorites in cinema for its simplicity and power.
The power of “The Matrix” still remains strong, and I continue to love it and the impact it has left on me and others.
10. “Magnolia”
When I first finished director Paul Thomas Anderson’s movie “Magnolia” I felt wonderful because I was left with the notion that I was seeing a great example of what a gifted artist and storyteller can accomplish when he explores what is most meaningful to him. Much like “The Matrix” this movie touches upon many ideas and explores all of them wonderfully.
“Magnolia” is a movie about broken souls trying to find fulfillment and genuine happiness in their unfortunate lives. Yet, at the same time, it is also a story about finding meaning in one’s life as well as attempting to cope with the hurt that one’s family has inflicted upon them. And, further still, this movie tells a story about redemption and forgiveness.
Countless people are brought up to believe that family is the important thing in life, and, in many respects, it is significant in helping one develop and feel love when it is hard to find it or hold onto it. Many are brought up to believe that simply saying sorry by itself or forgiving someone, especially family, is absolutely essential for moving on.
However, I have learned enough through my time and multiple years to recognize a tough truth: Forgiveness isn’t always as easy as it sounds. Sometimes, the damage can be too severe, and the hurt and anger from what has been inflicted can never be truly resolved for many people.
Plenty of people stress that simply being happy is what is needed for life, but this movie wisely takes a different approach and dares to express that simply deciding upon happiness is challenging and isn’t always easy to automatically achieve. “Magnolia” is important to me because it is simultaneously a powerful work of art and a moving story that interweaves its narrative within the lives of numerous characters in the San Fernando Valley and explores the concept that pursuing happiness and leading a more meaningful life is a journey.
Additionally, “Magnolia” expresses how nobody is truly alone in facing hardship, uncertainty, and pain. I find this message helpful and beautiful in a strange way. In a society that will always have its individuals and organizations that can overemphasize the concept of trying to be happy at all times, I would argue that this message is also provocative in a smart way.
Anderson is a master of the camera, using steady close-ups and long takes and other movements to give the lens a life of its own and accomplish searing work through seeing these people attempt to grapple with their emotions and where they’re at in their current lives. Jon Brion’s score consists of strings that purposefully linger for long stretches of time and heighten the uncomfortable tension as scenarios steadily unravel, and Anderson’s vision evokes emotions of heartbreak and subtle anguish from human beings who are either trying to escape their past or rediscover feelings from what they viewed as the most glorious parts of it.
Every performer does incredible work, but here are a few of my personal favorites. Late-great Phillip Seymour Hoffman is magnificent in one of his most memorable roles as a male nurse who grapples with frustration and richly shines with heart as he tries to fulfill the wishes of a dying patient of his. William H. Macy is painfully clingy to the glory days of his youth but expresses an aching vulnerability to make him moving to witness. One of my favorite actresses, Julianne Moore, grapples with raw guilt from losing herself to her greed too much and not being a better wife for her husband.
One performance I increasingly love whenever I return to it is from John C. Reilly as a bumbling cop who wears his heart on his sleeve and wants to promote good in the world with his profession but doesn’t always make smart choices and doesn’t always act in a professional manner. He might be one of my favorite characters in the movie because he is a representation of good people who want to make a difference and mean extremely well but still have their own demons and insecurity to grapple with as they go along. His self-delivered pep talks in his car might be some of the most aching yet human moments I remember from film. Reilly is undoubtedly a comedic gift and does wonders with the right script, but I honestly miss his work as a dramatic character actor.
Perhaps, the performance I think of most from this movie comes from Tom Cruise. In my eyes, this is him at his best. Here, Cruise is displaying his familiar bravado and charisma in front of the camera, but he also has moments when his character is confronting intense pain and hurt from his past and displays equal anger and subtle agony as he is forced to face it. His reactions from attempting to face what he does are crushing to witness, and they prove him as far more than the powerhouse action star we are familiar with. There’s a powerful moment with him near the end in which Cruise shows all of the raw vulnerability he’s capable of expressing as an actor, and it’s even more impactful if you know about the actor’s real-life past.
In a way that’s also similar to “The Matrix” “Magnolia” is also one of my favorite movies but for a different reason: It’s one of those artistic works that helped me when I was in a tough personal place. Seeing these characters strive to find greater happiness or satisfaction in their lives as I was at the time was great to witness and even cathartic. It’s a beautiful movie that, as I have said before, reminds its audience that they are not alone in trying to deal with their struggles or demons whatever they may be. Furthermore, it reminds us of how we, as humans, have our strong and weak moments and emotions and are just trying to find our best way through the day, and, as the incredible climax of this movie suggests, we only have each other and sometimes need each other to move forward and be hopeful.
I mentioned above that there was no specific ranking with this list for today, but, if you gave me a poison and said that the antidote was to say what my personal favorite movie from 1999 was, I might say “Magnolia.” Paul Thomas Anderson is next to Scorsese as my other favorite filmmaker, and, while I love “There Will Be Blood” and “Punch Drunk Love” and a few others, “Magnolia” is probably my favorite from him because I feel I am seeing an artist allowed to do whatever he chooses with a project or story and fully commits to it but also leaves something that could genuinely help people from watching it.
It admittedly won’t be for everyone with its length (188 minutes) and its purposeful pacing and extreme weirdness and aggressive moments.
Yet, this is another example of a great reminder of why I love movies so much.
Remaining Thoughts…
I have a story to share in relation to this essay’s topic and what it means to me.
About 5 years ago, I went to the local Barnes and Nobles store (Frustratingly, it is no longer there, due to the pandemic) in search of a new movie-related book to flip through. I stumbled across a non-fiction book titled “Best. Movie. Year. Ever: How 1999 Blew Up the Big Screen” by film critic Brian Raftery. Given how I grew up from this era, I decided to check it out. And, flipping page by page through it, I was mesmerized at the insight and level of research dedicated to writing and sharing behind-the-scenes stories about the number of good movies that came out in 1999. I’ve been a sucker for learning about movies and film history and following what it takes to get a film or script for as long as I can remember.
Yet, while I had seen some of the movies mentioned in the book when I first bought it, I learned about newer movies described in it that I knew I had to see, later on. These were films not limited to one genre alone and were discussing different ideas and were coming from genuine artists who wanted to tell their stories with their unique voices behind it. 99 was a goldmine for cinema, and it took Raftery’s expertise and passion for film to help in voicing that. I was floored from reading it, and it felt terrific to know someone out there who loved movies as I did.
When I finished it about a few weeks later, I developed a few epiphanies.
I had finished reading something from someone who loved movies to his core and used writing as a way to help express this and share his passion with others while also trying to encourage them to follow their admiration for cinema as well. So, my first epiphany was this: From then on, I wanted to devote myself to doing something similar via using my other big passion, writing, to share my knowledge and deep love of movies with others and do everything in my power to help my audience dive more into their appreciation for film and show why movies are amazing.
The second epiphany was this: I was fortunate enough to have grown up from an era in which there were many great movies and art, and, with the combination of my perspective, knowledge, and passion for what I loved the most, I considered it a responsibility to share my analysis and love for film with others.
Obviously, 1999 was one of the great years of film, but I am aware of the great movies that come from 1994 as well. I was also aware of the 90’s being an important time for independent filmmakers to provide and express their voices and inspire others to follow. Consider that this was the decade when Quentin Tarantino, Kevin Smith, and Robert Rodriguez made their big debuts and helped in encouraging and inspiring other filmmaking talents to get their projects made.
It was the decade in which other great movies and music was made and when historical dramas were flourishing (1997’s “Titanic” was the most financially successful movie of all time at one point, for instance).
Also, yes, it was the decade known as the Disney Renaissance, and I grew up with and loved many of the newer animated films from the time as a kid, which inspired me to seek every animated film (Disney or not) that I could get my hands on.
It was the decade when my 5 or 6-year-old self discovered “Beauty and the Beast” watched it, and started my path for loving movies and knew there was no turning back.
On a non film-related note, it was the decade featuring the grunge and alternative rock scene that played a great part in motivating me to discover my love for rock music, in general, and helped me find a musical genre that I could connect to and spoke to me and been there for me through both my happy and stormier days.
Putting nostalgia aside, I am aware of other journalists from entertainment who have slowly started to recognize the impact of art from this era as well, especially in recent years.
And, after reading Raftery’s book, I felt that growing up from the era in which I did helped me to become such a huge lover of movies and art, in general, and I could use this perspective to help others and tell good stories in discussing film, while I could also continue to learn and experience more great art from it as an adult.
I think it also helps that, without getting into detail, I found this book during one of my darkest and most troubling personal times. On a mental and emotional level, I was not in a good place around this time, and part of it was that I was seeking purpose and meaning myself when things were going so bad. Up until I read this book, I was doing reviews on another site, but I would have friends who read them telling me to do it on a blog of my own.
Reading Raftery’s book, along with a few other huge, positive personal events that happened in 2019, was what ultimately pushed me towards deciding to start my film-reviewing blog and share my work with others.
I tell this story not to brag or to say that I know more than you or do anything as foolish as that.
I tell this story to say something to those who are lost or are struggling in their own ways or are seeking meaning or purpose or success: You are not alone, and you are loved, and you are amazing and talented in your own ways, and I know that you will find what you’re looking for or are hoping for.
Passion, determination, devotion to something or someone you care about goes far, and it may not happen overnight, but you can reach what you are seeking or working hard to achieve, and you deserve it.
Looking back at 2019, I have come very far, since then, and part of my happiness does come from the success and happiness that I have achieved in my full-time (non-reviewing) job from when I’m not writing for my blog. This job is something I have worked diligently to achieve, and I have gained many good memories from it and am beyond happy and proud to have made it where I am.
Yet, my undying passion for movies and exploring more of what the medium has to offer, as well as other art, and writing about cinema and film has played a huge part in my happiness, too. And, I certainly won’t stop writing about film any time soon.
I know you can reach whatever you’re hoping to accomplish, too, and I believe in you 110%.
Do what you love. Follow whatever form of art speaks the most to you in its own way. Never stop dreaming, and never stop actively pursuing what you’re dreaming to accomplish.
Be brave, and express what you love and your love for the art that speaks to you the most.
You never know what others might learn or who might be inspired from it.
The movies of 1999 and the year, in general, taught me that.
It’s been a pleasure to have written this 100th essay for my blog and to continue to write about what I love for such amazing fans and followers.
Big thanks to Raftery for writing his book and inspiring me and all of the other great film-making artists who have made an impact on me from this list and outside of it.
And, a huge, huge thank you goes out to the amazing fans and followers who have complimented my writing and has shown their support and love for what I do over the years.
It means more to me than you will ever know, and you all are amazing.
Keep being awesome, and, as always, now, and forever, see you at the movies.