1. "Braveheart"(1995)
It would be a real shame if the personal trials and tribulations of Mel Gibson tarnished his sizable legacy and contributions to the medium of film. His talent and passion has never been better displayed than in his 1995 crowning achievement, which single-handedly brought back the historical epic(a largely dormant genre since the heady days of "Ben-Hur" and "Spartacus"). You can bitch about historical accuracy if you want, but it hardly matters when the results are this stunning and powerful. Medieval warfare is perfectly captured in the Battle of Sterling, one of the most rousing sequences ever committed to celluloid. James Horner's score may be the best I've ever heard. The finale is gut-wrenching. This movie is the reason everyone in the world knows the name William Wallace. Watch it again and give Mad Mel a break.
2. "Toy Story"(1995)
This undisputed animated classic is guaranteed to delight children and adults alike for decades to come. The first EVER computer animated film was a game changer that would eventually render hand-drawn animation obsolete, but groundbreaking technology means little without a good story and great characters. The voice work of Tom Hanks and Tim Allen more than met the new standards set by Robin Williams' Genie, and I found myself caring more about Woody and Buzz Lightyear than the vast majority of characters I've seen in live action. Director John Lasseter and the folks at Pixar truly started a revolution that included two equally successful sequels, making "TS" easily one of the most significant films of the last twenty years.
3. "Heat"(1995)
Los Angeles was Michael Mann's canvas in the greatest cops 'n' robbers movie of all time. Al Pacino and Robert De Niro are the twin titans of late 20th Century screen acting, and seeing them meet face-to-face for the first time was worth the price of admission alone(they shared no scenes in "The Godfather Part II"), while a plethora of quality actors such as Val Kilmer, Tom Sizemore, John Voight, Dennis Haysbert and Ashley Judd all naturally wanted in on this once-in-a-lifetime event("Righteous Kill" NEVER happened, okay?). I can't decide what's more exciting- that coffee shop conversation or the crackling shoot-out pictured above. Let's call it a dead heat.
4. "Seven"(1995)
Michael Mann wasn't the only director that made a big name for himself in 1995. Bouncing back nicely from the "Alien 3" debacle, David Fincher took a familiar mismatched cop partners set-up and made the best serial killer thriller of the '90s not called "Silence of the Lambs". Brad Pitt and Morgan Freeman have this film's unrelenting darkness and intensity to thank for their permanent residence on the A-list, and the third act reveal of a previously unknown Kevin Spacey as the gruesome John Doe remains unsettling. I won't spoil THAT ending for the seven people(pun intended) who still haven't seen it, but it's as bleak as mainstream movies get and Gwyneth Paltrow has never been used more effectively.
6. "Casino"(1995)
What happens in Vegas doesn't stay in Vegas, as Scorsese was back in familiar territory for another riveting mob morality tale based on actual events. Comparisons to "Goodfellas" were inevitable and while it may not soar to those dizzying heights(how many films do?), this is an equally immersive story of greed and excess. De Niro is right at home in his last go-around with Marty to date, as smooth criminal Sam 'Ace' Rothstein, and Joe Pesci does what he does best as his violent right-hand man Nicky Santoro. But they're both nearly upstaged by wild card Sharon Stone as Ace's ex-call girl wife Ginger in a dazzling turn that the blonde beauty never even came close to bettering.
7. "Dead Man Walking"(1995)
Susan Sarandon capped off a great run that included "Thelma and Louise", "Lorenzo's Oil" and "The Client", with a Best Actress Oscar win for this story of a compassionate nun and her special relationship with a redneck Death Row prison inmate(Sean Penn). The death penalty remains a divisive issue, and director Tim Robbins brings balance and sensitivity to the subject by daring to humanize a 'monster', while never turning a blind eye to his horrific crimes. Penn deserved his share of the praise(as well as the Oscar that went to Nick Cage for "Leaving Las Vegas") for a film that stays with viewers long after it's tense, unbearable conclusion.
8. "To Die For"(1995)
Nicole Kidman was clearly robbed of a Best Actress Oscar nomination for her career-best performance as vapid small town weather girl Suzanne Stone in Gus Van Sant's biting satire. After failing to break into the world of big-time television news, she seduces a stoned teenager(Joaquin Phoenix in his breakout role) into killing her nice-guy husband(Matt Dillon) for standing in the way of her lofty ambitions. With a story ripped straight out of real-life headlines, this caustic commentary on society's obsession with celebrity and the pursuit of fame at any cost is even more relevant now than it was in '95.
9. "Nixon"(1995)
Oliver Stone was easily one of the most vital filmmakers during his Hollywood heyday. To put it in layman's terms, he had balls, and the mini-outrage sparked by "Natural Born Killers" didn't stop him from boldly tackling our disgraced 37th President. Anthony Hopkins used his amazing skill to paint a portrait of a complex and deeply flawed man that may have been more deserving of Oscar gold than Cage AND Penn. Stone pokes around a few more dark corners of American history as he takes us from Nixon's tortured upbringing to Watergate, and the results are no less nourishing than his masterpiece "JFK".
10(tie). "Twelve Monkeys"(1995)
Bruce Willis displays zero vanity as a grungy time traveler desperately tracking the origin of a disease that will wipe out 99% of the planet's population in Terry Gilliam's dark and gritty sci-fi tale. A bonkers Brad Pitt proved that he had even less interest in being pristine, while Madeline Stowe would surely make any list of underrated actresses. Gilliam isn't everyone's cup of tea(I can't say I cared much for 1985's "Brazil"), but this is some quality gloom and doom that found the offbeat, reclusive director uncharacteristically comfortable working within the confines of the studio system.
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| "Welcome to the A-list, pal. Remember, there's no such thing as a bad script". |
This was a great year for Bruce Willis. So great in fact, that I had a tough time choosing between his two 1995 offerings, until I just decided that I didn't have to. Bruce slid very comfortably back into his trademark wife-beater in the explosive third entry of his seminal action franchise, that returning director John McTiernan starts off with a bang, wisely letting John McClane play on his home turf- New York City. Our hung-over hero is joined by a scene-stealing Samuel L. Jackson and a villainous Jeremy Irons for two breathless hours, and we even get a nice twist to the proceedings to keep things interesting. Forget any and all subsequent installments. This is the last REAL "Die Hard" movie.
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