It doesn’t matter whether you think Oswald acted alone or not. Oliver Stone’s JFK is stunning in its craftsmanship and enthralling in its narrative construction. If you’re only casually familiar with the people and events surrounding Kennedy’s assassination and the conspiracy theories about it, brace yourself for a fast-paced, provocative, emotionally compelling story that is sure to make you drop your jaw and raise your eyebrows.
It may be steeped in sentiment and nostalgia, but Fried Green Tomatoes doesn’t need to use them as a crutch to elicit a powerful emotional response. It’s got bigger guns than that: character and storytelling. It’s one of the rare movies that successfully captures the importance of real, honest-to-God friendship, whether its reflected in the toned-down affection between Mary Stuart Masterson and Mary-Louise Parker (whose characters are lesbians in Fannie Flagg’s novel), or in the budding friendship of Kathy Bates and Jessica Tandy. It’s a marvel that the movie can cut back and forth between the two story lines and keep both equally interesting.
Kevin Costner’s ambitious ode to the American frontier is grand, romantic storytelling at its best. And talk about an underdog. People were calling it ‘Kevin’s Gate’ months prior to release — and why shouldn’t they? A three-hour long western with most of its dialogue in Lakota Sioux? How could such a movie find an audience, much less sweep the Academy Awards?
This superb dark comedy blows apart any precious John Hughes-like notions of high school life. Winona Ryder stars as Veronica, a high school girl caught in an elitist bitch-clique with three other young women (including Beverly Hills 90210 star Shannen Doherty) — all named Heather. But when the dangerous and alluring JD (Christian Slater) rides into town, Veronica falls under his spell as the two set out to exact revenge on the Heathers and every other force of alienation in the school. Veronica quickly finds herself in over her head with JD when their shenanigans end up having a body count. As classmates continue to die, Veronica finds herself running from both JD and the Heathers — building to a climax that will change the student body hierarchy forever.Â
