The Last Decade of Cinema: 25 films from the Nineties

by Scott Ryan

“ I feel like Scott Ryan could have written this directly to me and others in our generation who have basically ‘ given up’ on movies. It is at once tribute and eulogy, so bittersweet.” – Screenwriter Helen Childress (Reality Bites) “ The nineties are lucky to have Scott Ryan.” – Actress Natasha Gregson Wagner (Two Girls and a Guy, Lost Highway) Ah, the nineties. Movies were something in those days. We’ re talking about a decade that began with GoodFellas and ended with Magnolia, with such films as Malcolm X, Before Sunrise, and Clueless arriving somewhere in between. Stories, characters, and writing were king; IP, franchise movies, and supersaturated superhero flicks were still years away. Or so says Scott Ryan, the iconoclastic author of The Last Days of Letterman and An Oral History, who here turns his attention to The Last Decade of Cinema— the prolific 1990s. Ryan, who watched just about every film released during the decade when he was a video store clerk in a small town in Ohio, identifies twenty-five unique and varied films from the decade, including Pretty Woman, Pulp Fiction, Menace II Society, and The Shawshank Redemption, focusing with his trademark humor and insight on what made them classics and why they could never be produced in today’ s film culture. The book also includes interviews with writers, directors, and actors from the era. Go back to the time of VCR’ s, DVD rentals, and movies that mattered. Turn off your streaming services, put down your phones, delete your Twitter account, and take a look back at the nineties with your Eyes Wide Shut, a White Russian in your hand, and yell “ Hasta la vista, baby” to today’ s meaningless entertainment. Revel in the risk-taking brilliance of Quentin Tarantino, Amy Heckerling, Spike Lee, Robert Altman, Paul Thomas Anderson, and others in Scott Ryan’ s magnum opus, The Last Decade of Cinema.

Genres: Nonfiction, History

336 pages, Paperback

Published June 4, 2024

About the author

Scott Ryan is the managing editor of The Blue Rose magazine, the author of Moonlighting: an Oral History, Fire Walk With Me: Your Laura Disappeared, the co-president of Fayetteville Mafia Press and the host of The Red Room podcast.

Reviews

[Angela · Rating 5 out of 5]

Come back in time with me when all you needed for a great day was a friend, five bucks, some coffee and some good conversation. While this book by Scott Ryan may be about "The Last Decade of Cinema", which happened to occur in the 90's, it is most definitely a Gen X book for Gen Xers.

While I feel that younger generations may be able to grasp some of the text, much of the subtext will go whizzing over their heads, and Ryan says as much. This book is filled with longing for a simpler time, when people actually had face to face conversations and a day could be made seeing a movie AT A THEATRE and having subsequent discussions with your cohort in viewing for hours. These dialogues most likely would occur at a dive bar enjoying cheap American beer, naturally.

This book is also a book for cinema lovers and Scott Ryan writes so lovingly about each film that he has chosed to highlight. And he does this for each year of the 90s! There are two-four films for each year that Ryan takes a deep dive on- and I am here for it!

I was filled with joy early on in the intro, but Ryan really won my trust with how he waxes poetic about Pretty Woman. Yes, the 1990 "rom-com" that propelled Julia Roberts into superstardom. Many people cannot be objective about this film and it's many merits and take a snobby one dimensional view of this picture, but I felt what Ryan had to say about this movie on a visceral level. Ryan does a great job of discussing the worthinesss of this film (yes, we all know it is highly unrealistic- but who cares!?!). I feel like "it was just easier for people to believe the bad stuff. You ever notice that?"

Another high point for me was "Reality Bites". I am turning 50 this year, while Realtiy Bites turns 30. I saw this film at a premier, I had been given passes at my college and me and my friends went. It was Valentine's Day- 1994 and I felt seen. I was 20 going to college in San Antonio, while my boyfriend through college was in studying in Houston. This was my life too! When asked what I wanted to do on my birthday this year, I luckily will be going with my family to see this movie (probably for the 15th time for me) a day before my 50th on the big screen at the Alamo Drafthouse.

You cannot gloss over the points that Ryan makes regarding how we as humans and society have changed since the 90s. From the Clinton Presidency (which has aged like spoiled milk), 9/11, social media, digitization of film, and the pandemic- all of these things have lead to a more jaded and distant populace. Ryan writes that art is not honored in the same way as it used to be, because is art even the point anymore? Isn't it about "sharing" with strangers about said art for likes and sponsorship? Everything is monetized for easy consumption without much thought. It is just on to the next thing.

One of the ways that Ryan illustrates this so perfectly is when he recounts re-viewing Magnolia with his wife and daughter and how the SECOND after Melora Walter smiles, they both picked up their phones. Back to the "real life" of hiding behind our devices. The nineties were a time when we happily languished in the theatre until the very end of the credits, soaking up the mystery and storytelling of another world. It was a cheap and fun escape that could turn into thought provoking discussions on film, directorial and casting choices, performances, and storytelling.

He does nice work here though; balancing many acerbic observations with the fact that Gen Z seems to be more accepting of other people in a time where abortion, gay rights, and human rights in general seem to be moving back to a time before the 90s. As a mother of a Gen Z/ Gen Alpha cusper, I can say it is difficult navigating this mindblowing time where my daughter now has less rights than I did at her age.

All of the stories of the twenty first century seem to be super hero movies, or rehashed remakes that were subversive films when they came out, became sleeper hits, went to Broadway, and then the Broadway telling was made into a movie. ( I can think of three off the top of my head). This is in large part due to the VHS and/or DVD market no longer existing, and you can bet your bottom dollar that studios are going with the safe bet to ensure that they are getting every dollar.

Movies are not handled or seen with the same sort of reverence or wonder as before. Recently, someone my friend was dating remarked that "going to the movies would not be something he would choose to do" and my jaw dropped. Movies and music are life, they are hope, they are a way of seeing someone else's reality and feeling compassion, empathy, or a variety of other human emotions.

I don't want Scott Ryan to worry. We are still here, those of us who love and revere cinema. We still exist, for now, and there are still corners you can find that keep the Church of Cinema open to us Slackers. When he mentions in the closing half of the book attending Quentin Tarantino's theatre in LA and their strict adherence to protecting the movie lover experience, I feel lucky to live in Austin (although the weirdness seems to be disntegrating like vapor into the ether), the city that gave us Alamo Drafthouse, and Austin Film Society, which was founded by the original Slacker himself, Richard Linklater.

Yes, we have come to this point in the review where I bemoan which movies were not given a good once over in his book, but to be fair, by his own admission, film of the nineties was just so goddamn chock full of surprises and actual to god moments of wonder, there were bound to be a few.

As I discovered, through research about Ryan over the course of reading this splendid and well thought out book, that he, like myself, is a David Lynch fan. (I will be buying some of Ryan's other books - AND magazines- about Lynch material). I cannot wait to read Ryan's thoughts on Fire Walk With Me- which I feel is the most important part of the Twin Peaks story, and Lynch's masterpiece.

I also would have loved to hear Ryan's thoughts on Trainspotting, as I am a huge Irvine Welsh fan, and have deep love for these disturbing, deeply broken, and heartbreaking characters. I have often supposed what Ryan does when he speaks about Keanu Reeve's character in My Own Private Idaho- being a more outgoing avatar for Phoenix's narcoleptic hustler. The same logic follows if Begbie, Spud, and Sick Boy, are all parts of Mark Renton's own personality. Do yourself a favor younger folks- if you have not watched Trainspotting- do it now- or read the five book series by Welsh on these characters. But still see the movie, it is Danny Boyle's best in my opinion.

I sincerely loved this book and that is why I am giving it five stars and not three- Mr. Ryan! I feel like I should call you on a landline to thank you but I will proabably just email this review to you. Thank you so much for this book. I gotta say it - "it's so fucking money!"

Thanks to Fayettville Mafia Press and NetGalley for the eARC.

[Keely · Rating 4 out of 5]

With The Last Decade of Cinema, Scott Ryan both celebrates the uniquely creative moment in moviemaking that was the 1990s, and also laments cultural and technological shifts that have made it impossible to continue making movies with that same level of storytelling, risk-taking, and originality. A former video-store clerk and lifelong movie fan, Ryan guides readers through the decade, reflecting on two to three films per year that embody the qualities that made nineties movies shine: variety, maturity in themes and execution, an emphasis on showing over telling, an elevation of small and unexpected stories, courage to explore the controversial, emotional complexity, as well as in-film (as opposed to digital) visual effects and movie magic.

Just as nineties films are unafraid to embrace a point of view, Scott Ryan is not shy about expressing his low opinion of our new century’s movie culture, from monolithic gatekeeper studios, to uninspired reboots and franchise films, to audiences that can’t put their phones down long enough to really care what they’re watching anyway. He does this in a grumpy Gen-X fashion that endeared him to me, a fellow grumpy Gen-Xer, but that I fear could alienate a more general audience. And I get the feeling Ryan is okay with taking that risk. He’s not interested in delivering a bland movie book that will go down smooth for every reader. Instead, he’s throwing in hot sauce and lots of it. I applaud his bravado—and the dash of self-deprecating humor he mixes in with it.

In the end, I absolutely loved this nostalgic tour through nineties film. As a slightly younger Gen-Xer than Scott Ryan, I think I didn’t fully appreciate movies like Malcolm X and Magnolia back when they came out. And as only an average movie fan, I wasn’t even aware of lower-profile movies like Citizen Ruth or Two Girls and a Guy. But thanks to The Last Decade of Cinema, I now have a great list of movies I can’t wait to rewatch or experience for the first time, thirty-ish years later.

My thanks to NetGalley and Fayetteville Mafia Press for providing me a copy of The Last Decade of Cinema in exchange for my honest review.

[Book_withquotes · Rating 5 out of 5]

Step into a time when movies held sway over hearts and minds, a golden era that spanned the 1990s. Scott Ryan, acclaimed author of “The Last Days of Letterman and An Oral History,” invites readers on a nostalgic journey through “The Last Decade of Cinema.” As a former video store clerk in Ohio, Ryan offers a unique perspective, having devoured every film released during that pivotal era. In his latest work, he celebrates twenty-five cinematic gems, from the romantic escapades of “Pretty Woman” to the gritty allure of “Pulp Fiction” and the poignant redemption of “The Shawshank Redemption.” With wit and insight, Ryan delves into what made these films classics and laments the shift away from their risk-taking brilliance in today’s film landscape. Through interviews with writers, directors, and actors, he resurrects the spirit of VCRs, DVD rentals, and movies that truly mattered.

So, set aside your streaming services, disconnect from social media, and immerse yourself in the nineties’ cinematic magic with “The Last Decade of Cinema,” a tribute to a bygone era of storytelling excellence. Thanks to The Last Decade of Cinema, I now have a great list of movies I can’t wait to experience these movies for the first time.

The films are supplemented by some excellent interviews – a tribute to his thoroughness in getting the best to meet the challenge he set for himself; notes for each chapter; a comprehensive index; and informative acknowledgements. This book is a must-read for cinephiles and nostalgia enthusiasts alike, offering a thought-provoking exploration of a pivotal moment in movie-making history.

[HighFidelity · Rating 4 out of 5]

Thank you, Net Galley, for the opportunity to read this book in digital/audio format.
As someone who shares a love for movies and finds myself rewatching many movies from the 90s (especially) lately, I found these essays delicious. Reading this was like you met that one person at the party and they mention some random scene from Terminator 2, you join a conversation, but you are mostly listening because, at that moment, the other person has all the right words about it you couldn't find before.
The only thing that didn't bode with me was the introduction, it was long, and it gave me the wrong idea about what I was about to read, but I did appreciate the honorable mentions at the end.

[Silver Screen Videos · Rating 4 out of 5]

Many film historians consider 1939 to be the greatest movie year ever. Its releases included classics like “The Wizard of Oz” and the now controversial “Gone with the Wind” that many still watch regularly. Others, including me, consider the 1970s to be Hollywood’s greatest decade, giving us two “Godfather” films, “Jaws,” the first “Star Wars” movie, and many others. For Scott Ryan, it’s the 1990s. But he doesn’t just consider the 1990s to be Hollywood’s greatest decade. He describes it as “the last decade of cinema for adults who wanted to think, feel, and be positively impacted by stories told through light and sound.” To show the appeal of 1990s filmmaking, Ryan selected 25 movies, two or three from each year of the decade, that were, in his view, representative of the art of cinema during the decade. He then wrote an essay about each film. Those 25 essays are the heart of “The Last Decade of Cinema.” Whether or not you agree with Ryan’s thesis, those essays contain lots of helpful information, not just about the 25 films or 1990s filmmaking, but about the cinema in general.

Ryan’s movies are an eclectic mix. They include box office blockbusters (“Pretty Woman,” “Terminator 2”) and all-time classics (“Pulp Fiction,” “The Shawshank Redemption”). However, they also include movies that have been largely forgotten today (“To Die For,” “Citizen Ruth”). And they include several films about hip, 20-something Gen Xers that seem to be on the list because the author was a 20-something Gen Xer when he first saw them (“Reality Bites,” “Two Girls and a Guy”). The essays in the book are not in-depth reviews of the 25 movies. Instead, “The Last Decade of Cinema” can best be described as a companion piece for anyone interested in watching (or rewatching) the films on Ryan’s list.

The movies in “The Last Decade of Cinema” are here because they are, in the author’s opinion, superior demonstrations of the art and craft of filmmaking. To prove his point, he often illustrates the techniques the directors, writers, and crew used. For example, in the discussion of Martin Scorsese’s “Goodfellas,” the author discusses the film’s famous tracking shot, in which the camera follows Ray Liotta and Lorraine Bracco when they go to the Copacabana Club on a date. The point of the scene isn’t to show that Martin Scorsese knows how to move a camera around for over three minutes. Instead, it illustrates the allure of flashy mob life that sucks Lorraine Bracco in more and more deeply as the scene goes on. (The author also tells readers when the scene begins and ends to help anyone who is watching it home in on the exact scene.) Later, in discussing the Hughes brothers’ “Menace II Society,” the author refers to a similar tracking shot. A very different criminal enters a very different nightclub, and the audience experiences the excitement in much the same way as in “Goodfellas.” Great technique is universal.

Similarly, the author often mentions the subtlety of these screenplays. Regardless of the decade, studios want to ensure audiences “get the point.” So, the scripts repeat themselves and overemphasize apparent points. The result is dialogue that isn’t realistic and insults viewers. By contrast, in these 25 movies, screenwriters often rely on audiences to figure out meanings without spoon-feeding them. For example, in “Reality Bites,” one character tells another: “You’re on the inside track to Losersville, USA. Just like him.” The “him,” in this case, is the second character’s father. In most movies, the script would have read, “just like your dad.” Here, however, the author notes that using the word “him” instead of “your dad” shows how well the two characters know each other, so they both understand the exact meaning of the sentence without the script spelling it out for them and the audience.

If you’ve never seen “Reality Bites” or saw it years ago and forgot the details, this previous paragraph may be difficult to follow. That’s the biggest problem in “The Last Decade of Cinema.” In his desire not to spell out every detail about a movie, the author sometimes omits too much, and his arguments are hard to follow. That’s especially true of the later entries in the book, as if the author felt the text was running long and had to edit it more tightly. The author includes several interviews with these movies’ directors, writers, and cast members. Sometimes, these interviews are informative; at other times, they sound like get-togethers for members of a secret society who use coded messages to communicate with each other.

The author is quite opinionated about many topics, from using cell phones in theaters (hates them) to DVD commentaries (loves them). In fact, many of the details the author describes in his essays came from interviews, commentaries, and making-of features on the DVDs. I often felt the author gave his opinions on some subjects just so readers would disagree with him. Most of his controversial statements (including why “Titanic” and “Forrest Gump” don’t make his list) are contained in the first 10% of the book, which is slow and often dull going. That section also explains how the author narrowed the thousands of movies released during the 1990s to these 25, complete with arbitrary rules. For example, he only included one film per director on his list. He also didn’t include genre films like horror and animation because he felt they were still alive and always marketed to their respective audiences. This fixation on describing his own rules makes the introduction feel anal-retentive at times.

As far as the merits of the author’s opinions. I disagree with several, but I don’t want this review to become a point/counterpoint argument. So, I’ll leave it to readers to form their own opinions and argue with the author if they want. For many readers, “winning” this type of argument with the author will be the most enjoyable part of “The Last Decade of Cinema.” I will note that the author worked in a video store in the early 1990s (like Kevin Smith and Quentin Tarantino), which introduced him to some movies he discusses in the book. That job also directly led to his lifelong love of film. Whether his opinions on cinema are right or wrong, his knowledge is often encyclopedic. Surprisingly, the movies the author discusses aren’t all among his personal favorites. Although he has seen (and loved) some of them many times, others he had never seen before researching the book.

Like the author, I’ve seen almost all these movies. Some quick research reveals that they are all available on DVD or streaming (to rent or own, if not subscription services). So, none of these are lost movies, and anyone willing to shell out a few bucks can see any of them. In my case, I will rewatch a couple of them in the upcoming months to pick up on the author’s insights and compare my opinions with his. I’m not today’s typical moviegoing audience, though. I’m not sure how the crowds that packed theaters last summer for “Barbie” will react to discussions about obscure films made before they started watching movies. However, the factors that make a movie excellent are the same in 2024 as in 1994 or my heyday of 1974. Scott Ryan points out many of those factors in his 25 films. For those interested in expanding their cinematic horizons and discovering some unknown or forgotten gems, “The Last Decade of Cinema” is a valuable and entertaining resource.

NOTE: The publisher graciously provided me with a copy of this book through NetGalley. However, the decision to review the book and the contents of this review are entirely my own.

[scifishm · Rating 5 out of 5]

This book is a lot of fun. Scott Ryan loves movies and he especially loves the movies of the 1990s. And he wants you to love them too. He wants you to love their screenplays, their direction, their music, their acting, their themes, their storytelling, and their style. He wants you to understand why the 1990s were the decade in which movies combined these qualities in a special way that hadn’t been seen before and that, sadly, hasn’t been seen since. He wants you to understand this in general terms: the historical, political, sociological, economic, technological, and cultural conditions that made these kinds of movies possible (and then impossible). And then he asks you to explore with him the qualities of twenty-five specific movies made in the 1990s that are great examples of what was special about moviemaking in that decade.

He tells us how he selected those twenty-five movies: that every year in the decade had to be represented by at least a couple movies; that the twenty-five movies would be in a variety of genres--comedy, drama, western, action and mystery; that for various reasons he decided to exclude horror, documentaries, foreign films, animation, and “art house” films; and that, for the purpose of proving his point, he would include movies that were not necessarily his favorites from the decade and even some that he hadn’t seen before.

He also hedges his bet a little by providing in an appendix a series of very short essays on another thirty movies from the ‘90s that came close to making—and in some cases substituting for—the movies on his list of twenty-five. And then he provides a list of the 160 movies from the 1990s from which he selected those twenty--five (and thirty). And after that he provides a list of ten movies from before the 1990s and ten from after that in some ways resemble his 1990s movies. In other words, he doesn’t want you to get the impression that he thinks the 1990s were the only decade for good movies. He just wants you to understand why he thinks the 1990s marked a turning point in the history of movies and that there never again will be such a fruitful period.

You are going to argue with many of Ryan’s claims in this book. He expects you to argue with him. That’s what is fun about the book. He reveals enough about himself—his early aspirations, his jobs before he became a writer, his favorite author, his favorite director, his favorite movie, his favorite singer; and he showers us with so many opinions--the best script ever written; the movie that is as close to perfect as a movie can get; the greatest movie ever made; the single funniest line he has ever heard in any movie; the best directorial debut anyone has ever had; the best movie romance ever; the most exciting moments he has ever experienced in a movie theatre; the best edited movie ever; the sexiest movie of the nineties; and his opinion that plot is overrated in a film—that you get to feel you know this guy. His conversational style of writing makes you want to sit down with him—maybe in a café—and talk/argue about movies.

Indeed you get a feeling for the kind of conversation you’d have with him when you discover the lively informal interviews he intersperses among the essays in the book. These are his interviews with the screenwriter of Menace II Society; the screenwriter of Reality Bites; the screenwriter/director of Citizen Ruth; a lead actress from Two Girls and a Guy; and an actress from True Romance.

Ryan gives you a lot of movies to watch if you haven’t seen them already. But there’s only one that he says flat out you must see: Citizen Ruth. He even asks you why you are taking the time to read his essay about that movie if you haven’t already seen it! (He asks the same question at another point in the book as well.)

Well, the answer simply is that, if you don’t read his book, you’ll be missing out on a lot of fun.

Were the 1990s “The Last Decade of Cinema”? Does it matter? I do know that the book’s title is what spurred me to read it. And I am glad it did.

I also know that I am not going to be one of those readers whom Ryan evidently has encountered before, “who give me a three-star review and then go on to say how much you loved the book.”

Thank you Fayetteville Mafia Press for providing an advance copy in galley form for review consideration via NetGalley. Please note: Quotes taken from a galley may change in the final version.
All opinions are my own.

[Dan · Rating 5 out of 5]

My thanks to NetGalley and the publisher Black Château, Fayetteville Mafia Press for an advance copy of this book that looks at the movies of the end of the last century, why they last, why their stories still resonate, and why the characters seem more free and real than people living today.

I loved movies for the longest time. I read everything from trade magazines to genre newsletters, soundtracks reviews to bootleggers hand stapled collections at conventions. I loved the stories, the art, the characters, the suspension of believe. That time in the dark watching movies, were great times, with families, friends, often myself and a group of strangers watching some weird stuff. I still have my copies from HBO and the like, my real VHS, DVD's CD-Roms from street vendors and comic conventions. But nothing today really fills that need that films once did for me. Movie going is such a sad experience, watching people watching film through there phone, or taking calls on speaker without thinking of anyone else. And the money has ruined movies. Can't take a risk, we can't open in China, can't say this, the red states will ban us. Or studios making movies for tax write-offs. In another world a studio head would be fired for wasting 100 million to make a movie no one will see. This America he gets a bonus, and a work of art, made by hundreds of people, over thousands of hours, is erased in seconds. Scott Ryan was a guy who loved movies also, working in video stores, the front line of bringing film to the people. A job that has sadly been replaced by an algorithm. Ryan' book The Last Decade of Cinema looks at the end of the twentieth century, the movies that were last filmed on video, before CGI, superheroes, streaming, and cinematic universes were even ideas, and only skill, story and the sound of film moving across the light of projectors, were all film makers needed.

The book is both a biography, a series of interviews with a diverse cast of characters, and a look at some of the best movies of the nineties, according to Ryan. Ryan starts with a bit about himself, working in video stores, and how he gave up his dreams of working in the arts to follow the dictates of his family and learn business. Something he was wasted in. Ryan discusses his disinterest in the movies of today, the digital look of movies, the darkness to hide CGI, the use of constant CGI, and the constant run of superhero or intellectual property movies. Ryan looks at twenty-five films, with more mentioned in the appendix, that he feels defines not only the generation, but a time in America where somehow coming out of the Ronald Reagan-era, America seemed to have more freedom, and an ability to discuss things. Classics like Pretty Woman, Pulp Fiction, The Shawshank Redemption. A few surprises like The Prince of Tides, which I had forgotten had some serious issues in the movie. Menace II Society, and Reality Bits. Ryan looks at these movies, and breaks down what made them work, why, and why one should still watch them. Included are interviews with screenwriters Helen Childress and others, including stars of movies that have unfairly been forgotten.

The business world's lost is a gain to the art world, and I am glad that Scott Ryan decided to stay with the arts. Ryan's writing about film is some of the most interesting and powerful I have read in quite a while, and encapsulates a lot of my thinking of modern cinema in many ways. Ryan is also a very skilled interviewer asking questions that are not only interesting for the reader to learn about, but for the questionee. The background information for the films is quite helpful, and explains why certain things had to happen in films. Usually monetary reasons. Ryan has a very good style, and even when reading about movies that have been covered ad nauseam, Tarantino's Pulp Fiction, Ryan still finds new things to share. And of course more movies to go back to to watch.

A film history that is personal, but filled with a lot of truth. Ryan raises a lot of problems with modern movies that really have no answers, nor as the money continues to come in, reasons to change. Which leaves one feeling bad at the end for once was, but who knows what might be next. A book for film lovers, and for those who want to share that love of film with others.

[Robin · Rating 5 out of 5]

Scott Ryan, The Last Decade of Cinema, Black Chateau Fayetteville Mafia Press, June 2024.

Thank you, NetGalley, for providing me with this uncorrected proof for review.

Scott Ryan has a distinct writing style that carries this serious, perceptive and analytical approach to a decade of film with a firm grasp of the need to engage with his audience. At the same time, he ensures that he maintains the obligation he has imposed on himself to utter raw truths. His fidelity to exposing the failings that largely mar the aftermath of 1990s film underlies the way in which he approaches his prime aim. The responsibility he feels for the task he has set himself – bringing the sheer wonder of 1990s film to a large audience – is demonstrated by the choices he makes, the language he uses, the additional material and his tenacity in acquiring relevant interviews.

Ryan chooses the films that fit his criteria – but then, oh joy, he adds a supplementary list that could have equally been chosen. He also adds ten films from the immediately previous decade, and the one after that demonstrating that some films that meet his criteria do fall outside the strict period he gave himself for the bulk of the book. The films are supplemented by some excellent interviews – a tribute to his thoroughness in getting the best for to meet the challenge he set for himself; notes for each chapter; a comprehensive index; and informative acknowledgements.

Some of the films were familiar to me, and ones that I also loved. Some were films that I knew and disliked. Others I had not seen and shall search for them – but as Ryan says, difficult where streaming is aimed at something other than bringing the best to audiences. They are a poor replacement for the video store in which he saw so many of the films with which he makes his case for 1990s film, the industry at that time, and the services available to audiences in the period.

Ryan’s introduction is a masterpiece in its reflection on the limitations of the superhero and franchise films that have largely replaced his 1990s choices, the reasons for this change, and the manner of the changes. He manages to squeeze even more 1990s examples here – more clever writing. His explanation that the films he admires with their gamut of emotions that made audiences think have been replaced with a one-dimensional story with no uncertainties resonates with me. While admiring the special effects that have won accolades for Australians, the films in which they appear have left me unresponsive.

Like Ryan, I want to see films today like those with which he fills the pages of The Last Decade of Cinema. In twenty-five essays chosen for each year of the nineties Ryan takes us though a range from the 1990 Goodfellas to Magnolia, released in 1999. He gives 1994 special mention with reference to Pulp Fiction, Shawshank Redemption and Reality Bites. Some of those I recall (not all with pleasure) that he covers in the essays are Pretty Woman, Pleasantville, To Die For, The Big Lebowski, The Ice Storm, Prince of Tides and Eyes Wide Shut and Unforgiven. But why didn’t I see Citizen Ruth? The Birdcage? I shall re-read this book, take on the analysis of the 1990s films I saw and did not enjoy, and if I cannot manage to see them and others that have piqued my interest, continue rereading The Last Decade of Cinema.

[J Earl · Rating 3 out of 5]

The Last Decade of Cinema by Scott Ryan is both an interesting look at some of the important films of the 1990s and an irritating look at how some people cling desperately to their generational labels even though they mean little to nothing. Be prepared for broad, off-base generalizations that add very little to the discussions of the films. Tune that out and the book is pretty good.

He didn't follow his own complaint about more recent movies of "show don't tell" when writing his book. He made his argument in the beginning of the book for why he believes the 90s to be "the last decade of cinema." Instead of sticking to the rational points he makes, such as how the decline of movie rentals took an important revenue stream away from the film companies, which in turn made them less likely to support small or risky projects, he leaned heavily into his fictionalized and skewed view of generations as definitive and distinct groups. Largely, judging by his obvious weaknesses, to pump up his self-image. I guess if I was like him, I might find a crutch as well, but I'm neither that stupid nor that desperate.

The films he selected are a nice mix and include several of my all-time favorites (Pulp Fiction, Short Cuts). He excluded horror but makes a case for why he did so. I'm fine with that since he made his criteria clear at the start. It is his list and is subjective, so he can set his own criteria. Maybe not the same parameters you or I would have chosen, but we're free to make our own lists and/or argue about what is actually on this list. And half the fun of any book that is basically a list of one person's favorites is debating the points made or the items included.

If you enjoy reading and revisiting films from your past, you will likely enjoy this book. If you also believe people born December 31 of one year are significantly different and either more or less intelligent than someone born January 1 of the following year, you will love this book since that sums up his (il)logic. If you have watched a lot of movies and think that makes you an expert, then you have found your twin and definitely should get this book, we mere mortals bow to you both (to hide our laughter).

Reviewed from a copy made available by the publisher via NetGalley.

[Riven · Rating 4 out of 5]

First and foremost, I would like to express my gratitude to NetGalley for providing me with an early review copy of "The Last Decade of Cinema" by Scott Ryan. As someone who grew up with a deep appreciation for films from the 90s, this book was a nostalgic trip down memory lane for me.

From an early age, my parents educated me about the cinematic gems of the 90s. I have fond memories of spending weekend nights with my father, browsing through DVD stores and selecting films to watch together. He had a unique approach of exploring one director at a time, which allowed me to truly immerse myself in each filmmaker's style and technique.

"The Last Decade of Cinema" brought back cherished memories of my childhood and the special bond I shared with my father over our shared love for movies. Scott Ryan's insightful analysis and humorous commentary on twenty-five iconic films from the 90s resonated deeply with me, reminding me of the impact these films had on shaping my love for cinema.

Scott Ryan celebrates the creative brilliance of filmmakers like Quentin Tarantino, Amy Heckerling, Spike Lee, and others, who pushed boundaries and took risks in storytelling during the 90s. His book not only pays homage to these classics but also mourns the cultural and technological shifts that have made it increasingly difficult to replicate the same level of originality and risk-taking in today's film industry.

I applaud Scott Ryan for his candid and honest assessment of the current state of cinema compared to the golden era of the 90s. "The Last Decade of Cinema" is a must-read for cinephiles and nostalgia enthusiasts alike, offering a thought-provoking exploration of a pivotal moment in movie making history.

In conclusion, "The Last Decade of Cinema" earns a solid four-star rating from me. It's a poignant and insightful journey that celebrates the magic of 90s cinema while shedding light on the challenges faced by contemporary filmmakers. I eagerly anticipate getting my hands on a physical copy of this book upon its release.

[Reading Our Shelves · Rating 4 out of 5]

Full review at: https://readingourshelves.wordpress.c...

This was a fun romp down memory lane for someone who actually remembers some of these movies from when they were first out (either in theaters or on VHS).

For this examination of the author’s favorite decade of movies, he watched about 160 movies from the era, and chose 25 to write essays about. Aside from the deep dives into individual movies, though, Scott Ryan pontificates a lot about why the 1990s was, in his mind, the “last decade of cinema.”

(Spoiler: a big part of that was the shift to digital projection, and/or just watching stuff at home. Yes, he has a noticeable dislike of big franchise movies, too, but that really comes later than 2000.)

I can’t say I’ve seen every movie on his list, or agree with every point he makes. This book is full of subjective opinions, albeit from someone who knows a lot about movies. The fun is just in thinking about these gems, or thinking about them again after a long time. And, of course, maybe considering watching some that this viewer/reader passed on when they first hit Blockbuster Video.

Just to whet your appetite, a few of the movies he highlights include:

Pretty Woman, Terminator 2, Malcolm X, The Shawshank Redemption, Pulp Fiction, Swingers, The Birdcage, The Big Lebowski, and The Cider House Rules.

The essays are organized by year. He also includes some short (one paragraph, mostly) thoughts on some of the other movies he watched, and a full list of all of them at the end. So, even after the big thoughts on the 25 heavy hitters he picked to focus on, you can keep the nostalgia going by seeing the full list and remembering other faves from the era.

This book is for you if you have ever had lengthy discussions about the likes of Ben Stiller, Jon Favreau, or even Martin Scorsese and Robert DeNiro. Or if you haven’t, but aspire to someday. If you’re in film school, just do it.

[Martin Baggs · Rating 5 out of 5]

As a fellow movie enthusiast, I found Scott Ryan's "The Last Decade of Cinema" to be a nostalgic and insightful journey through the 1990s film landscape. Ryan, drawing from his experience as a video store clerk who watched nearly every film released during that decade, presents a compelling argument that the 90s represented the pinnacle of cinematic storytelling before the rise of franchise films and superhero blockbusters.

Ryan's selection of 25 movies, from "GoodFellas" to "Magnolia," showcases the decade's diversity. His analysis of each film is thorough and engaging, mostly avoiding spoilers. The inclusion of interviews with writers, directors, and actors adds valuable context, though some contain plot revelations.

While Ryan's passion for 90s cinema is evident and infectious, his repeated rants against superhero movies and modern cinema did feel excessive. Once or twice would have sufficed to make his point without becoming repetitive. However, his unique approach of selecting only one film per director encourages readers to explore lesser-known gems.

Despite this minor gripe, "The Last Decade of Cinema" successfully rekindles interest in the films discussed and serves as both a celebration of 90s cinema and a critique of current industry trends. Although I don't fully agree that great non-superhero movies are no longer being made, Ryan's arguments are thought-provoking.

Overall, this book is a must-read for film buffs and 90s nostalgists. It's a passionate, well-researched tribute to an era when, as Ryan argues, "movies mattered" in a way they perhaps no longer do today, and it's likely to inspire readers to revisit many of the discussed films.

A big thank you to Black Château and NetGalley for providing an advanced reader copy in exchange for an honest review. This is one book you don’t want to miss.

[Country Mama · Rating 4 out of 5]

I loved this book! There were so many of my favorite movies mentioned in this book while I was reading through the chapters. I love the author writing about the famous and not so famous movies in the 1990’s! I grew up with the a lot of the movies in this decade and I remember them all fondly. My favorites that the author covered are Pretty Woman, as what can I say I am a woman who loves a not so well off woman getting the rich guy at the end😉
I also quite enjoyed the chapter entitled ‘How to watch a movie nineties style.’ I agree with the author that the movie industry is making the movies hard to watch them by raising the prices so high in theaters. I used to love the matinees as you could go for such a cheap price! I haven’t been to a movie recently as it is so expensive to go with 4 people. I used to go the movies and just watch the movie without all this technology that they have nowadays. There was no such thing as pulling out your phone to check on the time or anything else. You had to wear a watch😉
I loved the dvds that had the extras as we watched them in the 90’s. Now you have streaming and I will not watch streaming as you really don’t get the experience of them. And my other favorite movie that the author discusses is Before Sunrise. That was a very important movie in my teenage years. And the author is right! I LOVED that ending.
I highly recommend to readers who love movies from the 1990’s!

[Vansa · Rating 5 out of 5]

Scott Ryan's thesis is that the 90s were the last decade when producers were willing to put their money into movies that weren't part of an already existing franchise, or weren't based on already existing IP. He lays his case out very well-it would be great if his foreword were made required reading for all movie producers. He backs it up with examples of movies that would not get wide theatrical releases now, and when you stop to think about it, you can come up with so many yourself-for instance, 'Reality Bites'is more than a coming-of-age story but a movie like this would get pushed to streaming immediately now-like 'My old ass'just this year itself. Çasino'was not really a major Oscar bait sort of film when it came out, despite the illustrious team, but unless a movie was a major event like 'Killers of the flower moon' now, it wouldn't get that wide a release. Again, from 2024, 'Juror#2'is a great, thought-provoking state of the nation sort of movie that deals with crime and punishment and choice, directed by CLint Eastwood, no less, and Warner Bros barely gave it a theatrical release. I could go on, but you should read this book, whether you're a fan of Marvel movies or not, and even if you don't agree with his choice of movies to supplement his big idea. I loved every essay and his perspective on it, and its given me a list of movies to watch-I've already started on that. Great book for cinema fans ( or not).

[A Cesspool · Rating 2 out of 5]

Insightful, occasionally narrow, look back at cinema’s last hurrah: 1990’s Rise of the Independents (or post-1980s corporate-boardroom [studio] moguls). While obviously infinitely more subjective, unfortunately, not as rewarding as author’s Moonlighting: An Oral History or, as essential as, The Last Days Of Letterman, imho.

WTF James Toback? Srsly?? Probably no simpler way to spoil the seriousness of any commemorative filmmaking tally than recognition of James "Cine-Ponzi" Toback, imo.

Especially when his obtuse admittance is favored over Todd Solondz -- Really? In what universe does Two Girls and a Guy (1997) rate over Welcome to the Dollhouse (1995)? ...specifically bc "Dollhouse .. felt a little too independent..." to merit inclusion (according to the author).

[Mark · Rating 4 out of 5]

At the end of the 80's (a ho-hum decade for movies) something was definitely in the air. The Coen brothers, Spike Lee, Gus Van Sant and Steven Soderbergh (among others) were all getting started and would soon be followed by the likes of Tarantino, Paul Thomas Anderson and many others. Scott Ryan writes engagingly about the decade that follows and will make you want to rewatch favorites, reconsider movies you were initially dismissive of, or catch ones you missed. But you'll be a bit miffed that Scott Ryan isn't in the room with you so you can yell at him for picking one movie over the other (that's intended as a compliment).

While I am somewhat skeptical of Ryan's declinist perspective on the decades that followed the 90's (I think his enthusiasm for the nineties is somewhat tied to the time in his life that he started getting intensely interested in movies), that did not mar my enjoyment of this book. There are plenty of good movies out there, the real problem is that they are difficult to catch in movie theaters that all seem to be playing the same three CGI blockbusters.

Thanks to NetGalley and the publisher for providing an electronic copy in exchange for a review.

[Erin · Rating 4 out of 5]

ARC for review. To be published June 18, 2024.

According to Scott Ryan (and, well, probably most cinephiles) the 1990s were the last, best decade of filmmaking in America and Ryan discusses this and offers a list of twenty-five movies (and some runners-up) to demonstrate the fact. The list includes the usual standards, “Goodfellas,” “Pulp Fiction, “The Shawshank Redemption” and “Magnolia,” and some others that might not be as expected, “Citizen Ruth,” “Two Girls and a Guy,” “Clueless” and “The Birdcage.”

Ryan also includes a few interviews with participants in some of his chosen movies, which adds depth to the book and he implores the filmmakers of today to take risks, be serious AND make us laugh in the same movie, push the audience’s boundaries and not to be afraid to make movies on real film.

I love books of lists, especially about pop culture, so this was made for me. I agreed with some of Ryan’s choices, disagreed with others, but thought he made a fair case for himself and that’s what makes it fun, right? Recommended to movie buffs.

[Cindy · Rating 3 out of 5]

I was surprised when I found that the author of this book is younger than I am. I don't feel like I'm an especially old lady, but this guy has a lot of G.O.M.R.s (grumpy old man rants) in his book. He does tells us what's coming from the title: movies used to be much better than they are now. And, I actually agree with him. But there were rants on superhero franchises, all franchises, movie theater prices, cell phones, movie trailers, streaming services, trigger warnings, and more. I found the tone amusing at first, but eventually it got old.
Having said that, I found the ideas in his essays on his selected 90s movies insightful for the most part. There were also interviews with movie makers and stars from some of the films, but I wasn't as interested in those. And on two of the films he made a big deal of not spoiling plot points in his essay... and then they were spoiled in the interviews.
Good book for big movie fans, but I'd suggest reading an essay every week or so instead of the whole book in one big bite.

[Ink · Rating 5 out of 5]

Oh my heart!! "The Last Decade of Cinema" by Scott Ryan brought back such incredible memories and imprinted this key decade on my life. I was 15 to 25 in the 1990's and what a decade to grow up in, let alone that we had some of the most incredible movies!

Ryan discusses how the superhero movie has saturated the market in the noughties an I am wint to agree. I have reverted to South East Asian cinema/ TV and streaming of classics on the very and I mean very rare occasion that I watch a film these days as the conent is just not grabbing my heart in the same way (Hence my immense advocacy for books)

Talking of which, back to the book. Although I may disagree with Ryan's opinions of what the best film was of the 90s, he does feature some absolute belters which can still be watched over and over again. Not only is this a great read, it is a fantastic reference book!

A must for all Gen X who like movies and by eckers, for anyone of any age who appreciates film as art not a corporate endeavour

Thank you to NetGalley for this Epic eARC. This review is left voluntarily

[JD Howard · Rating 5 out of 5]

Scott Ryan offers a comprehensive retrospective of the cinematic landscape of the 90s, delving into the cultural trends, groundbreaking films, and transformative shifts that defined this pivotal era in filmmaking. With a keen eye for detail and a deep appreciation for the art of cinema, Ryan navigates through the diverse array of movies that graced screens during this period, providing readers with an insightful analysis and thought-provoking commentary.

The Last Decade of Cinema is a compelling exploration of 90s film culture that offers valuable insights into the trends, innovations, and artistic achievements of the era. Scott Ryan's passion for cinema, coupled with his insightful analysis and engaging prose, makes this book a worthwhile read for anyone interested in understanding the evolution of contemporary filmmaking. It is a fitting tribute to a decade that produced some of the most memorable and impactful films in recent memory.

[Erin · Rating 4 out of 5]

I love watching movies. I think there are still great films being made that aren’t centered around super heroes or some existing IP. They just aren’t as prominent as they used to be. The author’s premise is the last great film decade was the 1990s. I don’t know if I agree with that entirely but he makes some strong arguments. I enjoyed reading his different movie essays. With movies I’ve seen several times, like Pretty Woman or The Big Lebowski, I appreciated the different perspective. With movies I haven’t seen, like Citizen Ruth or the Ice Storm, the essays made me want to check out the films. The book also includes interviews between the author and.a few of the filmmakers, which kind of feels like getting DVD extras in book form, which I’m all for. I would recommend the book to film buffs, Gen X, and millennials like myself whose parents really didn’t care what they watched growing up.

[Amy · Rating 5 out of 5]

This book does a great job of diving into some of the best films of the 1990s. Whether or not you agree that the 90s were the "last decade of cinema" at its finest, Scott takes a deep dive into what makes each selected film great. This includes discussion of filming tactics, favorite film traits of various directors and screenwriters, plotlines, specific dialogue points, and more. As someone who was still a small child in the 90s, I haven't actually watched several of the highlighted movies personally yet (though many are familiar to me generally), Scott's essays make me want to watch them all when I may otherwise have passed many over (simply for not being a genre I'd normally gravitate to like Goodfellas). Definitely worth the read!

[patrick Lorelli · Rating 5 out of 5]

A good book for anyone who is into films. The author has picked twenty-five films from the 1990’s which in his view were the best from that decade. He also goes into why he believes that that decade was the last great film-making decade. I do tend to agree with the points he made about how the movies were made up until that point and how movies started to change afterward. Especially when studios began remaking movies I felt like they were just not trying to make anything new and exciting. Also, all of the special effects after a while just take away from a movie at least for me. The movies he picked I agreed with some and not with all but everyone has their likes and dislikes. Overall a very good book and worth the read.

[Rob · Rating 4 out of 5]

As an avid movie watcher, this title immediately made me curious. I have not seen all of the films cherished in this book, but I like Scott's analyses very much. I've learned some about movies I've enjoyed and have added others to my watch and rewatch lists. We all have different opinions however, and many of these movies don't interest me at all, which is not his fault. I do enjoy Science Fiction, Horror and super hero movies a lot more than these mostly dramas but Mr. Ryan has peaked my interest in possibly writing about books myself. because I didn't know books like this existed.

[R.K. Emery · Rating 5 out of 5]

What has happened to the movie and television industry?

I think many of us have wondered why shows and movies from our childhood just seem to be on a level of their own. Scott Ryan does a great job of diving deep and looking back at why the entertainment of past was so much more. It's well put together and really allows the reader to bask in the nostalgia.

Not only did it bring back all kinds of memories, but it goest beyond that and the author shows his expertise and passion for the subject.

[Sarah Buron · Rating 4 out of 5]

4.5 stars! This book was such a fun look back at many different movies from the 1990's, some of which I'd seen and a lot of which I hadn't. It was very well written and the nostalgia was real! I now have a long list of films for us to watch whenever the mood strikes. Thanks so much to NetGalley and Fayetteville Mafia Press for the advanced copy in exchange for my honest review - pub day is 6/18/24!

[Samantha Turley · Rating 5 out of 5]

What a tribute to this great time in television and movies! The author, Scott Ryan, enlightens us in the form of storytelling with essential information depicting behind the scene incidents and events.

From the start, I found myself humming and reminiscing, unable to put this book down as l absorbed the true significance of the things being talked about.

[C. Gonzales · Rating 5 out of 5]

This book really hit home with me. As an 80's babies, the 90's were a huge part of my childhood.

I loved the in depth attention the author gave for the ins and outs of the 90's movie and tv scene.

The author did an amazing job with pulling me into the pages.

Great job on this book, truly a great job indeed!!!!

[Steven · Rating 5 out of 5]

This a fascinating and detailed dive into what the author sees as the last great decade of American cinema. His arguments are compelling and highly informative. For any who care about films this is a must read.

[Emily Neilsen · Rating 4 out of 5]

Such an interesting book. I have loved the movies since I saw ET at a drive in and this book just made me really think about movie and who makes them and why. I just really enjoyed reading it and highly recommend it for anyone who likes movies.