holy pretentious, batman!
this book starts with a discussion of how everything these days is a superhero movie and films just aren't the same and audiences just want superhero stories instead of anything original or good. the author then makes a caveat that obviously not EVERY new movie is bad, but he still implies that audiences today don't want intelligent content. part of the reason he says people don't want smart movies anymore is because education has gone downhill, and he pairs this opinion with an anecdote about how his daughters never had to do a single piece of homework during their time in public school, which I just do not believe. he also adds in a sentence about how he's one of the only people on the planet that hadn't seen marvel, which comes off as so "pick me." like, you don't get a prize for not watching popular movies. he also says that controversial movie takes can't be said today because people will unfriend you over an opinion about movies they disagree with, which is crazy and not at all true in my experience.
he remarks that it is annoying when period pieces show Black and white people coexisting in the 50s, which I can kind of understand, but I think there is something powerful in focusing on Black joy instead of trauma. he constantly refers to women as "females," too, which wouldn't bug me unless I was already not enjoying the book, then it bothers me. he references "blacks" and "gays" during his pleasantville essay, which would have felt icky to me no matter if I was enjoying the story or not.
there are some instances of hypocrisy that I did not like either. the author praises films that wait a while before having the main characters on screen, then praises pretty woman for getting started quickly. so does he want a lot of exposition or not?? he says Malcolm X is a great biopic, but he doesn't mention that biopics are way more common today than they were in the 90s! he also mentions a lack of strong women roles in the past, which is a fair criticism, but there are tons of biopics today that have great, diverse stories. so not every movie is a superhero film; there are great stories of real people being made today that he fails to mention!!
I honestly could write more but I don't feel like it. if you're looking for a book about film, choose almost any book besides this one.

This book gives the reader an overview of multiple great movies of the '90s. The author gives his reasons for discussing each movie and how the movies helped shaped his love for cinema.

Thank you NetGalley for the ARC in exchange for an honest review.

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 at present, 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.

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 theater; 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.

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.

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.

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.

I enjoyed this a lot, and found myself speeding through the text. Ryan's opening essay makes a compelling argument about the distinction of '90s cinema, and although he asks the reader why they would read a book about movies they haven't seen, I found myself inspired to add several of the films he spotlights to my queue. Some of the interjections become redundant (especially the "A time before smart phones? Imagine that!" refrain), but overall this is a very compelling love letter to the most recent period of sustained originality in movies.

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, however, I did appreciate the honorable mentions at the end.

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.

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.

Thanks to Scott Ryan and NetGalley for a preview copy of this book.

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 Reality 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 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.

I found this read to be a fun ride through some of my favorite films of the 90’s and reminded me of why I love this era of film. While I would not use this entire book in my film course, I would certainly use excerpts and sections to illustrate various points about the filmmaking process.

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 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.

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.

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.

For me, Scott Ryan's "The Last Decade of Cinema" is like a time machine back to the good ol' days of the '90s, when VCRs ruled, and movies were more than just superhero franchises. Ryan took me on a trip down memory lane, revisiting classics like Pretty Woman and Pulp Fiction. It's like remembering the thrill of hunting for the perfect movie on a Friday night. With his laid-back and witty style, He captures the essence of a time when storytelling and characters were the real stars. Interviews with '90s icons add an extra layer of nostalgia. For those tired of today's endless superhero flicks and miss the era of true cinematic brilliance, I suggest you grab a copy, kick back, and relive the glory days with "The Last Decade of Cinema."

5 stars for me.

I know I will be spending the next couple of weekends rewatching movies from the '90s! Scott Ryan gave valid points when comparing films of the '90s and the more recent ones. I agree, these superhero movies are being rehashed over and over and over again! And franchise movies are now like a never-ending TV series. With humor and keen insight, Ryan explores what made these movies timeless classics and contrasts their bold storytelling with the current trends dominated by franchises and superhero flicks. He celebrates the era's emphasis on storytelling, characters, and originality, contrasting it with today's reliance on established IPs and formulaic blockbusters. Through interviews with writers, directors, and actors from the period, Ryan provides readers with behind-the-scenes anecdotes and perspectives that enrich their understanding of these cinematic masterpieces.

As the Cold War ended and the 20th century neared its conclusion, some western writers claimed we were entering a new phase of human development: the so-called "end of history." In this book, U.S. author, Scott Ryan presents a similar(ish) argument for the world of entertainment. Did the 1990s represent the last true decade of cinema?
To be honest, I'm not sure I agree with all of Ryan's arguments here and after reading the book, perhaps you will feel the same. What cannot be denied, however, is that he presents a compelling argument.
The book takes the form of a series of essays about a number of the movies which Ryan sees as critical to the era. I, myself, was a teenager, young man and film buff during the decade. Ryan's list happens to include my personal all-time favourite (Goodfellas), along with a number of others which had a big impact on me (Terminator 2, Clueless, Short Cuts, Pulp Fiction and The Big Lebowski, The Shawshank Redemption and Swingers), some which impacted me less (for example, The Cider House Rules, Unforgiven, Magnolia, The Ice Storm and Pleasantville), two which I actively disliked at the time (Reality Bites, Eyes Wide Shut), some I've never seen (The Prince of Tides, Menace II Society) and a few I'd never even heard of (Citizen Ruth, Two Girls and a Guy).
It's a shamelessly American viewpoint. The Three Colours trilogy is not mentioned once and even Four Weddings and a Funeral and Trainspotting barely get a namecheck. Ryan writes a whole chapter on The Birdcage, while only mentioning very fleetingly that it is based on Le Cage au Folles.. Goldeneye is not mentioned once. A surprising number of major US releases are either not referred to at all (Virgin Suicides, The Muppets Christmas Carol) or barely mentioned (Fight Club, American Beauty). There's also a howling factual error about a song used in Goodfellas which I'm hoping will be corrected in the finished version of the book.
Ultimately, Ryan's overall argument is strong but inevitably becomes much less convincing whenever he applies it to any film which he admits to not having seen, for example, (bafflingly) Titanic and Forrest Gump and most of the 21st century Marvel films he moans about.

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.