10 essential 1998 films

As the co-host & co-creator of The Revisionist’s Almanac, a podcast that dives into past Oscars ceremonies to see what The Academy got right & wrong, I often find myself watching thirty or more movies from the same year in a short span of time. Having just tackled a robust list of (mostly) great watches from the year 1998, there were ten films that stood out to me that I think everyone should see at some point in their life. Without further ado, here are those ten! 

american history x

D. Tony Kaye

This explosive and racially charged film feels as relevant today as it did in 1998. Edward Norton gives a singularly powerful performance, as both the misguided, vile white supremacist in the first half and the contemplative, reformed version of the character in the second half. Filmed in both color and black/white to great effect with a heart-pounding score by Anne Dudley, the tension rises across the two-hour runtime until it boils over and delivers a violent and provocative ending that is guaranteed to leave you shaken. It is also worth checking out the gripping behind the scenes story about the editing process and the fallout between Norton and director Tony Kaye. 

The Big Lebowski

D. Joel & Ethan Coen

Coming off their extraordinarily successful and critically acclaimed film, Fargo (1996), the world wondered what would be next for those quirky Coen brothers. Unfortunately, the world was not prepared for their unique brand of strange humor when The Big Lebowski arrived in theaters in the spring of 1998. The movie might have been a box office dud but in the years that have followed, it has grown into one of the defining cult comedies of all-time. There is even a religion (Dudeism) and an annual festival (Lebowski Fest) dedicated to it. The screenplay has become mythicized, with many of the actors on record saying it was so perfectly written that only one line of dialogue was improvised in the final product. A robust ensemble cast including Philip Seymour Hoffman, Steve Buscemi, and Julianne Moore each pulled their weight, allowing Jeff Bridges and John Goodman to take center stage and have their lights shine the brightest. This movie is an objective classic and any aggression towards it will not stand. 

fear and loathing in Las Vegas

d. Terry Gilliam

Hunter S. Thompson was a man that is hard to explain, be it in a few sentences here or even a two-hour feature film. A brilliant writer who crafted some of the most free-spirited articles and books of the late 60s and 1970s. His real-life personality seemed hellbent on blending the line between reality and fiction. Just how much of his work actually happened? Did he embellish his exploits for entertainment value or was the truth as debaucherous as it seemed? When it came time to take one of his great works and put it to screen, Terry Gilliam was the perfect choice to take the directing reins. The former Monty Python member made a career out of the weird, himself (Brazil, 12 Monkeys). Add on top of that the casting of both Johnny Depp (as Thompson) and Benicio del Toro (Dr. Gonzo), two actors who give 110% to everything they appear in, and you are left with all the components to a successful adaptation. The final product is a deranged, delirious fever dream that might cause you to question your own sanity and put to the test whether you can get a secondhand high from a film. 

life is beautiful

d. Roberto Benigni

For starters, let’s not get hung up on exactly which year this falls under. I know it technically released in Italy in December 1997, but it was in the list of 1998 movies when it came to Oscars eligibility so that is where I am putting it. Though it has an underwhelming Metascore on IMDb, it also boasts a whopping 8.6 average with the IMDb audience score, landing it in the top thirty highest-rated movies on the app. Roberto Benigni pulled triple duty as writer, director, and actor – ultimately winning the Oscar for Best Actor. I find Benigni’s portrayal to be pitch perfect. He deftly bounces between comedy, giving off vibes of silent film stars such as Chaplin and Keaton, and seriousness when called for. While some might find the tone devalues the actual experiences of those that suffered through atrocities during the Holocaust, I believe there is a tenderness to the film that illustrates how even in the most horrific situations, a parent’s devotion to preserving the innocence of their children is a universal trait we can all connect with. 

out of sight

d. Steven Soderbergh

Just because this heist film now stands in the shadow of Steven Soderbergh’s more known Ocean’s Eleven (2001), its greatness cannot be ignored or brushed aside. In many ways, it does feel like the director was working out how he was going to tackle the Ocean's trilogy, with a number of similarities between Out of Sight and those films. If you are looking for a selling point to check this one out, it features some of the best romantic and sexual chemistry of the nineties, courtesy of George Clooney and Jennifer Lopez. The scenes with the two are hot and steamy, while the action elements of the plot are pulled off with Soderbergh’s typical prowess and precision. 

rounders

d. John Dahl

The movie that single-handedly started the poker boom of the early 2000s? It is pretty easy to draw a direct line starting at this movie, going through ESPN’s coverage of the World Series of Poker, a rise in online gambling, and the eventual WSOP main event win by amateur Chris Moneymaker, as key contributors to a sports/gambling industry thriving today. The movie itself is a good, if less than spectacular one that belongs on this list primarily due to its culture impact and the bonkers performance by John Malkovich. That accent. You either love it or hate it, but one thing cannot be denied; you will not soon forget it. Find time to check out the clips on YouTube where Matt Damon has told hilarious stories about shooting his scenes with Malkovich and just how shocking it was to hear the infamous accent for the first time. You will not be disappointed. 

Rushmore

d. Wes Anderson

Even though Bottle Rocket (1996) is Wes Anderson’s directorial debut, most movie-goers tend to point to this as the first time they saw his specific brand of eccentricities put on film. While you can make the case that Anderson has spun himself into a corner, now being expected to craft everything he makes with the same aesthetic paint brush, Rushmore was such a shocking breath of fresh air in the late 90s. Jason Schwartzman burst onto the scene as the obnoxious Max Fischer, Billy Murray brought his clout as a comedy legend in a remarkable supporting role, and we got our first taste of Anderson’s knack for building a robust ensemble of character actors (Seymour Cassel, Brian Cox, Luke Wilson). Rushmore also features one of my favorite needle drops of the last three decades, courtesy of a deep-cut Rolling Stones track. 

saving private Ryan

d. Steven Spielberg

Any discussion about Spielberg’s WWII epic must begin with the opening fifteen minutes – storming the beaches of Normandy. What unfolds is an immersive, brutal, and harrowing look at the horror that happened in 1944, skillfully guided by an expert in his craft who utilizes expert camerawork to add a layer of realism that had not been seen in a war film since Platoon (1986). Tom Hanks’ lead performance is something to behold. There is a gravitas to the work, as well as his ability to convey so much emotion with little gestures and minimal dialogue between the action set pieces. The overall cast also reads like a who's who of legendary actors including Paul Giamatti, Matt Damon, Bryan Cranston, and so many more. Saving Private Ryan will continue to keep its seat at the table whenever debates come up about what is the best war film. 

the thin red line

d. Terrence Malick

If Spielberg’s goal with his WWII film was to put you into the thick of battle with an easy to connect with storyline, the famously reclusive Terrence Malick opted for the complete opposite approach with his own look at global conflict. As is often the case with Malick’s films, there is a loose plot to try and grab hold of, but he seems far more interested in taking an esoteric, philosophical approach to his work that always wrestles with humanity's place in the universe and the meaning of life itself. As someone who is on record saying I have seen The Thin Red Line a half dozen times and only finally have come to appreciate on the last two watches, my advice would be to sit back and let the experience wash over you as if you were an alien observing a new planet for the first time. That approach to studying these characters and their actions is what finally unlocked my full appreciation for the film. If you follow these steps and still find it dull, boring, and aimless, there is always the beauty of John Toll’s cinematography that makes every frame a remarkable sight. 

the truman show

d. Peter Weir

Of all the films of 1998, none have managed to be more ahead of their time than The Truman Show. It accurately and frighteningly predicted reality television and our need to document our entire lives in a way that I do not think it could have imagined. When we look at the acting, Jim Carrey brings something special that I am not sure anyone else could have conveyed with the right balance of warmth, drama, and comedy. It’s easy to look back now and see his work in Eternal Sunshine of the Spotless Mind, Man on the Moon, etc. as proof of Carrey’s dramatic chops, but it was still a gamble back in 1998 to give such a big role to someone exclusively known for over the top (and critically panned) comedy. Ed Harris and Laura Linney are standouts in the supporting cast, and the other star of the show is the script. It is filled with memorable lines, never loses pace, and has an ending that has remained a crowd-pleaser for decades.

What about…?

“But Andrew, what about Shakespeare in Love, the Best Picture winner of that year?” I am not here to bring negativity to any film because I think the work, time, and effort the cast and crew put into every project is something to be admired. I will simply say that Shakespeare in Love is not a film I am ever compelled to revisit and the dark, ugly Harvey Weinstein cloud that looms over the film (and its Academy Awards wins) is one I would rather just avoid. 

Was your favorite 1998 film included in this list? Is there something you deem as an essential watch that didn’t make my cut? Let us know.