Casey Chong presents a selection of ‘so bad they’re good’ thrillers of the 1990s that are worth adding to your watch list…
The 1990s were a decade that saw an influx of great thrillers, covering movies like Misery, Pacific Heights, The Silence of the Lambs and Se7en, to name a few. The same decade also included plenty of thrillers plagued by over-the-top plotting and ludicrous twists. Some of these movies can be so-bad-they’re-good, bringing you a sense of guilty pleasure fun, no matter if you are revisiting or watching them for the first time. Here are the eight such thrillers of the 90s that are actually worth watching…
Unforgettable (1996)
John Dahl’s first three movies – Kill Me Again, Red Rock West and The Last Seduction – prove he has a knack for directing compelling neo-noir thrillers. Then comes his follow-up called Unforgettable, and this time, Dahl trades his neo-noir sensibilities in favor of a genre mishmash that blends murder mystery, sci-fi and medical tropes.
Written by Bill Geddie in his screenwriting debut, the premise goes like this: Medical examiner David Krane (Ray Liotta) steals an experimental memory-transfer serum and injects himself with it, allowing him to relive what happens to his murdered wife. The frequently overwrought Liotta does his best playing a desperate individual in his quest to find the killer. His performance tends to veer into campy territory, but it’s hard to deny his commitment here even when the story grows increasingly convoluted.
Dahl also reunites with The Last Seduction’s Linda Fiorentino, and instead of playing another femme fatale, her character, as a scientist responsible for the serum, delivers a rather subdued supporting performance.
Silent Fall (1994)
Journeyman filmmaker Bruce Beresford crossed over multiple genres from comedies (Her Alibi, Driving Miss Daisy) to dramas (Tender Mercies, Evelyn) and even a Biblical epic (King David). So, it comes as no surprise that he also ventured into thriller territory, resulting in a movie called Silent Fall. The story follows Jake Rainer (Richard Dreyfuss), an expert in child psychology who reluctantly agrees to help the local police find out what the boy (Ben Faulkner’s Tim Warden) has witnessed during a brutal double murder of his parents. The boy turns out to be autistic, and he’s not easy to deal with, which then becomes the recurring plot point that Jake uses every professional method possible to delve into his memory.
As the movie progresses, the story reveals that Tim can “play back” voices, specifically precise words which have been spoken during the murder scene. He can even go as far as mimicking different voices. Beresford delves into a long stretch of all things psychotherapy that may frustrate the viewers looking for a more conventional murder mystery, but Silent Fall remains an intriguing thriller, thanks to the above-average cast including Dreyfuss, Faulkner and Liv Tyler in her acting debut. It also helps the movie establish the character dynamics between Jake and Tim.
The Temp (1993)
Tom Holland blends femme fatale-driven psychological thriller with tongue-in-cheek dark comedy touches to guilty pleasure results in The Temp. The story centers on the titular temp (Lara Flynn Boyle’s Kris Bolin), whose sheer initiative and take-charge personality have impressed her junior executive boss, Peter (Timothy Hutton). Not to mention, she uses her smarts and sexy demeanor to climb to the top of the corporate ladder in every sneaky way possible.
Boyle’s femme fatale turn is the reason that elevates The Temp with her gamely fetching performance, while contrasting well with Hutton’s fidgety yuppie role. Coming from a horror background seen in Fright Night and Child’s Play, Holland doesn’t forget his roots, with a stomach-churning scene revolving around a paper shredder being the prime example. The movie also features Faye Dunaway, who hams it up with her over-the-top supporting performance as the company’s boss, Charlene Towne.
Whispers in the Dark (1992)
Whispers in the Dark arrived at the height of the erotic-thriller craze, except this movie was heavily overshadowed by the Basic Instinct phenomenon released in the same year. Annabella Sciorra plays a psychiatrist falling in love with a man (Jamey Sheridan), who may or may not have to do with her patient’s (Deborah Unger) murder fantasies.
Writer-director Christopher Crowe throws in a few red herrings in the otherwise languidly paced thriller, allowing the viewers to play armchair detectives as the story unfolds. The movie relies heavily on plot contrivances, complete with a far-fetched twist ending. But it still benefits from Crowe’s glossy visual aesthetics with the occasional use of stylized lighting and atmospheric shadows. Sciorra, who also appears in The Hand That Rocks the Cradle, equally shines in her leading role, and so do Deborah Unger and John Leguizamo as two of the disturbed patients.
Never Talk to Strangers (1995)
The biggest selling point for Never Talk to Strangers is the pairing of Rebecca De Mornay and Antonio Banderas. The story’s earlier stretch focuses on how these two characters are met for the first time – one’s a criminal psychologist (De Mornay’s Dr. Sarah Taylor) and the other’s a charming Latino stranger (Banderas’ Tony). They flirt, get together before eventually ending up with a passionate sex at Tony’s loft, filmed in an obligatory softcore erotica style.
The plot soon thickens when she finds out someone started to harass her with ominous gifts like dead flowers and even a dismembered cat in a box. Could it be Tony, the stranger who might be toying with her? Or someone else who might have a grudge against her? Peter Hall’s manipulative direction, which builds to a surprise reveal, may suffer from the implausibility factor, but Never Talk to Strangers still benefits from De Mornay and Banderas’ sizzling chemistry while it scores on the erotic elements, particularly the kinky use of a fence at one point. Not to forget, De Mornay’s undeniable performance alternating between a repressed, button-down psychologist and a come-hither sex appeal once she let her hair down.
Desperate Hours (1990)
A box-office flop at the time of its release, Michael Cimino’s remake of the 1955 film of the same name but minus the word “The” in the title, cranks it up at an overwrought, though surprisingly engaging level. His operatic filmmaking style is evident right from the start, beginning with an overblown courtroom hearing and a planned prison break after convicted felon Michael Bosworth (Mickey Rourke) manages to escape with the help of his accomplices (Elias Koteas’ Wally and David Morse’s Albert) and defense lawyer (Kelly Lynch’s Nancy). While waiting for Nancy to rendezvous with them, the trio pick a hideout to lay low for the time being: a suburban house belongs to a family of four led by Anthony Hopkins’ Tim.
The bulk of the movie is spent focusing on the home invasion territory as the trio holds the family hostage. There’s something unique in Cimino’s filmmaking approach, utilizing agitated close-ups and dynamic camerawork to evoke a sense of visual and dramatic urgency reminiscent of Martin Scorsese’s Cape Fear remake, even though the latter is released a year later. Desperate Hours tends to be over-the-top, but Mickey Rourke’s charismatic and predominantly calm-under-pressure performance remains the highlight. The movie also features compelling performances from Anthony Hopkins, Mimi Rogers and an unhinged David Morse.
Deceived (1991)
What if you find out your perfect marriage is just one big lie? That’s the premise surrounding Damian Harris’ Deceived, his sophomore feature after 1989’s The Rachel Papers. The story follows an otherwise happily married Adrienne Saunders (Goldie Hawn), who discovers her art dealer husband, Jack (John Heard), has a questionable past.
The movie’s intriguing setup has its few moments as long as you can overlook some of the glaring flaws, including the erratic pacing. Goldie Hawn may have been primarily known for comedies, but Deceived successfully showcases her dramatic flair that it’s hard not to root for her character’s predicament. The movie also gets an extra boost from John Heard in his sneaky supporting turn as the manipulative Jack.
Sliver (1993)
Sharon Stone and screenwriter Joe Eszterhas reunite for another hotly anticipated erotic thriller, Sliver, a year after Basic Instinct made such an impact at the box office and in pop culture. The only significant difference here is that Dutch provocateur Paul Verhoeven isn’t calling the shots, but rather at the hands of Phillip Noyce. The latter is a reputable Australian director in his own right, showcasing his versatility in exploring different genres such as the psychological thriller Dead Calm and the politically-charged Patriot Games.
Noyce’s venture into the erotic thriller territory is sleekly directed, even though the story about a divorced book editor (Stone’s Carly Norris) who becomes sexually involved with one of the tenants (William Baldwin) is a convoluted mess. There are murders in the apartment building where she lives, and not to mention, a plot point revolving around a high-tech surveillance system used for voyeuristic purposes. Sliver boasts plenty of twisty thrills and steamy scenes, with Stone’s repressed portrayal of Carly Norris pairs well with Baldwin’s sleazy Zeke Hawkins, despite the two reportedly not getting along behind the scenes.
SEE ALSO: 10 Great Forgotten 90s Thrillers You Need To See
Which of these movies have you seen? Have you any other forgotten 90s thriller recommendations? Let us know on our social channels @FlickeringMyth…
Casey Chong
