Overlooked ’90s Movies That Should Have Been Bigger

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I worry that when people try to find older movies to watch, they rely on Google’s recommendations, and Google seems to be suggesting a very limited selection. If you search for “90s movies,” you’ll notice the same films repeatedly appear: things like *Clueless*, *The Truman Show*, *Scream*, *10 Things I Hate About You*, *Forrest Gump*, *Goodfellas*, and *Toy Story*. In fact, those were the exact movies Google showed me just this morning!

These movies are generally excellent, and any fan of 1990s film should definitely watch them. However, it’s likely most ’90s movie buffs have already seen them! As time passes, a huge number of older films tend to get reduced to just a few widely recognized classics.

There’s a wealth of great ’90s films that often get forgotten. Beyond the usual popular choices, there were many interesting, funny, and powerful movies made during that decade. This list of 15 overlooked films aims to highlight some of those hidden gems.

The movies are listed from highest to lowest box-office earnings. The top film performed moderately well – it wasn’t a flop, but it wasn’t a major success either, and isn’t considered one of the director’s best works. The last movie on the list earned less than $1 million and was largely unknown until a recent restoration brought it back to theaters.

This is a good reminder that you can always find something new to watch, even if it’s an older film. As long as Google’s recommendations aren’t stuck on the same popular movies, that is.

Overlooked ’90s Movies That Should Have Been Bigger

The Paper (1994)

With a box office total of $48.4 million, *The Paper* is perhaps the most overlooked film directed by Ron Howard in the 1990s—a decade that also brought us hits like *Backdraft*, *Apollo 13*, and *Ransom*. However, it might actually be his best work from that period. This energetic film offers a look inside a bustling big-city newspaper. Michael Keaton plays the stressed-out editor of a New York tabloid, and his relentless pursuit of a story puts both his career and marriage at risk. If you enjoy films about investigative journalism, *The Paper* is a standout, and features a fantastic cast including Robert Duvall, Glenn Close, Jason Alexander, Marisa Tomei, and Jason Robards.

Guilty As Sin (1993)

The film earned $22.8 million at the box office. Director Sidney Lumet, known for realistic crime dramas like *Dog Day Afternoon* and *12 Angry Men*, teamed up with exploitation film master Larry Cohen – an unlikely pairing that somehow worked. *Guilty As Sin* starts with a clever idea: a twist on *Basic Instinct* where a lawyer (Rebecca De Mornay) finds herself attracted to the main suspect (Don Johnson) in his wife’s murder. Lumet largely lets the story unfold naturally, following the actors’ performances. The film really becomes a platform for Don Johnson to play the ultimate charming rogue, and he’s incredibly entertaining as a character you love to hate. (There’s a scene where he lets a woman pay for his drink, then immediately leaves her with the empty glass and the bill!) You’re constantly waiting for him to get his comeuppance.

The Quick and the Dead (1995)

As a film buff, I’ve always admired Sam Raimi, and I think he’s earned his place as one of the best directors of his generation. But it’s fascinating to look back at how he was perceived in the early ’90s. Critics often dismissed him as being all flash and no depth, and that led to films like *The Quick and the Dead* being seriously undervalued. Honestly, it’s arguably the most visually striking Western since Sergio Leone’s films, and the cast is incredible! You’ve got Sharon Stone – who wasn’t exactly a critic’s favorite back then – alongside Gene Hackman, Pat Hingle, Keith David, Lance Henriksen, Tobin Bell, Gary Sinise… and even early appearances from Russell Crowe and Leonardo DiCaprio before they became huge stars. Considering Westerns weren’t exactly *in* at the time, the film got a pretty lukewarm response from audiences. It’s wild to think something so visually exciting could be met with such indifference – people really didn’t realize what they had back then!

Devil in a Blue Dress (1995)

The film earned $16.1 million at the box office. But beyond the numbers, *Devil in a Blue Dress* is memorable, largely thanks to Denzel Washington’s incredible performance – arguably, no one has ever looked better in a white tank top. Based on Walter Mosley’s novel, the film features Washington as Easy Rawlings, an out-of-work man who gets caught up in a complex mystery when he searches for a missing person. The supporting cast, including Tom Sizemore, Jennifer Beals, and a standout Don Cheadle, is excellent. Director Carl Franklin’s script powerfully explores the racial tensions in 1940s Los Angeles, and Denzel Washington is captivating throughout the entire film.

Trial and Error (1997)

The movie earned $14.5 million at the box office. While many stars from popular 1990s sitcoms didn’t succeed in film, this movie stands out as a charmingly unusual comedy. It’s similar in spirit to *Kindergarten Cop*, and stars Michael Richards (from *Seinfeld*) as a man who pretends to be a lawyer when his best friend (Jeff Daniels) is unable to attend court due to a wild bachelor party. It’s a rare, lighthearted comedy, and it also features an early film role for Charlize Theron.

Lone Star (1996)

The film *Lone Star* earned $12.4 million at the box office. Director John Sayles was a highly respected independent filmmaker in the 80s and 90s, but his output slowed down in the 2000s—his last movie was released in 2013—possibly causing a newer generation of film fans to overlook his work. *Lone Star*, released in 1996 and featuring an early role for Matthew McConaughey, tells the story of a Texas sheriff whose death years prior leads to a surprising discovery. When human remains are found, the sheriff’s son (Chris Cooper) investigates, uncovering potentially damaging secrets about their community. The film is a compelling mystery that realistically examines the idealized image of small-town America.

The Two Jakes (1990)

With a box office total of $10 million, *The Two Jakes* initially seems like an unnecessary sequel to *Chinatown*. However, once you watch it, it feels like the perfect response to a lingering question. The film picks up long after the events of *Chinatown*, with Jake Gittes (Jack Nicholson, who also directed) embroiled in a complex case. He’s hired by a client (Harvey Keitel) who may be using him to conceal a planned murder, and the investigation uncovers connections to Gittes’ own history. Despite a difficult production and initial failure, *The Two Jakes*, penned by the original *Chinatown* writer Robert Towne, is a beautifully sad story about being haunted by the past. While the final line of *Chinatown* is well-known, the final line of *The Two Jakes* – “It never goes away” – is arguably even more chilling.

The Red Violin (1999)

The movie earned $10.0 million at the box office. It’s a compelling, yet often forgotten film that tells the story of a centuries-old violin. The movie jumps between different time periods, starting in the 17th century and ending at a Montreal auction in the late 1990s, showing us the violin’s journey through cities like Vienna, Oxford, and Shanghai. Samuel L. Jackson plays a quiet appraiser who uncovers a key secret about the violin’s history. It’s a unique blend of mystery and a series of interconnected stories.

Dirty Work (1998)

Norm Macdonald, a comedian who didn’t always receive the recognition he deserved, passed away in 2021. Despite being fired from *Saturday Night Live* and often facing critical dismissal, he consistently created strong work. His film *Dirty Work*, where he plays a man starting a revenge business with a friend (Artie Lange), only made $10 million at the box office and received poor reviews (a 14% rating on Rotten Tomatoes). Directed by Bob Saget, the movie isn’t a masterpiece and some jokes are a bit much, but it’s surprisingly funny – often funnier than many critically praised comedies of the 90s – and Norm Macdonald is fantastic in it. (Seriously, though, what was with those huge shirts?) I need to watch *Dirty Work* again soon.

Night Falls Over Manhattan (1996)

With a box office total of $9.8 million, *Night Falls on Manhattan* is a classic Sidney Lumet film. It follows a promising young lawyer, played by Andy Garcia, who discovers the corruption within New York City’s political and legal systems. While the plot is a bit complex, the movie avoids sensationalism and focuses on how ambition can compromise justice. Notably, the film features early performances by several actors who would later star in *The Sopranos*, including Dominic Chianese, Frank Vincent, and James Gandolfini, who plays a morally ambiguous police officer.

Matinee (1993)

With a box office total of $9.5 million, *Matinee* offers a heartwarming look at 1960s B-movies, but also acknowledges the serious issues of the time. The film centers on Gene (Simon Fenton), a teenager living on a military base with his mother and brother while his father is away serving during the Cuban Missile Crisis. Gene often takes care of his younger brother Dennis (Jesse Lee) while their mother (Lucinda Jenney) struggles to cope. The local movie theater provides a much-needed escape for them. However, *Matinee* is more than just a nostalgic trip down memory lane. Director Joe Dante uses classic films to examine the difference between genuine fear and the manufactured thrills offered by filmmaker Lawrence Woolsey (John Goodman). Despite being about a somewhat cheesy producer, the film itself is surprisingly insightful.

The Spanish Prisoner

The film *The Spanish Prisoner* earned $9.5 million at the box office. This clever and complicated con man story features a sharp script by David Mamet and a great cast including Campbell Scott, Ben Gazzara, Ricky Jay, Ed O’Neill, and Steve Martin. The plot centers on Joe (Campbell Scott), who has invented something potentially very valuable, and Jimmy (Steve Martin), a rich businessman who suddenly shows interest. This leads to a central question: who can Joe trust? Is everyone trying to take advantage of him? And what exactly *is* the “Spanish Prisoner”? (It’s actually the name of an old scam, not a person.)

Serial Mom (1994)

With a box office total of $7.8 million, John Waters’ darkly comedic take on America’s fascination with true crime feels surprisingly relevant—and is much funnier than real life. Kathleen Turner stars as a seemingly normal suburban mom who secretly has a violent side, punishing anyone who breaks her personal rules. (A word of advice: if you have a date with the daughter of *Serial Mom*, don’t cancel!) While now a cult classic, *Serial Mom* received mixed reviews and didn’t perform well at the box office when it was released in the mid-1990s. However, the intense media coverage of the O.J. Simpson trial a few years later made John Waters seem even more like a visionary director.

The Man in the Moon (1991)

With a box office total of $2.8 million, Reese Witherspoon’s early work showcased her talent long before she became famous for films like *Election* and *Cruel Intentions*. Her very first role was in the touching indie film *The Man in the Moon*, where she played a young girl navigating her first crush in 1950s Louisiana. Even at 14, Witherspoon acted with the poise of a seasoned professional, and audiences who saw the film when it was released in the early 1990s likely predicted her future success.

Household Saints (1993)

With a box office total of $751,233, Nancy Savoca’s *Household Saints* is a unique film that skillfully blends humor and sadness while exploring spirituality with honesty and a touch of doubt. Its unconventional nature likely contributed to it being overlooked, as it was probably difficult to promote. It’s too spirited for a purely religious audience, but it doesn’t make fun of Catholicism either. This makes it a worthwhile watch – it offers a fresh perspective on family, faith, and Italian-American life. Lili Taylor delivers a truly memorable performance as the central character in this multi-generational family story; she’s unlike anyone I’ve seen portrayed on screen before.

2005 Movies That Could Never Be Made Today

The Dukes of Hazzard

Warner Bros. started phasing out the Confederate flag from toys and images of the General Lee car from *The Dukes of Hazzard* as early as 2013. However, just eight years prior, they actively promoted a $50 million movie adaptation of the show, prominently featuring the car. Promotional materials and events for the film, starring Johnny Knoxville and Seann William Scott, heavily showcased the General Lee. Another key element of the movie’s marketing was co-star Jessica Simpson, often seen in her signature Daisy Dukes, which might be considered problematic by today’s standards.

Elektra

Looking back to 2005 feels like a different era, especially considering the Marvel Cinematic Universe didn’t even exist yet. While the MCU has had its hits and misses, it’s hard to think of a character they’ve mishandled as badly as other studios did with Marvel characters *before* the first *Iron Man* movie in 2008. Take the 2005 *Elektra* film with Jennifer Garner, for example. The movie portrays Elektra as both a supremely skilled assassin who meticulously cleans up after herself to avoid leaving any trace, and also incredibly reckless, hanging out with her neighbors *during* a mission, and strangely oblivious to the fact that those neighbors *are* her target.

To add to that, after seemingly dying in *Daredevil*, Elektra is resurrected with the power to foresee the future and even manipulate time, essentially making her an immortal being. And what does this all-powerful character do? She spends her time stabbing ninjas with sai. Marvel might eventually make another *Elektra* movie, and it could be flawed. But hopefully, it will at least be respectful of the character’s origins and understand her appeal – unlike the 2005 version, which turned her into a time-bending mess.

Fever Pitch

The movie *Fever Pitch*, a romantic comedy set against the backdrop of the Boston Red Sox, couldn’t happen today – or even in 2006. The film centers on a Red Sox fan (Jimmy Fallon) and a businesswoman (Drew Barrymore), and it was originally conceived during a time when the Red Sox were consistently losing. However, the movie was actually filmed in 2004, just as the Red Sox were ending their 86-year championship drought and winning the World Series! The filmmakers had to quickly reshoot the ending to reflect the team’s unexpected victory, making *Fever Pitch* a film that barely captured the original story before reality changed.

The Honeymooners

As a classic TV and film buff, I remember when everyone was trying to bring old shows to the big screen – things like *The Addams Family*, *The Brady Bunch Movie*, and even *Charlie’s Angels*. But by the time *The Honeymooners* movie came around, the original show was already a real blast from the past – over 50 years old! Honestly, it didn’t really resonate with anyone who hadn’t been around to watch it back in the day, and it flopped pretty hard in theaters. Now, twenty years later, it’s almost completely forgotten, even by people like me who remember the original! And let’s be real, most movies based on old TV shows *still* don’t do well – just look at *Dark Shadows* or *Baywatch*. No studio would even consider making one of these today, and I can’t say I blame them.

Just Friends

That’s Ryan Reynolds! Before becoming a major star with movies like *The Proposal* and *Deadpool*, he starred in *Just Friends*. The movie centers around a character who was overweight in high school and rejected by the girl he liked. He moves to Los Angeles, loses weight, and becomes a successful music producer. But then, he has to return home and face his old crush. Just thinking about the story and seeing Reynolds in the awkward makeup and prosthetics makes it clear how much the movie jokes about his appearance. That pretty much says it all.

Memoirs of a Geisha

The film *Memoirs of a Geisha* tells the story of a young Japanese woman sold into a geisha house, where she learns the profession and later navigates the challenges of World War II and its aftermath. However, director Rob Marshall cast non-Japanese actors in all three of the main female roles – and Marshall himself isn’t Japanese either. This sparked some controversy when the film was released in 2005. Marshall defended his choices by comparing it to Anthony Quinn playing a Greek character in *Zorba the Greek*, but that argument likely wouldn’t be well-received today.

The Ringer

While *The Ringer* likely intended to be good-natured, the idea behind the movie – a man (Johnny Knoxville) pretending to have a disability to compete in the Special Olympics – feels deeply problematic now. It doesn’t matter what the filmmakers’ intentions were or who they meant to target with the humor; the concept just wouldn’t be accepted today. If a trailer for this film were released online now, the backlash would be enormous.

The Ring Two

While *The Ring* remains a genuinely scary movie, it’s very much a product of its time. The story centers around a cursed VHS tape, and ironically, VHS technology was already becoming outdated when the film was released in 2002. The original novel came out in 1991, when VHS was at its peak, and the Japanese film adaptation premiered in 1998. By the time *The Ring* came out, DVDs were gaining popularity, and the sequel made the idea of a cursed videotape feel even more obsolete. You could theoretically update *The Ring* for today’s world by using a different modern device to carry the curse – imagine a haunted streaming service! However, the recent failed attempts to revive the franchise suggest that the core concept feels dated. Actually, a funny way to remake it now might be as a short sketch where a teenager finds a cursed VHS tape but can’t even find a VCR to play it on, so they just throw it away.

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2025-10-10 19:31