From a veteran culture writer and contemporary movie expert, a celebration and analysis of the movies of 1999—“a terrifically fun snapshot of American film culture in the brink of the Millennium….Mandatory for just about any movie-lover or pop-culture nut” (Gillian Flynn).

In 1999, Hollywood simply because we know it exploded: Fight Golf club. The Matrix. WORK PLACE. Election. The Blair Witch Task. The Sixth Sense. Getting John Malkovich. Superstar Wars: The Phantom Menace. American Beauty. The Virgin Suicides. Males Don’t about Greatest. Movie. Season. Ever.: How 1999 Blew In the Big Screen Cry. THE VERY BEST Man. Three Kings. Magnolia. Those are simply a number of the landmark titles released inside a dizzying film year, one in which a group of daring filmmakers and performers pushed cinema to fresh limitations—and took viewers along for the trip. Free of the restraints of budget, technology, as well as flavor, they created a slew of classics that took on every topic imaginable, from sex to violence to the end of the world. The result was a highly unruly, deeply influential set of films that would not merely switch filmmaking, but also give us our first glance from the arriving twenty-first century. It had been a watershed moment that also created The Sopranos; Apple’s Airport terminal; Wi-Fi; and Netflix’s unlimited DVD rentals.

“A spirited celebration of the yr’s films” (Kirkus Testimonials), Best. Movie. Year. Ever. is the story of not just how these films were produced, but the way they re-made our very own vision from the world. It features more than 130 new and exclusive interviews with such directors and stars as Reese Witherspoon, Edward Norton, Steven Soderbergh, Sofia Coppola, David Fincher, Nia Lengthy, Matthew Broderick, Taye Diggs, M. Night time Shyamalan, David O. Russell, Wayne Vehicle Der Beek, Kirsten Dunst, the Blair Witch kids, the Office Space dudes, the guy who performed Jar-Jar Binks, and dozens more. It’s “the comprehensive portrait of what it had been prefer to spend a year inside a movie theater at the best possible moment in period” (Chuck Klosterman).