Here it goes. And remember, there is a whole number of films that could easily be placed on this list.

"Excess Baggage"
"Hero"
"Home For the Holidays"
"Kafka"
"Mars Attacks!"

And now for the explanations:

"Excess Baggage" (1997)—On the strength of "Clueless," Alicia Silverstone was given the opportunity to start her own production company and have hands-on involvement in her follow-up to that film. Though she made some poor decisions, such as selecting Marco Brambilla to direct, when his only other claim to fame, I think, was "Demolition Man," she made one brilliant decision when she hand-picked Benicio Del Toro to be her leading man. This was only a short while after "The Usual Suspects" and "Basquiat," so he hadn't really made an impression on the movie-going public yet and here he was in a real mainstream movie. And in this individual's opinion, they do actually have chemistry together. Throw in Christopher Walken as Alicia's uncle (more brilliant casting) and you have two brilliant actors helping to support a fledgling young actress find her way and they do it very well. And as far as romantic comedy meet-cute situations, this one's pretty good, when Benicio boosts a car that has Alicia locked in the trunk, because she's pretending to be kidnapped in order to get attention from her dad. The scene where Benicio discovers her is hilarious and is played very well.

"Hero" (1992)—This is a film that not a lot of people saw, but still is a great piece of filmmaking. Directed by Stephen Frears, it stars Dustin Hoffman—in one of his greatest on-screen personas—Andy Garcia and Geena Davis. The plot is fairly simple: Hoffman gets stuck in the mud one night when driving and subsequently witnesses a terrible plane crash. Here's a guy who cares mostly about himself—and somewhat about his son—and is suddenly presented with a situation where he has to be selfless. His crankiness in the face of danger and the opportunity to be heroic is hilarious. Hoffman saves countless people from the wreckage, then disappears. The next morning, he tells what he did to a vagrant played by Andy Garcia. Suddenly, there is a reward out and everyone wants to know who saved the passengers. Garcia takes Hoffman's story, passes it off as his own and becomes famous. Then Hoffman comes forward and says he did it and nobody believes him because he's such an asshole. I love this movie for how great Hoffman is in it. The entire sequence where he is rescuing passengers is absolutely brilliant. This movie is funny, smart and entertaining and manages to actually say something about our celebrity-obsessed culture without hitting us over the head with it.

"Home for the Holidays" (1995)—Sure, dysfunctional families are usually the things of bad sitcoms, but occasionally they are used to great effect in movies. This, to me, is the ultimate dysfunctional family movie. It has little plot, outside of Holly Hunter returning to her house of horrors for Thanksgiving, without her strongest support system, her daughter Claire Danes. But the characters in this film are all so well-drawn and they are a great depiction of a family. Before "You Can Count On Me," Robert Downey, Jr. and Holly Hunter in this were my favorite on-screen depiction of a brother and sister, because of the childish way they behave toward one another, even though they are in their thirties and supposedly grown-up. This is just a fun, entertaining film that makes you appreciate the quirks and eccentricities in your own family, as you realize yours is not as bad as this and that in the end, family is important. It's heartwarming. There, I said it. The highlight is the football game, when Charles Durning turns the hose on Steve Guttenberg and Anne Bancroft yells, "Everyone, into the house! Before we're on the evening news."

"Kafka" (1991)—The little-seen, oft-maligned follow-up to "sex, lies and videotape." This was actually the first Steven Soderbergh movie I saw and it was instantly one of my favorites of all time. I had discovered Kafka himself shortly before I discovered this film and he is still one of my favorite authors. This was in the eighth grade, so maybe that gives more support to the craziness of my film selection, I'm an odd kid—who the hell else read Kafka in the eighth grade? Anyway, the film is just a weird, creepy exercise—something else I started to dig circa eighth-grade; weird, out-there, independent-type films. It borrows liberally from elements of Kafka's work and his life and the atmosphere of this film is just great. I'm big on atmosphere, it's a heavy influence in my choice of good films. Highlights include the two bumbling assistants given to Kafka when he is promoted, and the haunting, scary-as-hell sequence when Kafka works late and is the only one left in the building at night.

"Mars Attacks!" (1996)—With the possible exception of "Planet of the Apes," I've never seen a Tim Burton movie I haven't liked. This is no exception. It's a brilliant homage to both old-school disaster pictures with star-heavy casts and lame sci-fi movies of the 1950s. The result is hilarious and cheesy and incredibly detailed. The casting of Nicholson in various roles—an obvious allusion to Peter Sellers' work in "Dr. Strangelove"—is very funny. The only two things that could have made this movie better were if Burton had been able to use stop-motion, Ray Harryhausen-style animation for the aliens and if Johnny Depp was in there somewhere. Otherwise, this movie is just good, old-fashioned fun. It's hard to make something deliberately cheesy, and even harder to make it actually work.

— Hoey

Fish & Hoey (sounds like a soulfood dish),

I need to erase the memory of Hoey's list because it contains two of the most dreadful movies in recent memory—"Excess Baggage" and "Mars Attacks!". I think Benicio Del Toro was actually asleep during that movie, and Tim Burton may be the most overrated director ever. Face it, guys. You can't argue with "Planet of the Apes" (2001).

Anyway, here's my list of Five Film That I Love Even Though the Rest of the World Hates Them:

"The Cell"
"Eyes Wide Shut"
"Get Carter"
"Mullholland Drive"
"The Way of the Gun"

"The Cell" (2000)—Look, I can't stand J-Lo, but she did a good job in this movie. So did Vince Vaughn in one of his few good, post-"Swingers" moves (although his role was woefully underwritten). And Vincent D'Onofrio was downright terrifying. Think back over the last 10 years—is there a movie that better utilizes imagery and visual effects? I don't think so. Tarsem Singh did an outstanding job creating an authentic dream world with some stunning visuals and scenery. The costumes were amazing, too. The plot premise was great. The script lacked some character development, but the direction was flat-out brilliant; I can watch the dream sequences over and over again. I think the movie didn't do as well as it should have because of some truly grotesque scenes (I doubt Vince Vaughn will ever look at his abdomen the same way again). I'm really looking forward to Tarsem Singh's next project.

"Eyes Wide Shut" (1999)—I've said it before, I'll say it again: This movie is not meant to be enjoyable. Some films are enjoyable, and some are simply disturbing. Kubrick's final film takes a lot of criticism over its disjointed, wandering story and the acting of the two leads. I think Tom Cruise and Nicole Kidman were perfect IN this movie and FOR this movie. In other words, they did a good acting job, and I think Kubrick's decision to cast them offered a clever play on their real-life marriage and status as Hollywood sex symbols. As for Kubrick, he's in top form on this one. The suspense he cultivates in the masked orgy scene is priceless. And for some strange reason, I find myself unable to turn away from the scene where Cruise visits the hooker's apartment, despite the fact that nothing really happens. That's Kubrick's gift. He can paint a scene beautifully without frantic camera movement or silly effects. The only complaint here is that the movie dragged at the end.

"Get Carter" (2000)—I'll get this out of the way first. I think this may be Sylvester Stallone's best performance ever. I know that's not saying a whole lot, but seriously, watch this movie with a clear, unbiased opinion. The scene on the hotel rooftop with Rachel Leigh Cook is fantastic. He's actually acting, and acting very well! Okay, the rest of the movie. I think it's awesome, a very cool, sleek and emotional crime drama with an excellent cast (Miranda Richardson, Cook, Mickey Rourke, Alan Cumming, and Michael Caine). The only flaw is that Gretchen Mol, winner of the inaugural Torpedo Award for "Rounders," appears in a cameo [stay tuned for the next Film Junkies column on the Torpedo Awards]. I've never heard of Stephen Kay before, but his direction in this movie rivals most action films, with the exception of "Three Kings," in the last few years. Some shots, like the elevator scene and the car chase, are so good I wear out the rewind button on my VCR. Stallone is the key. He could have done another stupid action hero character or a bad-guy-turned-noble-hero role in this movie, but his Carter is anything but. Great stuff.

"Mullholland Drive" (2001)—I know that a lot of critics loved this film, but most critics and audience members hated it. I can see why. I was close to hating it myself with about 20 minutes to go, but for some reason, things started to come together and I ended up being spellbound. I can't explain the movie. Won't even touch the plot. The cowboy? I haven't got a clue (although Hoey, you're right when you say Lynch basically ripped himself off from the Robert Blake scene in "Lost Highway," which incidentally was one of the all time creepiest scenes ever). I will say this. David Lynch gave me something to puzzle over and reexamine and study, and not many filmmakers have done that lately. I wouldn't want to revisit the film to try to decode it if not for two factors: First, Lynch's direction—eerie, momentum-building, and methodical, which is perfect for the film; second, the acting, specifically by Naomi Watts, who was robbed of an Oscar nomination. Absolutely brilliant. I watch the audition scene (great stuff) and the last 20 minutes of the film and still wonder how it's the same actress. Just brilliant.

"The Way of the Gun" (2000)—I had to go through this movie about five times before I really came to love it, and I'll probably never say that again about a Ryan Phillipe movie. It starts at the beginning. Great opening scene. I mean perfect. Sets up the film perfectly. The plot: Okay, it makes no sense and really reaches on some of the twists, but at least it's original and involving. The action: Christopher McQuarrie just has an eye for action scenes. I can't describe it any better than that, but the showdown at the end of the movie illustrates my point. The music is perfect, like an old Peckinpah movie. The acting? Even that's good. Phillipe? Juliette Lewis? I'm serious, they were both very good. Benicio Del Toro is excellent in an understated role, and so is James Caan. They have a great scene together in the middle of the movie, where McQuarrie shows he can direct outside of shoot-outs and blood-letting. A fine action film that's spruced up with a keen existentialist plot and some compelling, if underwritten, characters.

Okay, there it is. Fish, you're on the clock. Hop to it, son.

— Rob, the mad film critic

Alright boyz,

I'm on the chopping block? I'm going to pull a Hoey and preface this a bit. But I only do so because I want you to know that my choices are not inspired by '80s nostalgia. I really do think that my '80s choices are really cool movies, which is highly, HIGHLY embarrassing. Here are my top five, in order of least to most embarrassing. God, I can't believe I'm even doing this...

"Starship Troopers" (1997)—You can't deny that even though Paul Verhoeven makes awful movies, he often knows what he's doing. "Robocop" had the same sort of claustrophobic, faux-utopic images of humanity, even though it was senselessly gory at many points. Starship Troopers is about colonialism, and an inflated sense of humanity's importance not because of how we progress morally, but more so what we can make and conquer. The Frank Capra-esque pro-war propaganda segments are also brilliant.

"Illtown" (1996)—I'm not really embarrassed by this one, actually. Apparently director Nick Gomez's funding was cut in the middle of his attempt at trying to make a fairly standard action movie about small-time drug trade. What was left of the movie he actually had filmed, he had to piece together with great anxiety. The result was a very bizarre, haunting mess of a suspense movie. Lots of "was that actually there, what I just saw?" Also take note of the beginnings of Michael Rapaport's obsession with Lili Taylor, which won him "Most Embarrassing Restraining Order of 1997" by stalking her and prompting legal action.

"See No Evil, Hear No Evil" (1989)—Directed by Arthur Hiller. No, you haven't stumbled upon Hoey's list by accident. Please note the following three factoids: One, Gene Wilder is deaf. Second, Richard Pryor is blind. Third, Kevin Spacey is the token late-80's gangster bad guy. Found on $6.95 drug store shelves everywhere.

"Silent Night, Deadly Night" (1984)—Directed by Charles E. Sellier. Jr. I've seen this movie about ten times. It's AWFUL. A young boy sees a criminal commit atrocities in a Santa Claus suit. Needing no further rationale, the boy grows up and becomes a homicidal Santa himself. This movie is always overlooked for '80s slasher films. But why, I ask you? Why?

and...

"Megaforce" (1982)—Directed by Hal Needham. Motorcycles with lasers on them and Barry Bostwick. Don't trip on your way out the door to the video store.

Well, there it is, gents. I gotta say, Rob, I feel like you bailed out a bit. Either your tastes are very refined past the point of enjoying mostly bad material, or you didn't realize that all your movies have been lauded in some form or another. Oh, wait. Stallone's "Get Carter"? Never mind. You're cleared.

— The Fish