90s Thrillers That Are So Bad They're Good Guilty Pleasures

      Casey Chong offers a roundup of ‘so bad they’re good’ thrillers from the 1990s that deserve a spot on your watch list.

      The 1990s witnessed a surge of remarkable thrillers, including films like Misery, Pacific Heights, The Silence of the Lambs, and Se7en, among others. However, this decade also produced numerous thrillers with excessive plotting and absurd twists. Some of these films fall into the ‘so-bad-they’re-good’ category, providing an enjoyable sense of guilty pleasure whether you're revisiting them or watching for the first time. Here are eight such thrillers from the 90s that are indeed worth your time.

      **Unforgettable (1996)**

      John Dahl’s initial three films—Kill Me Again, Red Rock West, and The Last Seduction—showcase his talent for crafting engaging neo-noir thrillers. Following these, he released Unforgettable, where he shifts from neo-noir to a genre blend that combines murder mystery, sci-fi, and medical themes. The screenplay, penned by Bill Geddie in his writing debut, centers on medical examiner David Krane (Ray Liotta) who steals an experimental memory-transfer serum to relive the events surrounding his wife's murder. Liotta delivers a desperate portrayal in his pursuit of the killer, though at times it borders on camp. Dahl collaborates again with Linda Fiorentino from The Last Seduction; however, this time she plays a scientist linked to the serum, offering a much more restrained performance.

      **Silent Fall (1994)**

      Bruce Beresford, known for his work across genres—ranging from comedies (Her Alibi, Driving Miss Daisy) to dramas (Tender Mercies, Evelyn) and even a Biblical epic (King David)—brings his talents to the thriller genre with Silent Fall. The plot follows Jake Rainer (Richard Dreyfuss), a child psychology expert who reluctantly aids the local police in uncovering what a boy (Tim Warden, played by Ben Faulkner) witnessed during a brutal double murder of his parents. The boy, who is autistic, presents challenges that Jake navigates utilizing every professional technique at his disposal. As the story advances, it becomes apparent that Tim possesses the ability to "play back" precise words spoken during the murder, even mimicking different voices. While Beresford's deep dive into psychotherapy might frustrate viewers craving a traditional murder mystery, Silent Fall remains engaging, boosted by a strong cast including Dreyfuss, Faulkner, and a young Liv Tyler in her acting debut.

      **The Temp (1993)**

      In The Temp, Tom Holland blends a femme fatale-driven psychological thriller with elements of dark comedy for a guilty pleasure experience. The film revolves around the title character, Kris Bolin (played by Lara Flynn Boyle), whose initiative impresses her boss, Peter (Timothy Hutton). Using her intelligence and allure, she cleverly navigates the cutthroat corporate world. Boyle injects energy into The Temp with her captivating performance, contrasting nicely with Hutton's anxious yuppie portrayal. Drawing from his horror filmmaking background, Holland includes a chilling scene involving a paper shredder. The cast also features Faye Dunaway, who delivers an over-the-top performance as Charlene Towne, the company's boss.

      **Whispers in the Dark (1992)**

      Released during the peak of the erotic-thriller trend, Whispers in the Dark was somewhat eclipsed by the success of Basic Instinct, which premiered the same year. Annabella Sciorra stars as a psychiatrist who finds herself entangled with a man (Jamey Sheridan) linked to her patient’s (Deborah Unger) disturbing murder fantasies. Writer-director Christopher Crowe introduces several red herrings in this languorous thriller, inviting viewers to play detective as the plot unfolds. Although reliant on plot contrivances and featuring an implausible twist ending, the film shines with Crowe's glossy visuals, utilizing stylized lighting and atmospheric shadows. Sciorra excels in her lead role, joined by strong performances from Unger and John Leguizamo as disturbed patients.

      **Never Talk to Strangers (1995)**

      The main allure of Never Talk to Strangers is the pairing of Rebecca De Mornay and Antonio Banderas. The film opens with their initial meeting—De Mornay’s character, Dr. Sarah Taylor, a criminal psychologist, and Banderas’ alluring stranger, Tony. Their flirtation quickly escalates to a passionate encounter filmed with softcore eroticism. However, things take a darker turn when Sarah begins receiving unsettling gifts like dead flowers and a dismembered cat. Is Tony involved, or is there someone else harboring a grudge against her? Peter Hall’s direction, which builds towards a surprise reveal, may test plausibility but still benefits from the sizzling chemistry between De