Category Archives: 1985 Films

1985 Films, Comedy, Drama, Favorite Film of the Year, Independent, Independent Comedy, Independent Drama, Top 250 Films

The Breakfast Club-1985

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The Breakfast Club-1985

Director John Hughes

Starring Judd Nelson, Molly Ringwald, Emilio Estevez

Top 250 Films #131

Scott’s Review #755

Reviewed May 8, 2018

Grade: A

The Breakfast Club (1985) is one of the most beloved films of the 1980s and perfectly captures what it was like to be a teenager at the time.

Containing both innocence and authenticity rarely found in films targeted at younger audiences (and there were plenty in the 1980s), the film is timeless and holds up exceptionally well, still feeling fresh.

Director John Hughes avoids cliches and creates genuine truth in cinema. The theme song, “(Don’t You) Forget About Me,” is nearly impossible to hear without associating it with this film.

The storyline is uncomplicated: five high school students (Bender, Claire, Andy, Brian, and Allison) from different social classes gather one Saturday morning in the high school library for a day of detention.

Each student appears to know the others, but only peripherally, having little in common.

Assistant Principal Vernon (Paul Gleason) assigns them to complete a thousand-word essay by the end of the day. The group engages in mischievous antics, squabbles, and discusses their respective roles and troubles in life throughout the day.

The film looks and feels like a small, independent feature rather than a big-budget offering, which is a great compliment. The cast is very small- only the aforementioned six principles and two minor characters.

The setting is almost entirely inside the walls of a suburban high school, with only a few exterior shots. Mainly, what succeeds is the characters’ interactions, rich dialogue, and good texture, along with underlying insecurities that make the screenplay bristle with genuine angst.

It is tough to pinpoint who the lead characters would be, but arguably Claire and Bender (Molly Ringwald and Judd Nelson) are the pair expected to unite as a couple, as they do in the conclusion- this is predictable yet sweet.

Unexpectedly, however, the film pairs Andy and Allison (Emilio Estevez and Allie Sheedy).

Both couples are complete opposites; Claire and Bender even despise each other for most of the film, yet they realize their mutual attraction.

Careful not to weigh down the film with too much heavy drama, Hughes, who also wrote and produced the work, peppers in some comedic moments.

Gleason is the easy foil as the sole authority figure, a bit too dedicated to his job of humiliating and disciplining the students, but he does get his due humorously.

Either on-screen or off-screen, no adult figures are written in a positive light, giving The Breakfast Club a complete teenage perspective.

But the main appeal lies with teenagers and the message that Hughes successfully relays: that of the misunderstood young adult.

Each character is unhappy in some way and feels placed into a category or defined by the cliques they belong to, whether they want to or not.

Hughes makes the film a treasure in terms of relating to the characters- everyone remembers high school and the insecurities wrestled with while attempting to get good grades and obtain acceptance.

Hughes brings these aspects to life with his slice-of-life tale.

Even if not every character is immediately recognized by the viewers, each is empathetic nonetheless.

When Andy reveals his father’s criticisms, or Bender painfully recounts his father’s physical abuse, we feel for them, suddenly seeing the strong athlete or the burnout from our high school days in an entirely new way.

Mousy Allison gets a makeover from Claire and suddenly shines like a new dime- finally not being ignored. Brian’s overbearing parents’ pressures are almost too much for him to bear.

After the film, we are left to wonder what will happen on Monday morning during homeroom. Will the group continue their new friendships (or more) or return to the normalcy of their respective peer groups?

Hughes wisely does not satisfy our piqued curiosity but rather leaves it to our imagination.

The Breakfast Club (1985) holds appeal for the masses without feeling cliched or put upon- only feeling insightful and inspired to accept others we may have preconceived notions about.

1985 Films, Camp, Comedy, Dark Comedy, Top 250 Films

Clue-1985

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Clue-1985

Director Jonathan Lynn

Starring Tim Curry, Eileen Brennan, Madeline Kahn

Top 250 Films #133

Scott’s Review #341

Reviewed January 9, 2016

Grade: A

Clue is a harmless 1985 comic yarn that is neither a cinematic masterpiece nor anything more than fluff.

But since I adored the classic board game growing up and reveled in the excitement of the different characters, rooms, and murder weapons, the film version holds a very special place in my heart and memory bank, having watched it time and time again as a youngster.

The plot is immediately filled with intrigue, a successful element, and the best part of the film.

Six interesting characters- with provocative aliases such as Ms. Scarlet, Colonel Mustard, and Mrs. Peacock- are all summoned to a New England mansion named Hill House.

Naturally, it is a dark, stormy night, and each receives a mysterious note written by a stranger.

Among the colorful characters working at the mansion are the plump cook, the scantily dressed maid, Yvette, and the butler, Wadsworth, who is running the show and greets the confused guests.

Slowly, it is revealed that all of the guests are being blackmailed, and all of them either live or have ties to Washington, D.C.

After each guest is given a weapon as a gift, the lights go out, and a murder occurs, launching a fun whodunit. Each guest and the staff strive to figure out who has committed the murder, as subsequent murders begin to occur.

The comic hijinks are reminiscent of funny films like High Anxiety (1977)  and even Young Frankenstein (1974).

The atmospheric qualities featured in Clue are what I love most about the film- the vast mansion, the many gorgeously decorated rooms, the secret passageways, and the driving rain all make for a great ambiance.

Clue is clever in that it features three different endings!  Upon initial theatrical release, this was a unique premise- one could see the film multiple times and not know how it was to end or who the killer might be revealed to be.

Unfortunately, the film was not a commercial success, so this ploy failed.

The famed cast delivers their parts with comic gusto, and without them, the film would simply be dumb.

It seems obvious that the cast had a good old time with this romp- Eileen Brennan, Christopher Lloyd, Lesley Ann Warren, and Madeline Kahn have a comic ball with their perfect delivery of the lines.

Clue is not a message movie; it does not inspire cinematic art, but what it does, it does incredibly well- it entertains.

The writing, along with the political and sexual innuendo, is witty. One can become lost in the interesting characters and try to guess, or even make up, the whodunit and why they did it.

I can be entertained by Clue (1985) time and time again.

1985 Films, Action, James Bond, Spy, Top 250 Films

A View to a Kill-1985

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A View to a Kill-1985

Director John Glen

Starring Roger Moore

Top 250 Films #151

Scott’s Review #484

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Reviewed September 21, 2016

Grade: A

Not exactly deemed a masterpiece or even a treasured favorite among the masses of James Bond lovers, A View to a Kill (1985) holds a soft spot for me.

It is one of the first Bond films I was fortunate enough to see in the movie theater, and it has continued to enchant me decades later.

Yes, it has flaws (to be mentioned later), but it is a classic, fun, exciting, mid-1980s Bond offering.

It features Roger Moore in his final Bond appearance, the exotic Grace Jones, a great villain, and on-location treats such as Paris and Iceland- who could ask for more?

We are reintroduced to MI-6 agent James Bond on the snowy slopes of Siberia as he discovers the body of 003, along with a Soviet microchip believed to belong to the wealthy Max Zorin (Christopher Walken).

Bond attends a horse sale hosted by Zorin and discovers he is drugging the horses to make them perform better.

He also plans to destroy Silicon Valley to control the microchip industry. In Zorin’s camp are a mysterious woman named May Day and an odd Nazi scientist named Dr. Carl Mortner.

Events conclude in San Francisco as the action-packed finale takes place in a mine overlooking (via blimp) the historic Golden Gate Bridge.

I completely get the criticisms hurled at this film- both Roger Moore and, as a secondary character, Lois Maxwell as Miss Moneypenny, had gotten quite long in the tooth by this point in the franchise (1985), which is a shame because both are favorites of mine.

The most glaring “bad” is Tanya Roberts as the main Bond girl, Stacy Sutten, almost rivaling Halle Berry (Die Another Day) as screamingly awful.

Not appearing as a major character until late in the film, Stacey is a wealthy heir whom Zorin tries to pay $5 million to give up her shares in Silicon Valley (she refuses).

Robert’s acting is quite poor- she has no chemistry with Moore, and comes across as a dimwit, despite being written as a doctor or scientist of some sort. Regardless, she does not work as a Bond girl.

Yes, the cartoon-like chase around San Francisco with the brooding police chief is unintentionally funny- another negative to the film.

But here are some strengths: Fantastic is Walken as the main villain, Zorin: Psychotic, Looney Tunes, and such a pleasure to watch.

With his bleached blonde hair and grimacing sneer, a particularly controversial and favorite scene of mine is when Zorin, machine gun in hand, sprays bullets from left to right, undoubtedly killing dozens, as he gleefully laughs.

This was unprecedented in Bond films up to this point, as most villains contained a safer personality- Zorin is positively monstrous and to be feared.

Also worth mentioning is Jones as May Day, mesmerizing in the role, although sadly her character weakens toward the end; did she believe Zorin was capable of love?

Countering the anemic chemistry between Bond and Roberts, Jones and Moore sizzle.

This isn’t the first time Bond has explored an interracial (white and black) romance, far from it. Live and Let Die- circa 1973 takes this honor. I would have enjoyed much more emotional exploration between Bond and May Day, rather than the animalistic physical attraction.

One may wonder, with all the film’s recognizable flaws, why it got an A rating? Because, simply put, this film is fun and contains all the elements a Bond film ought to.

The action is plentiful- who can forget the nail-biting Eiffel Tower chase or the Paris car chase- sans car roof?

Not high art, but a grand favorite of mine, A View to a Kill (1985) is entertainment personified.

The pop title theme song, performed by Duran Duran and a #1 hit in the summer of 1985, is a wonderful part of the film and immediately takes me back to a different time.

I suppose the film does too, and that is a big part of my fondness for it.

Golden Globe Nominations: Best Original Song-“A View To A Kill”

1985 Films, Drama, Period Drama, Top 250 Films

The Color Purple-1985

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The Color Purple-1985

Director Steven Spielberg

Starring Whoopi Goldberg

Top 250 Films #153

Scott’s Review #358

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Reviewed January 9, 2016

Grade: A

Steven Spielberg, admittedly a director who focuses more on sentimentality, mixes heartbreak with the courage to blend a recipe that makes for a perfect, mainstream film from 1985.

It is a different direction for him, far from the summer blockbusters he was known for until this time.

Exceptional acting and cinematography lend themselves to The Color Purple, a film based on Alice Walker’s much darker novel—certainly, one of the best films of the 1980s.

A relative unknown when the film was made, Whoopi Goldberg gives an astounding performance in the lead role.

The film spans approximately forty years in the early twentieth century and is set in rural Georgia.

Celie Harris (Goldberg) is an oppressed black woman; her sister and best friend, Nettie, is sent away, leaving Celie a virtual prisoner with a man, Albert Johnson (Danny Glover), whom she is forced to marry and care for, in addition to his children.

Raped and beaten, Celie is left with little self-worth until two women, rotund, feisty, Sophia (Oprah Winfrey), and Shug (Margaret Avery) inspire her to be something better.

The Color Purple is a deeply sentimental film filled with inspiration for anyone who has been beaten down or otherwise abused by people or society.

The depiction of southern life for blacks, especially black women, is depicted well, though softened; I have no doubt.

Liberties must be taken for the sake of film, as black men, in particular, are not portrayed well- surely there must have been some decent black men in this time?

But, despite Spielberg being a male, The Color Purple is told from a definite female perspective.

Her role as Celie is Goldberg’s finest, and hers is a case of the Academy getting it all wrong; she should have won an Oscar for this performance instead of a consolation win a few years later for her secondary (and unremarkable) role in Ghost.

Goldberg never achieved any roles as great as Celie.

Her expressions and mannerisms spoke volumes, and her occasional wide, beaming smile would melt the coldest heart.

Winfrey, equally brilliant as Sophia (and also robbed at the Oscars), is a completely different character. Angry, abrasive, and outspoken, she fills Sophia with life and energy, which makes her big scene heartbreaking to watch.

Defying a white man, she is beaten, arrested, and reduced to living out her days as a limping maid to a white woman, whom she swore she would never serve.

The cinematography and direction of The Color Purple are grand.

Spielberg does a believable job of depicting time accurately. The cast’s costumes and the lighting, in general, are bright and colorful, and I think this gives the film a pleasant look.

Again, Walker’s novel and the real-life experience were undoubtedly much darker. Still, for the film’s sake, this adaptation (with numerous stage versions preceding and following) makes for a wonderful film.

Oscar Nominations: Best Picture, Best Actress-Whoopi Goldberg, Best Supporting Actress-Margaret Avery, Oprah Winfrey, Best Screenplay Based on Material from Another Medium, Best Original Score, Best Original Song-“Miss Celie’s Blues (Sister)”, Best Art Direction, Best Cinematography, Best Makeup, Best Costume Design

Golden Globe Nominations: 1 win-Best Picture-Drama, Best Director-Steven Spielberg, Best Actress-Drama-Whoopi Goldberg (won), Best Supporting Actress-Oprah Winfrey, Best Original Score

1985 Films, Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romance, Romantic Drama

My Beautiful Laundrette-1985

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My Beautiful Laundrette-1985

Director Stephen Frears

Starring Gordon Warnecke, Daniel Day-Lewis

Scott’s Review #1,451

Reviewed November 10, 2024

Grade: A-

My Beautiful Laundrette (1985) is an early LGBTQ+-themed British film directed by Stephen Frears. He would later become well-known for directing The Queen (2006).

Though the film is choppy and contains several stories, the LGBTQ+ story is one of the few in the genre to offer a satisfying, hopeful ending.

Later, and admittedly more defined, films like Brokeback Mountain (2006) and Boys Don’t Cry (1999) were harsher and more realistic.

The British flavor, interracial pairing, and class differences make My Beautiful Laundrette a lovely watch.

But it’s also all over the place.

In a seedy corner of London, a young Pakistani, Omar (Gordon Warnecke), is given a run-down laundromat by his affluent uncle Nasser (Saeed Jaffrey), who hopes to turn it into a successful business.

Soon after, Omar is attacked by a group of racist punks but realizes their leader is his former lover, Johnny (Daniel Day-Lewis). The men resume their relationship and rehabilitate the laundromat together, but various social forces threaten to compromise their success.

Omar’s father is an unhappy former left-wing journalist who has turned to alcohol. Nasser’s daughter, Tania, is meant to be Omar’s future bride, while Nasser is in love with his mistress, Rachel (Shirley Anne Field).

Besides these storylines, there is a complicated relationship between brothers Nasser and Hussein, and a drug-smuggling storyline.

While every story has some intrigue and shapes the structure, the male romance is not front and center enough to be completely developed.

Omar and Johnny are interesting because, despite their differences, they connect and are truly in love. Politically, Omar is left-wing, and Johnny is right-wing. Omar is upper class, while Johnny is working class. Omar is Pakistani, while Johnny is British.

Being 1985 and early in the LGBTQ+ genre, Frears focuses mostly on their romance and less on their differences. There is a brief sequence where Omar treats Johnny as a lowly employee, but for the most part, they are in love.

It takes a long time to showcase Omar and Johnny making My Beautiful Laundrette, only marginally an LGBTQ+ effort.

There is no mention of the A.I.D.S. epidemic, which would have made it a different kind of film.

The romance between Nasser and Rachel is marvelous. There are a couple of audience members who shouldn’t root for but do anyway. Rachel is the other woman, merely a mistress, but why is she so appealing? Why do Nasser and Rachel connect so well?

Shirley Anne Field pours kindness and empathy into her character, while Saeed Jaffrey relays his love for Rachel to Nasser. Yes, he is married, but the marriage is traditional, and his wife is Pakistani. We know that at another time Nasser and Rachel would have a chance.

When Tania snaps at Rachel and accuses her of being a woman who so easily lives off a man, Rachel reminds her that she does too. Rachel is from a different generation where opportunities for women are scarce.

Field makes the scene her own and wins over the audience, even though it could have been against her.

The Rachel/Nasser romance parallels the Omar/Johnny love story. Both couples live secret lives, hidden from the world.

This is evident in a powerful scene when the two couples are simultaneously romantic in the laundrette. Neither sees the other at first, but the audience sees both couples. This mirrors their mutual love, and it’s a beautiful sequence.

While there is sometimes too much to follow, most of the material is poignant and relevant, making My Beautiful Laundrette (1985) a film worth recommending.

It has an LGBTQ+ presence but is not restricted to that genre, offering other nice stories to the experience.

It also leaves one feeling hopeful, which is sometimes needed in cinema.

Oscar Nominations: Best Original Screenplay

1985 Films, Comedy, Screwball Comedy

Private Resort-1985

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Private Resort-1985

Director George Bowers

Starring Rob Morrow, Johnny Depp

Scott’s Review #1,382

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Reviewed July 26, 2023

Grade: B

Depending on what type of film you are looking for, Private Resort (1985) may be just what the doctor ordered.

A version of Animal House (1978) or Porky’s (1981) shifted to a sunny beach resort is the perfect summer setting for a sex romp with enough g-strings, boobs, and bare butts to make even non-prudish viewers blush a little.

Suffice it to say, director George Bowers, mostly known as a film editor, and screenwriter Alan Wenkus weren’t seeking any Academy Award nominations.

Though silly, thoughtless, and caked with terrible acting, Private Resort is a fun flick.

Shamelessly, since its 1985 release, the distributors have callously billed mega Hollywood star Johnny Depp as the ‘star’ of this film. Someone even dared to add his photo to the film’s cover art, which I nearly used when creating my film review.

In reality, Depp plays second fiddle to Rob Morrow, who is the film’s real star and proudly displays more bare flesh than Depp does.

Morrow also proudly dons a dress and wig for a lengthy drag performance.

Thankfully, another source cleverly depicts a lineup of bronzed, toned beach bodies, each donning the letters that spell ‘Private Resort’ (see above), across different cover art.

Horny teenage buddies, Ben and Jack (Morrow and Depp), decide to spend a weekend in a swanky Miami beach resort chasing the flock of equally horny and scantily clad women they encounter.

How they have the money to afford a room is never explained.

Their fun is parlayed when they cross paths with a shifty jewel thief played by Hector Elizondo and his leggy girlfriend Bobbie Sue (Leslie Easterbrook). Throw in a romance with all-American-looking waitress Patti (Emily Longstreth) and sultry Dana (Karyn O’Bryan), and you’ve got a plot.

Bowers throws in enough physical comedy and antics to keep the action moving along in a speedy one-hour and twenty-two-minute running time.

The gags follow films like Caddyshack (1980) or any of the other countless 1980s slapstick comedies, and you can pretty much bank on what you’ll be served up.

Why, the opening scene follows a parade of sexy female sunbathers slathering suntan lotion on or suggestively bending over for all to see.

Many were uncredited, so my hunch is that adult film stars were used.

Morrow is the standout, and his boyish charisma lights up the screen, especially when he becomes smitten with Patti. The fresh-faced pair make a perfect match and exude young love, becoming the heart of the film.

Elizondo and Easterbrook dutifully perform their parts as one-dimensional foils and MILF roles, respectively. Decent actors are worlds above any of the other supporting actors in terms of talent.

Even comic actress Dody Goodman (Grease, 1978) goes way over the top in her role as Dana’s wealthy grandmother.

Andrew Dice Clay, then known as Andrew Clay, also appears.

Private Resort gets a severe wrist-slapping for two crass fat-shaming scenes not worth giving time to other than to mention it’s not kind to plump girls.

I first saw Private Resort (1985) as a teenager when it was first released and loved it. This was before I blossomed into a snobby film critic.

Seeing the film a million years later with more sophisticated tastes, I still find it fun, especially on a scorching summer night.

That’s got to count for something, right?

1985 Films, Adventure, Fantasy, Science Fiction

Back to the Future-1985

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Back to the Future-1985

Director Robert Zemeckis

Starring Michael J. Fox

Scott’s Review #1,205

Reviewed December 5, 2021

Grade: A-

As a child of the 1980s, films like Back to the Future (1985) left an indelible mark on me.

I fondly recall excitedly going to the movie theater on a Saturday afternoon with a giant tub of popcorn in tow and enjoying the hell out of this film.

I’ve subsequently seen it several times since.

A magical, futuristic element left me and countless other youngsters and adults alike with a sense of wonder. And one amazing car!

Michael J. Fox, a huge television star of the 1980s largely thanks to the sitcom Family Ties, powered through to the big screen with the help of this film and others.

The 1980s were a wonderful decade to grow up in.

Small-town California teen Marty McFly (Fox) is thrown back into the 1950s when an experiment by his eccentric scientist friend Doc Brown (Christopher Lloyd) goes awry.

Traveling through time in an amazing DeLorean, Marty meets younger versions of his parents (Crispin Glover, Lea Thompson) and must make sure they fall in love, or he will cease to exist.

To complicate matters further, Marty must return to his own time and save Doc Brown’s life.

Back to the Future is one of those films that has something for everyone, and the stars are perfectly aligned to make it a blockbuster popcorn hit.

Beyond the science fiction, the film offers humor, a cool 1950s throwback vibe, romance, and natural chemistry between Fox and Lloyd, who carry the film.

It’s hardly an art film and goes for the jugular with mainstream additions like a killer soundtrack led by Huey Lewis and the News’ “The Power of Love,” which was all over Top 40 radio in the summer of ’85.

Counterbalancing the current times was another smash hit, Johnny B. Goode, a 1958 Chuck Berry tune.

There is a safe vibe for sure, and director Robert Zemeckis knows his action-adventure romantic comedies. This may be his best work, but he also tends to avoid diversity and heavy topics. He creates a fun, entertaining film.

Fox is perfectly cast as Marty, and I cannot imagine anyone else in the role. However, method actor Eric Stoltz was the original choice and spent several dismal weeks filming scenes before the studio replaced him.

Fox is the ultimate boy next door, cute but goofy, and relatable to teenage boys across middle America.

Lloyd is perfect as the zany Doc Brown. He is wacky without being too ridiculous and bridges the gap between generations. The character is presumed to be old enough to be Marty’s (in present-day) grandfather, and the two characters rely on each other.

Back to the Future shows that an unlikely friendship can develop.

The film also effectively depicts the vast differences between the 1950s and the 1980s. The 1950s are seen as a simpler, wholesome time, while the 1980s are seen as a decade of excess, and the film pokes fun at both generations.

But both generations can also connect.

In a moment of crisis, Marty helps secure his parents’ bond and ensures his creation. Some may find this icky, but the romance between the two parents is tender and sweet.

The interactions between all characters are sentimental without being saccharine.

Back to the Future was the feel-good film of 1985 and a must-see for those living in the period. It holds up surprisingly well, and the state-of-the-art special effects don’t look dated or laughable now.

It also explores growing up as an adolescent, identifying with your parents, and the differences between you and them.

Who can’t relate to that in some way?

Oscar Nominations: 1 win-Best Original Screenplay, Best Original Song-“The Power of Love, Best Sound, Best Sound Effects Editing (won)

Golden Globe Nominations: Best Picture-Comedy or Musical, Best Actor-Comedy or Musical-Michael J. Fox, Best Screenplay, Best Original Song-“Back to the Future”

1985 Films, Comedy, Dark Comedy, Independent, Independent Comedy, New York City

After Hours-1985

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After Hours-1985

Director Martin Scorsese

Starring Griffin Dunne

Scott’s Review #1,069

Reviewed October 9, 2020

Grade: A-

After Hours (1985) is a gem of a film.

When thoughts of director Martin Scorsese are conjured, Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1993) immediately spring to mind.

Scorsese’s decision to create a pared-down independent film was met with enormous success and accolades for the very first Best Feature indie film victory and Best Director honors.

The experience is a black comedy set in the gritty, unpredictable underbelly of Soho, New York City, in the 1980s.

Mixing comedy with satire, Scorsese leaps from the similar content of The King of Comedy (1983) to this film made only two years later.

Any fan of New York City will cheer at the authenticity of shooting the film on location.

The Big Apple in the 1980s was a notoriously violent cesspool, so the genuine setting, along with the dark streets and alleys, is an immeasurable treat and adds zest to this unusual film.

A nice guy, Paul Hackett (Griffin Dunne), works hard as a computer data entry worker by day and shares an encounter with a quirky young woman named Marcy Franklin (Rosanna Arquette) in a Manhattan coffee shop.

After she gives him her number and leaves, he can’t stop thinking about her and embarks on a late-night adventure to see her at her apartment.

The night does not end how he thinks it will, not by a long shot, as he spends the rest of the long night meeting various women and other strange characters as he traverses around the city attempting to get back home. He has lost his money and is broke.

After Hours’ strengths are its bizarre characters and cinematography that offers a tantalizing view of downtown Manhattan.

The film is atmospheric and zany, with gloomy, steamy side streets and odd locales sprinkled with color.

A dingy bar, a sophisticated artist’s apartment, and a man sculpture that follows Paul everywhere are usurped by the film’s strangest and most interesting set, Club Berlin, an “after-hours” club inhabited by punks who want to shave Paul’s head into a mohawk.

I enjoyed this film as a sort of “A Day in the Life of Paul” adventure story, albeit a gothic one.

The film concludes wonderfully as the sun begins to rise, and thus Paul’s wild night finally ends.

I was chomping at the bit with the thought of what a new morning would bring and the possibilities of reuniting with any of the women he encountered the night before, either dead or alive.

Particularly charming to me while watching After Hours, the decade of decadence long past, are the relics that were once commonplace in everyday life. A phone booth, the traditional yellow cabs, and desktop personal computers are heavily featured.

These items, relevant when the film was made, now feel like throwback niceties that make the film endearing, like a glimpse into someone’s time capsule.

I didn’t pick up on much authentic romance between Paul and any of the female characters, Marcy, June, Gail (Catherine O’Hara), or Julie (Teri Garr), but maybe that’s the point. While one winds up dead, not one, but two of them pursue him, and not in a good way.

The film is mystical, weird, and energetic. Cheech & Chong’s inclusion only adds to the revelry.

Sadly, underappreciated and too often forgotten, After Hours (1985) is a Scorsese treat worth dusting off now and then.

This film helped launch the Independent Spirit Awards, which owes much of its success to a, and the admiration works both ways.

For a glimpse of the creative genius that is Martin Scorsese, this film earns an enthusiastic recommendation.

Golden Globe Nominations: Best Actor-Comedy or Musical-Griffin Dunne

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Martin Scorsese (won), Best Female Lead-Rosanna Arquette, Best Screenplay, Best Cinematography

1985 Films, Horror, Slasher

A Nightmare on Elm Street 2: Freddy’s Revenge-1985

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A Nightmare on Elm Street 2: Freddy’s Revenge-1985

Director Jack Sholder

Starring Mark Patton, Robert Englund

Scott’s Review #1,024

Reviewed May 18, 2020

Grade: B

While it adds a surprising and tantalizing sexual subtext to a standard story and features a male protagonist instead of the generic female, A Nightmare on Elm Street 2: Freddy’s Revenge (1985) sometimes feels overwrought.

With stock characters and not enough scary moments to satisfy bloodthirsty appetites, the effort and aching for something a bit different is apparent if viewers are sharp enough to take a curious peek.

The glossy 1980s cinematic look is cringeworthy and very “of the time,” which usurps the creative tidbits nestled beneath the surface, as deserving of their merits as they are.

Nonetheless, the film is not at all bad, almost feeling fresh by today’s standards, and the familiar villain is worth the price of admission.

Once again, Freddy baits and taunts his victims, who never stand a chance, with his trademark sneer and razor-sharp nails.

Five years following the events of the first A Nightmare on Elm Street (1984), a new family arrives on the cursed block, happily anticipating a new life filled with baked cookies and warm fires.

Parents Ken and Cheryl Walsh (film legend Hope Lange) raise two kids, Angela and Jesse (Mark Patton). The latter is haunted in his dreams by a killer driving a school bus.

Jesse is joined by his friend and romantic interest, Lisa (Kim Meyers), school chum Grady (Robert Rusler), and Coach Schneider (Marshall Bell), who may or may not be gay.

An obvious comparison to the similarly themed Friday the 13th franchise, a hot ticket during the 1980s, is its return to a familiar setting.

Elm Street is to A Nightmare on Elm Street what Camp Crystal Lake is to Friday the 13th. The locale is a character in itself, and knowing that bad things will happen there is pleasing to the viewer.

Elm Street is supposed to be a quiet and safe place for families to snuggle in their beds with pets, dreaming the nights away, not worrying about an evil force turning their pleasant dreams into nightmares come to life.

A clever homoerotic tidbit that is lost on most viewers nonetheless emerges, especially in hindsight.

Let’s remind ourselves that 1985 was not a hotbed of LGBTQ cinematic activity, especially as the horrific A.I.D.S epidemic was front-page news.

Gay-themed films were not the norm, not even in the independent film circuit yet, so any mention of a gay character was a win for the community.

A riveting scene has Jesse dreaming of indulging in a drink at a gay bar and is caught by Schneider, who sends him to the showers.

The sexual overtones, obvious now, were not then, but sadly, this is as far as the film goes with this subject.

The remainder of the story is mostly standard fare, featuring a lively teenage pool party, aqua-net-infused hairstyles, up-tempo pop music, and familiar written characters, most of whom turned up with different faces in the droves of horror films that peppered suburban movie theaters in those days.

Not daring to make Jesse a gay character, though someone humorously made the character’s name androgynous, Jesse and Lisa share a tender kiss in her cabana.

Most sequels pale in comparison to their originals.

A Nightmare on Elm Street 2: Freddy’s Revenge (1985) is an adequate follow-up that dares to incorporate as much diversity and inclusiveness as could be mustered in a mainstream film during the mid-1980s.

Let’s not kid ourselves that the studios did not have profit on the mind over credibility and creativity, but the stakes are not exactly played safe, which is to its credit.

There were far worse sequels in this franchise yet to come!

1985 Films, Crime Thriller, Thriller

Witness-1985

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Witness-1985

Director Peter Weir

Starring Harrison Ford

Scott’s Review #754

Reviewed May 7, 2018

Grade: A-

Witness (1985) is a slick crime thriller that may, at first glance, seem like a by-the-numbers genre film, but it is well above average.

As the plot unfolds, there are key nail-biting, edge-of-your-seat scenes that build tension in a way that the suspense master himself, Alfred Hitchcock, would be proud of.

Decades later, it is tough to watch the film without noticing a slightly dated quality, but at the time, it was well regarded and terrifically paced.

Charismatic Harrison Ford and novice child actor Lukas Haas make the film more than it could have been.

The film’s setting is twofold, presenting two distinct cultures: rural Pennsylvania’s Amish country and bustling metropolitan Philadelphia.

The death of her husband leads Amish woman Rachel (Kelly McGillis) and her son Samuel (Haas) to the big city to see her sister. While transferring trains, Samuel witnesses a brutal murder in the men’s room- unbeknownst to the killers.

This riveting scene (explained in more detail below) sets the rest of the story in motion.

When Detective John Book (Ford) is assigned to the case and questions Samuel, he can’t identify the assailants. After Samuel’s fingers, an unthinkable suspect, events escalate, and John uncovers a mighty corruption circuit within the police force.

Now targeted, John must assimilate into Amish culture as he tries to protect both Samuel and Rachel (and keep himself alive) while starting a relationship with Rachel.

The story wisely focuses on the principal characters’ differing lifestyles.

What I enjoy most about Witness is the mix of people from different cultures and how they can learn from one another. John is so used to and desensitized by the rat race that he often forgets the nicer things in life, peace, or even love.

Rachel and Samuel, of course, are highly sheltered, living in a bubble, and are fish out of water amid the bustling streets of Philadelphia. The counter-cultures offer a nice balance to this masculine film, bringing female sensibilities.

Not to be usurped by pure romance, Witness is, at its core, a fleshy, male-driven crime thriller. Adding softer edges, Weir pleases both male and female audiences and appeals to the masses.

John’s precinct, filled with detectives, police officers, and criminals, gives the film the right “guy elements.”

So director Peter Weir offers a good balance here.

I like how Weir portrays the Amish, not as caricatures, stereotypes, or something to be made fun of; they are sweet, stoic, and intelligent, and they accept John into their lives.

As John learns more about Amish culture and becomes one of them, this immersion in a different culture becomes even more prevalent, a good lesson to apply to other differences between people.

The acting is a strong component of Witness.

Charismatic and handsome, Ford is believable as a fast-paced, busy detective.

To add further substance, Ford transforms his character (often written as one-note in typical films of this nature) into a sympathetic and inspiring man as he slowly becomes a father figure to the wide-eyed youngster Samuel and falls in love with Rachel.

Ford is the standout, but the film would not work with fewer supporting actors.

Both innocent and gentle, McGillis and Haas add layers to their roles with pronounced toughness and resilience, saving John as much as he saves them.

Two scenes stand out and successfully build tension and dramatic effect.

As Samuel witnesses the murder in the bathroom, he is seen in a stall, peeking through a crack with only one eye exposed. When he makes a slight noise, the assailant violently goes through each stall, intent on shooting whatever he finds.

Samuel must think quickly to avoid being caught. The camera goes back and forth between Samuel’s looks of panic and the assailant getting closer and closer to catching him.

The viewer’s heart will pound during this scene.

Later, as Samuel sees a newspaper clipping framed among a case of awards, he recognizes the assailant. Weir shoots it in slow motion so John and Samuel’s reactions are palpable and effective.

The scene is tremendously done and cements the bond and trust between these characters.

Thanks to a wonderful performance by Ford and the cast surrounding him, Witness (1985) successfully widens the traditionally one-dimensional masculine crime thriller into something deeper.

With slick entertainment, a great story, and substance, the film crosses genres and offers a substantial cinematic experience the mid-1980s sorely needed.

Oscar Nominations: 2 wins-Best Picture, Best Director-Peter Weir, Best Actor-Harrison Ford, Best Screenplay Written Directly for the Screen (won), Best Original Score, Best Art Direction, Best Cinematography, Best Film Editing (won)

Golden Globe Nominations: Best Picture- Drama, Best Director-Peter Weir, Best Actor-Drama-Harrison Ford, Best Supporting Actress-Kelly McGillis, Best Screenplay, Best Original Score

1985 Films, British, Horror, Science Fiction

Lifeforce-1985

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Lifeforce-1985

Director Tobe Hooper

Starring Steve Railsback, Peter Firth, Frank Finlay

Scott’s Review #516

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Reviewed November 11, 2016

Grade: F

Lifeforce, a film made in 1985, is a film that I did not enjoy at all.

It tells the story of a team of astronauts who find three pods of seemingly human bodies, who eventually return the bodies to Earth and turn said humans into zombies.

That is it in a nutshell.

The story makes no sense whatsoever, and there is no rhyme or reason to the characters’ actions except to further the plot.

No mention or details as to why they are in outer space or anything that drives the character’s motives.

The film is way too complicated for its own good, and it would have been wiser to go for a straightforward action film rather than what we are treated to (a combo sci-fi/horror mess).

The special effects are completely dated and very cheesy.

Lifeforce (1985) is completely plot-driven, and I did not find it gripping at all; it is a waste of time that deserves to be completely forgotten.

1985 Films, Drama, LGBTQ+ Drama, LGBTQ+ Films, Portuguese

Kiss of the Spider Woman-1985

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Kiss of the Spider Woman-1985

Director Hector Babenco

Starring William Hurt, Raul Julia

Scott’s Review #187

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Reviewed October 24, 2014

Grade: B+

1985 wasn’t the best year for film, nor was much of the 1980s, but there are unique standouts, and Kiss of the Spider Woman is an unusual, artistic film.

Set in present-day South America (Brazil), two men are imprisoned for very different reasons and become cellmates.

Complete opposites, they form an unlikely bond rooted in friendship but also flirting with romance and, at times, love.

Luis Molina is outwardly homosexual and extremely flamboyant and perhaps out of touch with reality as he fantasizes and describes romantic Nazi films.

He is imprisoned not only for being homosexual but also for having sex with an underage male.

The other man, Valentin Arregui, is a liberal political activist who has been beaten, tortured, and interrogated due to his revolutionary-leaning politics. He has a rough, macho edge.

On the surface, the two men have nothing in common, but their proximity leads them to forge a close bond and mutual respect as they explain their pre-imprisonment lives to each other and to the audience.

The film’s true strength is William Hurt’s performance, very much against type, the best of his career by a mile. He fully embodies Luis’s effeminacy, yearning, pain, and obsession with escaping reality through film.

Raul Julia has the same effect, though in a completely different way, in his portrayal of Valentin.

Luis tenderly comforts Valentin, who is poisoned by prison officials who incorporate his stories of films into Valentin’s real life, as he yearns for his separated lover, Marta.

As Luis falls in love with Valentin, and one seems to double-cross the other, they face a test of courage and dedication to each other.

The ending of the film is a sad one, dark, yet thought-provoking, and shows love, tenderness, and bravery.

My only negative about Kiss of the Spider Woman (1985) is that, at times, the flashback structure and Luis’s narration make it hard to follow exactly what is going on.

Still, Hurt and Julia’s performances, and the chemistry between them, are the film’s major strengths.

Oscar Nominations: 1 win-Best Picture, Best Director-Hector Babenco, Best Actor-William Hurt (won), Best Screenplay Based on Material from Another Medium

Golden Globe Nominations: Best Picture-Drama, Best Actor-Drama-William Hurt, Raul Julia, Best Supporting Actress-Sônia Braga

Independent Spirit Award Nominations: 1 win-Best International Film (won)

1985 Films, Horror, Slasher

Friday the 13th: Part V: A New Beginning-1985

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Friday the 13th: Part V: A New Beginning-1985

Director Danny Steinmann

Starring John Sheperd, Melanie Kinnaman

Scott’s Review #118

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Reviewed July 17, 2014

Grade: B

The fifth installment of the seemingly never-ending Friday the 13th franchise, Part V (1985), offers viewers a twist, one that sadly did not go over well with horror audiences.

Hardly high art and initially hated by me, I have grown fond a this film over the years after repeated viewings.

Originally, I was not crazy about the twist at the end of the film, but I now recognize that, for this type of film, it’s worth appreciating an attempt to do something different.

The lighting is brighter and more modern than its predecessor, Part IV, despite being made only a year later.

There is greater comedy in this one- the hillbillies are laugh-out-loud funny, and the waitress scene is howlingly awful in the acting department.

Most of the acting is atrocious and laughable, but a much-needed change of setting away from Camp Crystal Lake works and feels refreshing.

The final victim is, for a change, not a teenager, but a mature, intelligent young woman.

Released smack dab in the middle of the 1980s, the film has a jarring, dated look that doesn’t do it any favors when it comes to longevity.

The film cannot compare to the original or even the first three installments (the best, in my opinion), but it is more experimental than any of the others, which deserves some credit.