Category Archives: 1984 Films

Sixteen Candles-1984

Sixteen Candles-1984

Director John Hughes

Starring Molly Ringwald, Michael Schoeffling, Anthony Michael Hall

Scott’s Review #1,389

Reviewed August 14, 2023

Grade: B

While recently re-watching a string of John Hughes-produced or directed films from the 1980s I set upon them with fresh eyes. Some scenes or themes that worked in the mid-1980s would be inappropriate in a more sensitive and post-Me Too! movement.

Hughes, of course, was the king of the teen angst, coming-of-age, romantic comedies that usually starred Molly Ringwald.

Sixteen Candles, Hughes’s first directorial effort was released in 1984 and launched him to superstardom and immense popularity. Films like The Breakfast Club (1985) and Pretty in Pink (1986) would follow to much acclaim.

What he did so well was provide maturity and a message to otherwise dumb and raunchy comedies that populated the decade and they had a fresh female perspective whereas others were typically male and hormone-driven.

Already angst-ridden Samantha (Molly Ringwald) wakes up on the morning of her sixteenth birthday to find her busy family has completely forgotten her special day.

Samantha already pines for the handsome senior Jake (Michael Schoeffling), but worries that her dorkiness and lack of sexual experience will be a turnoff for the popular boy.

Meanwhile, Samantha must constantly rebuff the affections of nerdy Ted (Anthony Michael Hall), the only boy in the school who seems to take an interest in her.

As enjoyable as Sixteen Candles is I’d list it as the weakest of the Hughes films. It serves as more of a blueprint for the genius he would become.

Ringwald carries the film with ease made more impressive since this was one of her first film roles. She infuses Samantha with a blend of confidence but also insecurity and worry so that most American teenage girls could see themselves in her.

Pretty but not a pinup blonde, Samantha is intelligent and the girl next door. She lives in a suburban neighborhood, is middle class, has loving but distracted parents, and siblings focused on their trials and tribulations.

Most can relate to that.

A wonderful and tender moment between Samantha and her father, Jim, played brilliantly by Paul Dooley nearly moved me to tears. His wisdom and kindness as Samantha emotionally reveals her love for Jake to her dad is warm and solid epitomizing what a dad should be to his daughter.

A tepid series of misunderstandings occur between Samantha and Jake, who ironically has noticed her and shares the attraction. She freezes when face to face with him, and flees, so he naturally assumes she is a bitch and has no interest in him.

It takes so long for the lovebirds to connect that more possibilities and scenes are left unexplored. The film ends as soon as they reveal their feelings so there isn’t enough for the audience to celebrate.

We also know almost nothing about Jake. He is a rich kid whose parents are vacationing in Europe but what makes him tick? He could have any girl in high school and dates the pretty blonde girl but what makes him so drawn to Samantha?

The casting of the four grandparents serves no purpose other than comic relief and an inaccurate message of how bumbling older people are. One refers to Samantha’s ‘boobies’ while another stinks up the bathroom.

Worse yet, the inclusion of a foreign exchange Asian student named Long Duk Dong is riddled with cliches and stereotypes only played for laughs.

These characters are caricatures.

Finally, the groping and taking advantage of drunk female characters now feels dated if not flat-out inappropriate. In 1984, the scenes are meant to be funny.

Still, Sixteen Candles (1984) accurately depicts the loneliness and problems that face nearly every teenager in the history of the world. With a warm message of belonging and a sweet subtext, the film is a recommended watch but watch out for those stereotypes.

Children of the Corn-1984

Children of the Corn-1984

Director Fritz Kiersch

Starring Peter Horton, Linda Hamilton

Scott’s Review #1,385

Reviewed August 2, 2023

Grade: B

I liken the 1980s slasher film genre to the 1980s hard rock, ‘hair metal’ scene. Both contain standard and tried and true elements that are necessary to categorize them as such in said genre.

They both tended to be derided by critics as superfluous and commercially accessible to mass consumption.

I could write an entire dissertation on the subject but my focus will remain on the slasher genre and Children of the Corn, a 1984 release billed as a straightforward slasher film but that has supernatural aspects which set it apart from some contemporaries.

The cover art (pictured above) and promotion conjure up ideas of a knife-wielding maniac wearing overalls, stalking small-town victims in corn fields in middle America USA.

The film is based on a 1977 short story by horror author and brilliant storyteller Stephen King.

Set in the fictitious rural town of Gatlin, Nebraska, the film tells the story of a malevolent entity referred to as “He Who Walks Behind the Rows” which entices the town’s children to ritually murder all the town’s adults. This is under the guise of ensuring a successful corn harvest.

A well-to-do city couple, Burt and Vicky, played by Peter Horton and Linda Hamilton drive cross-country to Seattle to begin a fantastic opportunity. Burt is a physician.

When they accidentally strike a child on a desolate stretch of highway they realize he was already dead and attempt to find help in Gatlin only to become the child resident’s next sacrifice.

Suffice it to say that the premise and the short story are way better than the finished film product though there is just enough to keep one entertained for an hour and a half.

Director, Fritz Kiersch, does a good job of providing a quality atmosphere. The loneliness of Gatlin and the foreboding corn fields where something deadly lurks amid the stalks made me feel uneasy from the get-go.

There is something about an uninhabited town in the middle of nowhere that is innately scary. Kiersch patterns the setting after the brutal Texas Chainsaw Massacre (1974) though with a much softer touch. The small farmhouses and the streets mirror that film.

I also enjoy the surprising chemistry between Horton and Hamilton. Scenes, where the pair are driving in the car chatting or listening to tunes, are pleasant and do not merely serve as filler to get to some killings.

The yellow early 1980s Buick or Oldsmobile is shown so frequently that it becomes a character itself. For fans of large American cars of yesteryear (me!), the inclusion of the car is a treat.

Finally, the blatant questioning and disparaging of the ridiculousness of organized religion is showcased when Burt (who believes in science) scolds the children for interpreting the Bible to suit their needs.

This may go over the audience’s heads but to me, it resonates and I cheered wildly when the dumb-faced kids realized the idiocy of their beliefs.

The film dissipates towards the end when the supernatural aspects take center stage. Tepid and very lowbrow they quickly take away any moments of peril and shift the momentum to comedy and cheapness. In 1984 this may not have been noticeable but in 2023 the special effects are at a low point.

The attempted sacrifice of Vicky doesn’t feel frightening, especially thinking of a superior film, The Wicker Man (1973) which used the same setup but more effectively.

Children of the Corn (1984) has its moments but by the time the film ends, I wished I had been treated to that knife-wielding, overall wearing maniac over a silly blood ritual in the name of the ‘holy bible’.

Revenge of the Nerds-1984

Revenge of the Nerds-1984

Director Jeff Kanew

Starring Robert Carradine, Anthony Edwards

Scott’s Review #1,354

Reviewed April 8, 2023

Grade: B+

Released in 1984, Revenge of the Nerds is in a similar vein to other raunchy comedies like Police Academy (1984), Animal House (1978), or Porky’s (1981).

Goofy with slapstick elements and involving unpopular or marginalized groups rising above are the thematic commonalities these genre films share.

To say the film is dumb fun is quite apt and watching it again almost forty years past the release date the stereotypes and gags are ever so noticeable. The term ‘date rape’ was not known then but known presently leaves a slightly uncomfortable feeling during one scene.

Also dated is the classification of what a nerd is. In 1984, the last name one would like to be referred to was a nerd. Today, it’s a term of endearment or even something to aspire to be!

Anyone under the age of forty will not appreciate Revenge of the Nerds or even get it’ It was made at a very different time but will be appreciated by the older folks and provide a burst of uproarious nostalgia.

Revenge of the Nerds is one of my favorite selections when I think of the 1980s and yearn for a slice of mind-numbing entertainment.

Geeky college students Gilbert (Anthony Edwards) and Lewis (Robert Carradine) are excited to leave their repressed small town and venture off to the mind-opening University where, in their minds, they are bound to score with countless women.

Once there, they are ridiculed mercilessly by the jocks and evicted from their dormitory when the Alpha Betas, who recently burned down their own fraternity house by accident, confiscate the building.

When the college forces the freshmen to live in the gym, Gilbert, Lewis, and their fellow dorks relocate to a run-down house. When the Alpha Betas, led by jock Stan (Ted McGinley), repeatedly humiliate them, the nerds plot revenge.

Naturally, in an attempt at gender parity, there is a nerd sorority named Omega Mu featuring Judy (Michelle Meyrink) who becomes Gilbert’s girlfriend.

And as a fabulous addition, there is one equivalent to Alpha Beta consisting of cheerleader types who are bitchy and mean to the nerds led by Betty Childs (Julie Montgomery), the object of Lewis’s affections.

Revenge of the Nerds succeeds well because it’s easy to root for the Nerds to exact their revenge on the jocks. But this would not be the case without the characters of Gilbert and Lewis.

Edwards and Carradine infuse them with likability and a flavor of fairness. More than just horny nerds, they choose their brethren from all walks of life. There is a gay nerd, a black nerd, an Asian nerd, and even a nerd who picks his nose and is effectively named Booger (Curtis Armstrong).

Despite the subject matter, it’s easy to see the producers were attempting some early diversity and inclusion. They exist within boxed stereotypes but at least the representation was visible.

McGinley as Stan is the perfect foil. The actor is a blonde and a surfer dude so he is the perfect ‘big man on campus’ type. The secondary jocks are all loud and obnoxious but are happy to be second bananas to Stan.

Adorable is how the distinction bubbles up to the school dean, played by David Wohl, who is at first intimidated by but finally gets the better of loud Coach Harris (John Goodman). And Lewis’s father, Mr. Skolnick (James Cromwell) is his doppelganger.

Revenge of the Nerds is successful at bringing out the thirteen-year-old boy in all of us with its incorporation of mooning scenes, belching, and a hilarious peeping tom scene in the hated popular girls’ sorority.

It’s not film art or anything in the way of classy cinematic camerawork, or visual effects, but what Revenge of the Nerds (1984) does is provide some good-humored laughs.

It’s well-intentioned and holds up surprisingly well on its own merits while some 1980s ‘quality’ films do not.

The Karate Kid-1984

The Karate Kid-1984

Director John G. Avildsen

Starring Ralph Macchio, Pat Morita

Scott’s Review #1,241

Reviewed April 2, 2022

Grade: B+

The Karate Kid (1984) is a wholesome and predictable film from the commercial entrails that were the 1980’s cinema.

With a clever marketing pitch about a bullied boy overcoming obstacles, the film is utterly predictable. But the warm message and chemistry between the two leads make the film work marvelously.

It’s a truthful film that showcases the power of friendship.

The film was a smash at the box office becoming one of Hollywood’s biggest sleeper summer hits of 1984, making the lead actor Ralph Macchio an enormous star and household name. It also successfully brought karate to American households spanning a  new trend and appreciation for Asian sport.

The film was followed by three tired sequels before the franchise finally ran out of steam. A re-launch emerged in 2010 with mixed results.

Daniel (Macchio) moves to Southern California with his mother, Lucille (Randee Heller), but quickly finds himself the target of a group of bullies who study karate at the Cobra Kai dojo.

This heightens in severity when he becomes smitten with the ex-girlfriend (Elisabeth Shue) of the lead bully, Zabka (Johnny Lawrence) who vows revenge on Daniel.

Fortunately, Daniel befriends Mr. Miyagi (Noriyuki “Pat” Morita), a kindly repairman who is a martial arts master himself. Miyagi takes Daniel under his wing, training him in a more compassionate form of karate, and prepares him to compete against the brutal Cobra Kai.

The Karate Kid is very sweet but never too saccharin-laced and is easy to compare to Rocky (1976).

In a clear example of manipulation and copycatting, Robert Mark Kamen, who wrote the screenplay, was instructed to write something similar to Rocky which won the Academy Award for Best Picture.

Avildsen also directed that critically acclaimed film.

The result is Rocky-lite. The Karate Kid would be a great warm-up film before the headliner Rocky takes the screen.

The mission is to tell a story about an underdog rising to glory while staying true to himself. The Karate Kid is a product but is extremely likable and a fist-pumping good time. It’s not the sort of film one necessarily needs to see repeatedly nor will it be studied in film school.

The main reason that The Karate Kid works is because of the chemistry and connection between Macchio and Morita. The latter is terrific casting since Morita was usually known for comedic roles but works against type in his memorable role.

His character is kind and humble and impossible not to fall in love with. As a mentor, he coaches Daniel with valuable and truthful life lessons.

Macchio surprisingly carries the film. Handsome and charismatic, he also represents to the audience anyone who has ever felt like an outsider or different from everyone else. He’s the boy next door but with an ethnic overtone. He is clearly different and therefore unliked by some.

The elements that don’t work as well are the traditional love triangle, hardly a triangle because one of the three is the villain and the stereotypical nature of the bully gang.

Shue plays her part well but the romance between Ali and Daniel is the supporting act to the fight scenes which inevitably show up mostly towards the end of the film.

The finale is one very familiar in sports-type films because it’s all too obvious how events will play out. Surprisingly though, it’s a satisfying payoff as every character wins out, even the villainous Johnny.

Though he is soundly defeated, he learns a lesson from Daniel and comes to respect him. So, he repents.

It’s a powerful message that stayed with me and made me appreciate the approach to valued storytelling.

Safe and sturdy for a PG audience, The Karate Kid (1984) may feel dated and flounder for modern audiences but the message remains poignant and fresh. Hard work, determination, and respect equal success and satisfaction.

This may be a point easy to ridicule and pick apart but the film works well.

Oscar Nominations: Best Supporting Actor-Pat Morita

A Nightmare on Elm Street-1984

A Nightmare on Elm Street-1984

Director Wes Craven

Starring Heather Langenkamp, John Saxon

Scott’s Review #1,019

Reviewed May 4, 2020

Grade: A-

Pioneer horror director Wes Craven, famous for reinvigorating the slasher genre with humor, wit, and satirically ponderous situations, created the iconic A Nightmare on Elm Street (1984), which introduced the legendary character of Freddie Kruger (Robert Englund) to audiences.

Followed by eight sequels or re-introductions, the debut is a clever affair and a breath of fresh air in the too-often formulaic world of slashers. And who could deny the satisfaction of seeing future Hollywood royalty, Johnny Depp, succumb to the villainous Kruger?

A group of unsuspecting teenagers is tortured both consciously and unconsciously as they dream the nights away, by a hideously disfigured man clad in a striped shirt and a gloved hand with razors.

He taunts and teases the teens unmercifully as they reside, party, and have sex in small-town America, mainly spending their time in high school or on the cursed Elm Street. The main girl to experience Freddie’s devious wrath is Nancy Thompson (Heather Langenkamp), who uses caffeine and more drastic measures to stay awake and alive!

To review A Nightmare on Elm Street without mentioning the Friday the 13th or Halloween franchises would be foolhardy since combined, they make up the “Big Three” of the entertaining slasher genre, each living on in infamy.

To provide a quick chronology, A Nightmare on Elm Street ran from (1984-1994) adding a crossover with Friday the 13th in 2003, and an unnecessary remake in 2010. Friday the 13th hit cinemas in 1980, never looking back until the uninspired remake in 2009.

Finally, Halloween debuted in 1978 and is still churning out relevant chapters.

Whereas Friday the 13th and Halloween chose to stick with a more realistic formula- a crazed killer wielding a butcher knife or an ax, the brief foray into outer space with Jason X (2002) notwithstanding, A Nightmare on Elm Street is the more cerebral of the three, mixing dreams and reality so the viewer is left perplexed and filled with thoughtful questions and is scared.

As each victim is gleefully toyed with, invaded, and killed in their dreams, and thus killed, by the burnt killer, more complexities exist.

Released right smack in the middle of the 1980s- the decade of decadence, where a snug suburban life meant safety and sweet dreams, the target audience is the teenage crowd.

In the height of the Reagan years when everyone and their neighbor had a vacation house, boat, or BMW, this film scared the daylights out of most viewers. Sleep did not come easy for those who took Freddie’s taunts to heart.

While frightening, A Nightmare on Elm Street does not take itself as seriously as Friday the 13th or Halloween does. Infusing humor and snickering fun is a great recipe to differentiate itself from its brethren by taking on straight-ahead horror.

The film can blur the boundaries between the imaginary and the real, toying with audience perceptions at every turn and making them think.

Imaginative, this is not always the film’s key to success. Craven needs to be careful that his story does not teeter off into the absurd or the outlandish, which it did in later installments.

Credit must be given to Englund, who takes crazy Freddie off to orbit with dizzying rapidity, going too over-the-top only once or twice. And who can ever forget the frightening child’s rhyming song featured in the film?

The story always eclipses effects, and Craven is wise to craft a backstory for Kruger to enjoy almost making him sympathetic, but then harshly bringing reality back and making the killer a child murderer.

Still, the parents who took their brand of vengeance and burned Freddie alive are not saints but sinners. This allows Kruger just enough empathy to keep audiences engaged. He’s a fun villain!

A Nightmare on Elm Street (1984) is a timeless classic that introduced the world to one of the horror genre’s best villains.

Unlike Jason and Michael Myers, who are faceless, Freddie Kruger was played by one actor, Robert Englund, who gave him energy, zest, and charm.

He will forever live on in the hearts of slasher fans everywhere.

Silent Night, Deadly Night-1984

Silent Night, Deadly Night-1984

Director Charles E. Sellier Jr.

Starring Robert Brian Wilson, Gilmer McCormick

Scott’s Review #974

Reviewed December 30, 2019

Grade: B

Silent Night, Deadly Night (1984) is a fun, holiday-themed horror/slasher flick that is cheery mayhem in the spirit of the season, and a worthy addition to any horror fan’s collection.

The film is best watched late at night for appropriate effect, and obvious to view around the holiday that it celebrates.

It would make a great companion piece to Black Christmas (1974), a superior film, but both contain eerily similar musical scores, the former updated with electronic beats for the 1980s.

The horror film was met with ridicule and protest upon release for the promotion of a killer Santa Claus, despite the story being slightly overreacted to and not interpreted correctly. The ‘real’ Santa Claus does not perform the slayings, but rather a mentally unstable young man dressed in the red suit does the dirty deeds.

Nonetheless, the film was unceremoniously yanked from theaters after parents expressed fear that their kids might be traumatized by the film. Silent Night, Deadly Night has graduated to cult-classic status and is entertaining, perhaps embracing its derision instead of running from it.

The action begins in rural Utah in 1971, as the Chapman family drives to a retirement home to see their catatonic grandfather. When left alone, the elder warns five-year-old Billy to fear Santa Claus, which his parents disbelieve.

On their way home, they stop along the roadside to help a man dressed as Santa Claus, whose car appears to have broken down. The man robs and kills the parents, sparing Billy and his brother from death. Three years later Billy and Ricky reside in an orphanage led by the sadistic Mother Superior, and a kindly nun, Sister Margaret (Gilmer McCormick).

Ten years later (present times), the now-grown Billy (Robert Brian Wilson) is benevolent and friendly, obtaining a job as a stock boy at a toy store with the help of Sister Margaret. As Christmas Eve approaches, Billy has flashbacks of his parent’s murders and later is forced to play Santa Claus for the Christmas party when a co-worker falls ill.

As the staff becomes inebriated, a female co-worker is nearly raped causing Billy to go berserk and kill both the assailant and the victim who blames Billy. He then spends the night prowling the area for victims he can stab or behead.

Fun is the name of the game with Silent Night, Deadly Night.

The film is to be enjoyed and is a macabre treat for slasher fans. The kills are respectable with the traditional methods used- an ax to the head and a bow and arrow death, along with more elaborate deaths like strangling with a chain of Christmas lights, and a bare-chested female victim being impaled on a moose head.

The highlight is the beheading of a mean teenage bully as he gleefully sleighs down a hill on a stolen sled.

Plenty of gratuitous bare chests (female) common in these types of films are in store for the lusty male viewer, but a nude male is glimpsed as well to make for some R-rated diversity.

Par for the course with slasher films made decades ago is the omission of cultural diversity. Not one Black, Latin, or Asian character is ever seen. The pure-as-snow Utah setting might be one justification.

If one were to attempt to analyze Silent Night, Deadly Night (not recommended) one can deduce a specific religious message or at least a questioning of Catholicism, specifically the harshness of Mother Superior and her interpretation of punishment being good and implemented in the name of god.

Or maybe she is just a sadistic character? In perfect contrast, Sister Margaret is loving, protective, and nurturing to the orphans.

Whatever the intention of the filmmakers, humor is the recipe as the strictness and rigidity are played for laughs.

Proper for any horror film, the final scene leaves room for a sequel. Indeed, there were four follow-up films made with the younger Ricky taking over as the serial killer.

In satisfying form, Ricky glares at Mother Superior and exclaims “Naughty!” before the credits roll. The unrated version of Silent Night, Deadly Night is the preferred version to watch.

Pull up the covers, light the fire, and kick back with a six-pack of Bud Lite, roast some marshmallows, and enjoy Silent Night, Deadly Night (1984) for what it is.

Bad acting, sins of the flesh, and a delightful holiday slaughter with unintentional (or intentional) humor and cliched characters make for robust enjoyment on a lightweight scale.

A Passage to India-1984

A Passage to India-1984

Director David Lean

Starring Judy Davis, Peggy Ashcroft

Scott’s Review #971

Reviewed December 24, 2019

Grade: A-

David Lean, famous for his sweeping, masterpiece epics including Lawrence of Arabia (1962) and Doctor Zhivago (1965), returns with his swan song, a grandiose and lavish film, A Passage to India (1984).

Though not quite on the same level as the two other mentions, the brilliant cinematography alone makes this one a winner.

The story is compelling with a mystery and he said/she said rape story that deepens, exploring racism and religion, assuredly switching viewer allegiances between characters.

A Passage to India is based on the famous E.M. Forster novel from 1924. Along with A Room with a View (1908) and Howards End (1910), the three make up a series that examines class differences and hypocrisy among the British.

All three are set at least partially in England and were all adapted to film with immeasurable success. While the film is potent and meaningful, it is the least brilliant of the three, but only by a hair.

Set in the 1920s, the British had control over India causing some tensions in the air. Adela Quested (Judy Davis) sails from England to India with Mrs. Moore (Peggy Ashcroft), the mother of her intended bridegroom, whom they plan to see when they arrive at their destination.

The women have a wonderful relationship and excitedly anticipate their adventure.

After Mrs. Moore meets the kindly Dr. Aziz Ahmed (Victor Banerjee), becoming enamored and enraptured, the women accompany him to an exploration of ancient caves, along with a guide.

When Adela and Ahmed are left alone, she suddenly appears frantic, accusing the Indian Doctor of attempted rape, setting off a blistering scandal that causes public debate and divides the townspeople, culminating in a trial.

The story is naturally the focal point of the film, but not the strongest part. At first left aghast at the accusations hurled at Aziz, by all appearances a wonderful man, the intention is for the viewer to be unclear of what transpires when Aziz and Adela are alone. The events, if any exist, take place off-screen, so we only see a disheveled Adela flee the caves in panic.

The rest is left to the viewer’s imagination and to wonder what happened. As the truth is eventually revealed, we wonder about the intended motivations and the ramifications the accusations will have on the central characters.

The film is successful at interestingly discussing racism and assumptions, leading major characters to disagree. Adela and Mrs. Moore wind up at odds after the events, with Moore refusing to believe Aziz did anything wrong.

This is a bold stance to take as the women are good friends and we would assume one would support the other. While Moore is liberal and open-minded, Adela is conservative and buttoned-up, making the ideological differences clearer.

Did Adela imagine the attack? Did somebody else attack her?

The cinematography is brilliant and the pure excellence of the film is. The plentiful exterior scenes are delectable and simmer with beauty within each frame. Since many of them take place in the grandiose mountains or caves the results are exquisite.

One can easily sit back and revel in the majestic sequences and many scenes are still and quiet which enhances the effects. As with other Lean epics, it advisable is to see this film on the biggest screen known to mankind.

At one-hundred and sixty-four minutes, the film is hardly non-stop action, but rather slightly laborious and lumbering. Some parts are a tad too slow, but the payoff is mighty and there is a measure of intrigue throughout, especially once the cave incident occurs.

I hate to say the film drags, but perhaps fifteen to twenty minutes could have been shaved off. When Lean is at the helm, a hefty running time is a guarantee.

A Passage to India (1984) is a film by a respected director that culminates a lengthy and inspired career boldly. While not his best film, this should not detract from the excellent experience the film provides.

Grandiose sequences and sophisticated style make the film able to be viewed more than once, a marvel for a film released in the lackluster 1980s.

Oscar Nominations: 2 wins-Best Picture, Best Director-David Lean, Best Actress-Judy Davis, Best Supporting Actress-Peggy Ashcroft (won), Best Screenplay Based on Material from Another Medium, Best Original Score (won), Best Sound, Best Art Direction, Best Costume Design, Best Cinematography, Best Film Editing

Indiana Jones and the Temple of Doom-1984

Indiana Jones and the Temple of Doom-1984

Director Steven Spielberg

Starring Harrison Ford, Kate Capshaw

Scott’s Review #759

Reviewed May 17, 2018

Grade: A

The second in the trilogy (I refused to acknowledge the middling Kingdom of the Crystal Skull in 2008), Indiana Jones and the Temple of Doom (1984) is easily my favorite of the group.

Much darker than its predecessor, Raiders of the Lost Ark, it is also better, with more flair and pizzazz.  All three (1989’s The Last Crusade added) could be watched in sequence and easily enjoyed as companion pieces for a slice of 1980’s nostalgia.

A prequel to Raiders of the Lost Ark, the action picks up a few years prior as our hero narrowly escapes the clutches of a crime boss in Shanghai, China.

Indiana Jones (Harrison Ford), along with sidekick eleven-year-old Short Round (Jonathan Ke Quan) and nightclub singer Willie Scott (Kate Capshaw), embark on an adventure to retrieve a stolen sacred stone.

The poor villagers have also lost their children to a lavish palace where they are forced to work as slaves.

Wisely in keeping with the continuity of the first story, director Steven Spielberg and writer George Lucas return to the fold. This enriches the experience as both men are in touch with the character of Indiana Jones and do not try to change him.

His familiar wittiness and charismatic nature return and the dashing hero show more skin this time around with more than one shirtless scene.

To cement the good character, Harrison Ford returns to the role he created and made famous.

Indiana Jones and the Temple of Doom is layered with positive aspects and holds special childhood memories for me. I vividly recollect going to the movie theater and excitedly watching the film on the big screen clutching a tub of buttery popcorn.

For a young boy, this is the best- an adventure story for the ages with thrills and edge-of-your-seat sequences.

The film is perfect for the entire family.

Many gorgeous exterior sequences abound throughout the film. A prime example is when the trio encounters deadly assassins on a precarious rope bridge high atop a crocodile-infested murky river.

This scene is fraught with tension and “how will he ever get out of this?” thinking when dear Indie is cornered by the killers.

With lightning-quick thinking, he severs the bridge resulting in a dangling escapade. As numerous bodies fall into the river they are chopped to bits by the hungry reptiles. The fact that the action is all shot outdoors in lush scenery only adds to the enjoyment.

The film is admittedly filled with dark and scary aspects necessitating a PG-13 rating versus a PG one. As Indie, Willie, and Short Round are held hostage in the evil palace, a dangerous sacrifice occurs.

One poor man is chosen to give his life by way of being burned alive in a roaring fire. Indie is then forced to drink potion and presumably suffer the same fate.  Other bloody moments occur as a bad guy meets his fate after being flattened like a pancake by a steamroller.

The tone of the film is much darker than Raiders of the Lost Ark.

To offset the blood, guts, and voodoo, the film occasionally parlays into humor mostly at the expense of Willie- the comic relief of the film.

Accustomed to the glamour of costumes and luxurious hotels, the singer is forced to fend for herself amid snakes, elephants, and other creatures. As she hungrily sits down for what she thinks is a scrumptious dinner, she is treated to monkey brains and bulging eyeballs in soup- deemed Indian delicacies.

Readily apparent watching the film now are glaring negative stereotypes associated with the Indian culture. As I am sure the intent was not to insult, some stereotypes do abound with the hokey cuisines and the severe poverty.

The underlying image of tribal Indians as being weird or out of touch is prevalent to say nothing of the odd religious overtones.

Kate Capshaw as Willie is the complete opposite of the central female character of Marion in Raiders of the Lost Ark. Whereas Marion is intelligent and serious, Willie is pampered, rich, and gullible.

I find the camaraderie between Indie and Willie much more palpable than between Indie and Marion and the romantic overtures appealing.

Who can forget the famous “bug scene” in the palace?

Conjuring up wonderful and exciting childhood memories, Indiana Jones and the Temple of Doom (1984) is a treasure for the eyes and the strongest entry in the bunch.

If you are in the mood for a good, fun-filled experience with a healthy dose of Indian culture and adventurous antics with a slice of darkness this one is a must-see.

Oscar Nominations: 1 win-Best Original Score, Best Visual Effects (won)

Once Upon a Time in America-1984

Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro, James Woods

Scott’s Review #218

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Reviewed January 19, 2015

Grade: A

An epic film, the extended directors cut at more than four hours in length, 1984’s Once Upon a Time in America is a film directed by Sergio Leone, who also directed the 1968 masterpiece Once Upon a Time in the West and numerous other westerns starring Clint Eastwood.

This particular film is in a different vein and not to be confused as any sort of sequel or related to the aforementioned film- this time Leone explores the crime drama genre rather than the western and does so in remarkable fashion.

The film tells the story of a group of Jewish friends who became involved in organized crime during the 1920s in New York City.

The main story is told via flashbacks as the central character, Noodles, played by Robert De Niro, returns to Brooklyn thirty years later to reunite with his former mobster friends.

In this way, the film is sectioned- the group of youngsters and kids and the same characters as adults.

Once Upon a Time in America has been met with much controversy since it was made. At the time of its release, the film was butchered as over an hour of footage was cut by the studio heads making the film largely uneven.

Fortunately, the restored version, at over three hours in length, is available for viewing. Furthermorethe director cut clocks in at well over four hours, and is the best version to watch. Due to so many cuts, other versions appear shoddy and out of order making the viewing experience difficult.

Once Upon a Time in America is largely underappreciated except for the die-hard cinema lovers most patient with the film, and deserves mention as an excellent crime epic drama.

The film contains many similarities to The Godfather and The Godfather Part II and the role De Niro plays is not too different from Vito Corleone in Part II.

However, the greatest contrast is that Once Upon a Time in America is more visually artistic than The Godfather films.

The film centers mainly on Noodle’s perspective as he enjoys youth in the Lower East Side of Manhattan where he meets his group of lifelong friends.

The focal point is his friendship with Max, the adult character played by James Woods, and his undying love for Deborah, played by Elizabeth McGovern as an adult.

As kids, they are worry-free, but gradually fall in with a group of older mobsters, first doing their dirty work, followed by venturing out on their own.

The themes of the film are loyalty, childhood friendship, betrayal, and greed as all of the characters change (or die) in the time that the film takes place.

When a mysterious letter forces Noodles to resurface in Brooklyn, we begin to understand the back story and the history between the friends as layers are slowly peeled back.

The film drags slightly in the middle section, but the first part and last parts are very well-made and absorbing.

Leone has a way of pacing the film that works- it is methodical, and nuanced, with wonderful set pieces and each period explored- 1920s, 1930s, and 1960s seem equally as authentic as the next one does.

I especially enjoyed the 1920s art direction- it revealed such a state of genuineness and felt like truly there in that period.

The relationship between Noodles and Deborah is an interesting one worth mentioning. Falling in love as youngsters (when Deborah was played by a very young Jennifer Connelly) they had an innocent, puppy-love relationship.

As adults, due to a violent, disgraceful act, their tender relationship is subsequently ruined and one might argue one of the characters turns quite unsympathetic.

Once Upon a Time in America (1984) is a sprawling epic film sure to be enjoyed by intelligent fans of the crime epic drama genre and specifically Sergio Leone fans- an underappreciated gem.

Bachelor Party-1984

Bachelor Party-1984

Director Neal Israel

Starring Tom Hanks, Tawny Kitaen, Adrian Zmed

Scott’s Review #163

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Reviewed September 1, 2014

Grade: D

Watching Bachelor Party (1984) for the very first time circa 2014, and the last time I plan on watching this film, I realized almost immediately how dated it is and at this point can only be presumably enjoyed for nostalgia purposes.

I can’t fathom anyone watching Bachelor Party for the first time and thinking it is a great film- it is not.

If not for Tom Hanks becoming a huge star this comedy would be forgotten as there are dozens of like-minded films from the 1980s that resemble it- think Pretty in Pink (1986), National Lampoon films, etc.

The premise is basic- Rick (Hanks) and Debbie (Tawny Kitaen) are engaged and Rick’s friends throw a Bachelor party while Debbie goes out with the girls.

Of course, Debbie’s parents hate Rick and scheme, along with her ex, to break them up.

Every decade seems to have a similar carbon copy of this party-themed film- Animal House (1978), American Pie (1999), and The Hangover (2009) though not as entertaining as the aforementioned films.

All the characters are caricatures, one-note, and types. There is a little back story for any of them.

The plot is silly and predictable, and the 1980’s look to the film does not hold up well.

The film contains every stereotype imaginable- the meddlesome parents, Debbie’s vicious ex-boyfriend who is the film’s foil, various frat boys and sorority girl types, and Rick’s inept siblings.

Avoid, it unless a trip down 1980’s bad film memory lane is needed.

Friday the 13th: Part 4: The Final Chapter-1984

Friday the 13th: The Final Chapter-1984

Director Joseph Zito

Starring Kimberly Beck, Corey Feldman

Scott’s Review #125

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Reviewed July 21, 2014

Grade: B

Being the 4th chapter in the popular Friday the 13th saga, and the shameless marketing of this installment as being the final chapter, obviously a fib since the ending of the film sets up another sequel, I have a soft spot for this Friday the 13th sequel.

If I am being honest, with each viewing I realize more and more it’s not nearly as good as the first three.

From a storyline and technical perspective, it is a crappy movie.

It now seems incredibly dated and of its time- the acting is mediocre at best but fans of the franchise will love it.

It’s predictable, much like eating at McDonald’s, you know exactly what you will get and that is fine for a certain audience.

A gathering of horny, pot, and beer-induced teens flock to Camp Crystal Lake for a weekend of revelry. Apparently not knowing, or caring, that dozens of other teens have been slaughtered there before, they begin their partying.

For horror fans, there is comfort in this film. We know the youths will be killed- we just don’t know how or when. That’s the fun and beauty of it.

Will someone be decapitated? Lose a limb? Will the murder weapon be an ax or a machete? Who will be the last remaining victim?

The introduction of the twins is a nice touch and a very young Crispin Glover appears.

The addition of Corey Feldman to this one adds child feistiness. Otherwise, it’s pretty formulaic, and not much separates it from any of the others. Fans of the franchise will love Friday the 13th: The Final Chapter (1984), all others stay away.