Category Archives: 1987 Films

Some Kind of Wonderful-1987

Some Kind of Wonderful-1987

Director Howard Deutch

Starring Eric Stolz, Mary Stuart Masterson, Lea Thompson

Scott’s Review #1,386

Review August 4, 2023

Grade: B+

Some Kind of Wonderful (1987) is one of many John Hughes-written teenage romantic dramas to emerge in the 1980s. It’s familiar territory as far as storytelling and quite similar to the 1986 hit Pretty in Pink.

I’ll call it what it is and define the film as essentially a remake of Pretty in Pink.

Hughes attempts to ‘right the wrong’ of the ending of Pretty in Pink which he was forced to rewrite because of pesky test audiences. Truth be told, I was happy with who wound up with whom in the film but I guess I’m in the minority.

A romantic quadrangle is front and center with differing social classes explored amidst the already tricky teenage years. Characters battle for status as they deal with powerful feelings and angst with their parents and friends.

A fun fact about Some Kind of Wonderful is that Hughes assumed his muse Molly Ringwald would star in the film. When she turned him down for more adult roles he never forgave her and it resulted in the dissolution of their film collaboration.

But, the show must go on.

Keith Nelson (Eric Stoltz), is an artistic high school outcast who bravely tries to land a date with the most popular girl in school, Amanda Jones (Lea Thompson).

His tomboy best friend, Watts (Mary Stuart Masterson) is secretly in love with him while Amanda’s rich on-again-off-again boyfriend, Hardy Jenns (Craig Sheffer), vows revenge on Keith. Watts tries to convince Keith to stop pursuing Amanda while his father (John Ashton) is deadset on Keith attending business rather than art school.

Before you start to think this sounds like a corny story arc from the afternoon soap opera Days of Our Lives, it’s a pretty well-flowing story with many ups and downs and good, sincere acting.

Stolz is compelling as the boy next door/leading man. He is relatable and therefore easy to root for to get the girl.

The main attraction and best part of the film is the triangle between Keith, Watts, and Amanda. Hardy is merely along for the ride as both the foil and necessary eye candy. Every girl wants him so why would Amanda want Keith and not him?

When Hardy refers to Amanda as his ‘property’ it makes him unforgivable to audiences. It might have been interesting if Hughes made the character a viable option for romance with Amanda or Watts by softening him.

There are arguments for Keith winding up with either Amanda or Watts and a tantalizing mention is that Watts could be gay but this story goes nowhere. 1987 would have been too early for this quality to be featured much in mainstream film but at least the thought is there.

Despite being popular Amanda is not a bitch. Her best friend, Shayne (Molly Hagan) is though.

In a bit of irony, which character Keith winds up at the end of the film feels rushed, jagged, and like an added-on scene. The similarities to the reshoot they did with the ending of Pretty in Pink are uncanny.

Other characters are added purely for comic relief and to offset the romantic-heavy drama. Keith’s tough guy friend Duncan (Elias Koteas) and Keith’s younger sister Laura (Maddie Corman) provide the film with some cute moments.

Teenagers either in 1987 or the present day can relate to the well-meaning pressure Keith’s father puts on him so the message is universally appreciated.

Nothing will exceed my top ranking of The Breakfast Club (1985) as my favorite John Hughes film but Some Kind of Wonderful (1987) does a nice job of portraying a nice slice of teenage angst we can all relate to.

Death Wish 4: The Crackdown-1987

Death Wish 4: The Crackdown-1987

Director J. Lee Thompson

Starring Charles Bronson, Kay Lenz

Scott’s Review #1,319

Reviewed November 29, 2022

Grade: C+

I have an interesting relationship with the Death Wish films. Besides the first and maybe its follow-up, they pretty much suck, and that’s being kind.

They possess a machismo and right-wing, pro-National Rifle Association stance that’s just not my cup of tea.

To make matters worse, poor acting, stagey action sequences, an explosive overuse of smokey ammunition, and endless cliches riddle the screen throughout nearly every scene.

Sure there’s usually some heartwarming romantic moment or a justification for the killings but the series is solidly amateurish.

With my nose to the grindstone I somehow, someway, plodded through all five of the Charles Bronson film series installments and lived to tell.

I refuse to see the tepidly reviewed unrelated 2018 incarnation starring Brice Willis.

But, the funny thing is with all the cinematic negatives the Death Wish films are fun in a campy, silly way. Hardly high art, they instead provide the viewer with fluff and a quick ninety-minute experience in shoot ’em-up revenge-seeking bloodletting.

With Death Wish 4: The Crackdown (1987) the filmmakers cleverly leverage the 1980s excess with a witty subtitle channeling the crack epidemic of the day set against the backdrop of lusty Los Angeles and the drug carnage seeping over the United States border from neighboring countries.

Some thirty-five years later the premise is dated to say nothing of riddled with stereotypes but at the time the plot must have seemed downright modern.

Paul Kersey (Bronson), who is no stranger to vigilante justice, is pulled back into the underworld of gritty Los Angeles when the daughter of his new girlfriend, Karen (Kay Lenz), dies after an overdose of crack cocaine.

Intent on dishing out a healthy dose of vigilante justice, he goes after the drug lord who ultimately supplied the crack, apparently forgetting to focus on the social issue of why the young girl was taking drugs in the first place.

The First Lady Nancy Reagan’s famous anti-drug slogan, ‘Just say no’ fell on deaf ears.

As he hunts down the kingpin’s henchmen, Paul starts taking out a large part of the city’s drug-dealing population on a violent killing spree while posing as a dimwitted bartender.

The acting is laughably bad from Bronson on down to the bit players.

My favorite bad scene is when an interracial couple squabbles on their way out to dinner from the luxurious highrise apartment they inhabit.

As she sits in the limo brooding and cursing her mate who forgot something from the apartment, he is suddenly hurled from his penthouse onto the limo as she shrieks with anguish, after wishing him dead only seconds prior.

Director, J. Lee Thompson, well past his prime in the late 1980s forgot to tell his actors to add a bit of humor to the horrendous line delivery.

Or, he might have just phoned the whole thing in himself.

The film is by the numbers and one attempt at a twist toward the end is an inspired effort. A pivotal character is shockingly killed and it ain’t Paul who meets his maker either.

I didn’t see this surprise coming.

Nonetheless, despite the myriad of bad qualities contained within Death Wish 4: The Crackdown, the bad guys do get their just desserts which are delightful to witness.

Death Wish 4: The Crackdown (1987) is best served up on a rainy afternoon when the viewer can munch on popcorn and lazily escape the day away with solid cinema trash.

Raising Arizona-1987

Raising Arizona-1987

Director Joel Coen

Starring Nicholas Cage, Holly Hunter

Scott’s Review #1,286

Reviewed August 5, 2022

Grade: B+

Raising Arizona (1987) is the second film to be created by the Coen brothers (Joel and Ethan) with the independent offering, Blood Simple (1984) being the first.

The siblings would later become household names and trailblazers in the world of cinema.

It’s rough around the edges storytelling with the severe desire to create something different. Maybe too different since sometimes Raising Arizona works and sometimes it doesn’t.

The film is to be championed mostly for its creativity though it’s not on par at all with the Coen brothers’ best films, Fargo (1996) and No Country for Old Men (2007). However, it does serve as a blueprint for films to come, if one is to look at it in hindsight.

I’m not the biggest Nicholas Cage fan of all time so it doesn’t help that he stars in Raising Arizona. The actor was achieving enormous recognition the same year for his appearance in Moonstruck (1987) which won Cher the Best Actress Oscar.

The film mostly gets props for its original writing and quirkiness in the sets and visual effects, but the comedy is way out in the left field and difficult to make sense of.

As with many Coen Brothers films, the plot centers on a crime and people on the run desperately trying to evade capture.

Hi McDunnough (Cage) is a convenience store robber who meets and falls in love with an ex-cop named Edwina “Ed” (Holly Hunter) during a stint in prison. After they move to a mobile home in the middle of the desert they decide to kidnap a baby since they cannot have one of their own.

While keeping their secret, friends, co-workers, and a bounty hunter look to use the child for their purposes.

The setting works quite well and is an important part of the film like other Coen offerings. The blazing hot desert is a familiar sight and pivotal to the story events with sizzling highways and roadside dives a focal point throughout. Hi and Ed’s tacky mobile home is dusty and cracked which enhances the extreme heat.

Cage and Hunter have tremendous chemistry which kept me invested in their characters. Both quirky-looking, they act well against each other and invoke sympathy from the audience- at least I did. Despite being kidnappers, they have the best of intentions of keeping their stolen baby safe and cared for.

Delightful to see is actress Frances McDormand in an early role as Dot. She would become a frequent star and collaborator in later Coen Brothers films.

Forgetting the uneven storytelling for a minute, Raising Arizona’s finest moment comes at the very end. Through a series of prophetic dreams about the future, the fates of all the characters are determined.

It’s a trippy and magnificent sequence and quite well-known to fans.

A clever offering that at times spins out of control with ridiculousness, Raising Arizona (1987) is nonetheless recommended to view and absorb the zany characters that the Coen Brothers are famous for creating.

La Bamba-1987

La Bamba-1987

Director Luis Valdez

Starring Lou Diamond Phillips, Esai Morales, Rosanna DeSoto

Scott’s Review #1,242

Reviewed April 3, 2022

Grade: A-

The brief musical career of Mexican rock ‘n’ roll star Richie Valens is showcased in a lovely little film called La Bamba (1987).

The film spawned a massive United States number-one hit, the title track, for the band Los Lobos, that filled the summer with rich culture and a hummable beat. The song is a recreation of Valen’s earlier hit from 1958.

I’m humming it as I write this review!

The film itself is flavorful and tinged with Latino colors and traditions such as the importance of family. It provides a much-needed look at diversity and recognition of a young talent taken way too soon.

His rise to stardom is the main focus but not forgotten is his influence on his family, most notably his younger brother in which love, respect, jealousy, and conflict engulf their relationship.

Valens, a Los Angeles teenager played by Lou Diamond Phillips, becomes an overnight rock ‘n’ roll success in 1958, thanks to a love ballad called “Donna” that he wrote for his girlfriend (Danielle von Zerneck) whose parents didn’t want her to date a Latino boy.

But as his star rises, Valens has conflicts with his jealous brother, Bob (Esai Morales), and becomes haunted by a recurring nightmare of a plane crash, in which he is terrified of flying, just as he begins his first national tour alongside Buddy Holly (Marshall Crenshaw).

Foreshadowing indeed. It’s common knowledge that Valens tragically died in a plane crash over Iowa, alongside Holly and other prominent musicians.

Lou Diamond Phillips is fantastic in the lead role of Ritchie. The actor can entertain the audience while staying true to the life of the Mexican star. Not merely resembling him physically, Phillips brings Ritchie’s famous life and energy to the table.

Not lasting long in this world, the actor infuses as much soul as he can into the ill-fated singer successfully creating a dedication to his life.

The supporting actors are all terrific. Highly talented is Morales, his character of Bob is conflicted by his brother’s success but also closely bonded to him. As mama Connie, Rosanna DeSoto is fiercely protective of her cub while championing his career path and natural talent. Finally, Elizabeth Pena deserves praise for playing Rosie, the victimized girlfriend of Bob.

The interracial romance between Ritchie and Donna is also a strong area of La Bamba. Many decades after their short romance differing races coming together is commonplace but there are still those who object. The chemistry between Phillips and von Zerneck is palpable but mostly I imagined how nice it was between the real-life figures and the endless possibilities had the singer not perished.

Director and writer, Luis Valdez deserves credit for giving meaning to this relationship by making it obvious that other marginalized minority communities can be assured that most people support their unions.

La Bamba (1987) is a film where all the parts come together in perfect form. The music, the culture, and the characters, all brim with life and meaning, ironically since the biography could have easily been a downer. Instead, it inspires and teaches unity and the forever-lasting power of music.

Yes, there are occasional cliches but I enjoyed the film immensely.

The Living Daylights-1987

The Living Daylights-1987

Director John Glen

Starring Timothy Dalton, Maryam d’Abo

Scott’s Review #1,194

Reviewed November 12, 2021

Grade: B+

It’s 1987 and Timothy Dalton is the new James Bond having replaced the aging Roger Moore. Moore made seven Bond films.

Dalton’s reign was to be brief and made only two films- The Living Daylights (1987) and License to Kill (1989).

The Living Daylights is a fine Bond film ranking somewhere midstream with Best Of lists. I completely agree with this sentiment as it mostly borrows from other Bond films or stays true to the course, providing a quality action film with all of the typical trimmings a fan would expect from the franchise.

Nothing wrong with that.

This is unsurprising since director John Glen is at the helm once again. Responsible for directing the three prior Bond films- For Your Eyes Only (1981), Octopussy (1983), and A View To A Kill (1985) he knows how to create a decent picture and he does just that.

The main issue is with Dalton himself. Handsome, dashing, and British, he doesn’t quite possess the charisma that other Bonds like Moore, Connery, or Lazenby had. There is a seriousness to the actor and a lack of a smirk or wink in his eye that makes fans melt like putty in his hands.

The action commences with British secret agent James Bond (Dalton) helping KGB officer Georgi Koskov (Jeroen Krabbé) defect during a symphony performance. A mysterious blonde woman who plays cello immediately catches Bond’s attention for more than one reason.

She is Russian assassin Kara Milovy (Maryam d’Abo). Predictably, as events unfold they become madly in love (or lust).

Koskov reveals that a policy of assassinating defectors has been instated by new KGB head Leonid Pushkin (John Rhys-Davies). But as Bond explores this threat, counterplot surfaces, involving a shady American arms dealer (Joe Don Baker). Bond must thwart the evildoer’s fiendish plans and save the world from disaster.

The plot is secondary and difficult to follow but the gist is the same as any other Bond film.

The fun (for me anyway) is enjoying the exquisite locales that the film takes Bond to. I salivated at the gorgeous concert hall and surrounding areas of Czechoslovakia (pre-Czech Republic) and was mesmerized as the action went to the stark desert lands of Afghanistan, Morocco, and finally into historic Austria.

The pre-title sequence was filmed on the Rock of Gibraltar and is utterly fabulous.

With every Bond film, this is a real treat and much of the enjoyment. The Living Daylights doesn’t disappoint in this regard.

The thrilling finale aboard a speeding airplane is thrilling and pulsating, edge-of-your-seat fun. Fights, ticking time bombs, and impending peril keep the action moving at a breakneck speed.

The villains lack much gusto save for a hunky blonde assassin named Necros (Andreas Wisniewski) who enjoys prancing around in skimpy swimwear and who may or may not be gay.

In a more progressive Bond, they might have had a dalliance.  The main antagonists, Brad Whitaker, an arms dealer General, and Koskov are too goofy to present any real danger or feel diabolical.

Also forgettable is the main Bond girl. Maryam d’Abo is an okay actress but lacks much chemistry with Dalton. Their adventures are appealing but more as buddies and the romance didn’t work for me. He does respect her more than other Bonds would so that is a win.

Delightful is the title theme song performed by the band A-Ha, which is catchy enough to stick in my head as I write this review. It is exotic and upbeat. Its standard inclusion in the opening credits makes the cheesy sequence more bearable.

Undoubtedly intended to launch a long and storied career as the new James Bond, Dalton lasted only briefly in the role.

The Living Daylights (1987) presents a Cold War theme still relevant but slightly tired for the times. As usual, unless we’re talking about one of the superior Bond films, the locales are the real highlight.

Adventures in Babysitting-1987

Adventures in Babysitting-1987

Director Chris Columbus

Starring Elisabeth Shue

Scott’s Review #1,067

Reviewed October 5, 2020

Grade: B

Swimming in the myriad of teen comedies that were all the rage in the 1980s, a few good, most bad, Adventures in Babysitting (1987) is one of the “okay” ones.

It’s lightweight, yet fun.

I like the female-centered character who drives the story, likable, and personable, but also strong and bold, capable of handling tough situations without the saving hands of a man.

The antics throughout the city of Chicago are also a major draw as I loved seeing the landscape and sites. The film is formulaic but works better than most.

The premise is quite far-fetched, bordering on absurd, masking no sort of reality whatsoever. The plot points are gimmicky, silly, predictable, and filled with urban, inner-city stereotypes, playing on the timely feeling of terror at the thought of being lost and in danger amid a major city.

The reality of this decade was of crime-ridden United States cities and the idea is brilliant for a mostly suburban audience safely nestled in their homes away from any real trouble.

They can securely escape to the cinema where pretend danger awaits.

Elisabeth Shue, a near novice fresh off her debut film role in The Karate Kid (1984), takes center stage like the cool, pretty girl who is everyone’s best friend, not the least bit snobby.

She plays Chris Parker, the fresh-faced, perky, seventeen-year-old high school senior, who is ditched by her boyfriend on their anniversary and is convinced by her mother to spend the evening babysitting the two Anderson kids, Brad (Keith Coogan) and Sara (Maia Brewton).

Naturally, trouble ensues, and a planned dull evening of popcorn and a movie goes awry.

The gags must not be taken seriously.

Beginning in the friendliness of Oak Park, Illinois, the action quickly spells out danger as a dirty, downtown bus station becomes the next set. Teenagers and youngsters being left alone in a metropolis is most parent’s worst nightmare and the film uses this angle to create one perilous situation after another.

The gang even dangles from a skyscraper!

Adventures in Babysitting is director Chris Columbus’s first film and a worthy debut. Soon to hit the big time with the Home Alone film and its sequel (1990-1992) it’s easy to see how those films are patterned after Adventures. The tone is similar, and the antics of a young adult are explored.

Columbus then moved to success with Mrs. Doubtfire (1993) before taking on the Harry Potter films. So, he adopts stories with a youthful or a young person’s point of view.

While watching Adventures in Babysitting the viewer needs to suspend all disbelief and just go into the experience for the enjoyment value. I vividly recall seeing this film in a theater on a hot summer night with popcorn and soda in tow, eager for a nice, light-hearted experience. This film delivered then and still does.

The best part is witnessing Chris and the gang driving a station wagon throughout downtown Chicago. Could this particular car be any more obvious a symbol of the ‘burbs? Does anyone in a city drive a station wagon ever? The image conjures up a boatload of kids, the shopping mall, and McDonald’s.

Chris is so out of place in the city and the situations so preposterous that we should be annoyed by the hijinks. But, somehow the film works!

Of course, the film is riddled with banalities like car thieves, gangs, a dirty blues club, and as many criminals as one can imagine.

For viewers aching for a carefree trip down memory lane 1980s style, the typical bunch of offerings from John Hughes- the trio of Sixteen Candles (1984), The Breakfast Club (1985), and Pretty in Pink (1986) usually come to mind first.

But lest not forget a fine and fun film, Adventures in Babysitting (1987) with a subtle message of a young woman taking charge and taking control, albeit with every other stereotype in the book contained glaringly.

Enjoy the ride.

A Nightmare on Elm Street 3: Dream Warriors-1987

A Nightmare on Elm Street 3: Dream Warriors-1987

Director Chuck Russell

Starring Patricia Arquette, Heather Langenkamp, Robert Englund

Scott’s Review #1,028

Reviewed May 29, 2020

Grade: B+

A Nightmare on Elm Street 3: Dream Warriors (1987) is a credible effort to take the, at this point, tired slasher genre in a new direction, using style and special effects to its advantage.

The film is not a work of art and does not stray too far from the norm to risk losing the target audience, but the experiment works, providing the film with a fresh feel.

Thankfully, Freddy Krueger (Robert Englund) is in tow providing wit and humor and rich character history rarely seen in horror.

One year following the events of the previous chapter, Kristen Parker (Patricia Arquette) awakens following a nightmare of being chased by Freddy Krueger, to find him in her bathroom where she is attacked again.

Her mother believes that she is suicidal and sends her to Westin Hills Psychiatric Hospital, where Kristen is placed under the care of Dr. Neil Gordon (Craig Wasson).

The rest of the events of the film mainly take place in this setting. A new intern therapist, Nancy, (Heather Langenkamp) takes an interest in Kristen’s case.

In two clever plot twists, one a bit too coincidental, Nancy reveals to the remaining patients that they are the “last of the Elm Street kids”, the surviving children of the people who banded together and burned Krueger to death many years ago.

The second is more intriguing as a nun named Sister Mary Helena (Nan Martin) provides the history of Freddy’s mother, Amanda Krueger, who turns out to be the same.

This humanizes Freddy a bit and provides layers to his story rather than just another “slice ’em and dice ’em” horror film.

The film has a way of gathering curiosity and delivering the goods with dreams hypnosis and mental synapses, as the kids realize they have dream powers that culminate in a group adventure.

Perfect for the mental hospital setting.

The junkyard sequence that provides the climax with so much muscle is splendid adding creative and colorful bits of junk, littering the entire set with rusty tin trinkets and other nooks and crannies to marvel at.

A feast for the eyes and a perfect backdrop for evil and killings. The set design works tremendously well in this film.

The familiar character Nancy played once again by Langenkamp (the main girl from the first Nightmare) is a nice touch of recognition that will please fans immensely. A returning favorite in a horror franchise is always a smart move.

The casting of esteemed character actress Nan Martin, who can frighten the pants off anyone if given a good part, is a divine decision. The actress even resembles legendary actress Betsy Palmer (familiar to Friday the 13th fans as the dreadful Mrs. Voorhees).

The creepy mommy theme so often works well in horror films and this inclusion is no exception.

The theme song to A Nightmare on Elm Street 3: Dream Warriors is a pop-metal treat written and performed by the heavy metal band Dokken.

This inclusion assuredly brought the teenage girls and the mullet crowd alike to movie theaters across America. The song is catchy and can easily be head-banged as the end credits roll across the screen.

Even more impressive is that the lyrics make sense from a story perspective since dreams are a huge part of the franchise and this specific installment.

Nearly rivaling the original A Nightmare on Elm Street (1984) in originality and plot, A Nightmare on Elm Street 3: Dream Warrior (1987) does a fantastic job bringing energy to a fading genre, one not to be rejuvenated for another nine years when Scream (1996) debuted.

Engaging and brightly lit razzle-dazzle visual sets within dreams are pulse-racing and creative, while a mother story crafts fresh air. This film is the sequel high-point to a series of duds soon to follow.

Law of Desire-1987

Law of Desire-1987

Director Pedro Almodovar

Starring Antonio Banderas, Eusebio Poncela, Carmen Maura

Scott’s Review #1,021

Reviewed May 8, 2020

Grade: B+

Law of Desire or La ley del Deseo (as translated in original Spanish) is a 1987 film written and directed by Pedro Almodóvar.

Quite groundbreaking for its time and penned by a respected director, the film was rich in offering what was rarely presented in films during the 1980s- a complex love triangle between two men and a trans woman.

The fact that the trans woman is the sister of one of the men is a bonus to the buttery soap opera premise.

In 2020, when LGBTQ+ films are more plentiful in cinema (at least at the indie level), Law of Desire suffers slightly from a dated feel and parts drag along. It’s tough to heavily criticize a piece so brazen as this one was when it was released to art-house theaters and musty metropolitan theaters.

As groundbreaking as the film must be given credit for, the story now feels sillier than it should, and more outlandish than it probably intended to be over thirty years ago.

The fabulous setting of Madrid, Spain is the backdrop for the luscious tale of love, obsession, jealousy, and revenge, think the prime-time television series Dynasty on steroids.

Cocky Pablo (Eusebio Poncela), a successful gay film director with his pick from a bevy of young, good-looking gay males, is madly in love with Juan (Miguel Molina), though he has a roving eye.

Suave Antonio (Antonio Banderas), who comes from a conservative family, is new to the gay scene and falls madly in love with Pablo when Juan goes to find himself. Tina (Carmen Maura), who likes men and women, has just been dumped and is vulnerable.

Besides the obvious daring gender-bending, this story could be a simple one told many times across many genres. Almodóvar spins things into a frenzy as the plot unfolds adding manipulations, sub-plots, and bizarre characters into the mix.

For example, Ada is Tina’s surrogate daughter and is a precocious ten-year-old girl in love with Pablo. Ada refuses to go back with her mother (Bibi Andersen) when she comes back to whisk her off to Milan to meet a man she just met.

The gay subtext is what is center stage here. Back in the 1980s, the term LGBTQ+ was on nobody’s radar, and having any representation at all in cinema was still territory barely scratching the surface.

This point kept returning to me throughout the film and I imagined how fresh the experience would have been to any gay man or gay woman fortunate enough to have seen it. I am not sure any of the characters would serve as great role models, but the representation is nice.

Almodóvar adds in a good deal of naked flesh for an added treat.

Several comic scenes arise with gusto. Antonio, who lives at home with a religious zealot of a mother, convinces Pablo to sign his letters from “Laura P”, a character from his latest play, to trick Antonio’s nosy mama.

Tina, not much of an actress, is cast in Pablo’s one-woman theatrical productions. She thinks her performance is great, but Pablo thinks she stinks. The comical moments are the ones that work best, giving the plentiful offbeat characters a chance to let loose and shine.

Towards the conclusion, Law of Desire takes a tragic and Shakespearean turn. A drunken Juan is thrown off a cliff to his death prompting an investigation with Antonio and Pablo both prime suspects.

Finally, a kidnapping and police stand-off ensues with a murder/suicide providing the film’s final moments.

I am not a fan of the title that Almodóvar chooses. Preferably would be a title that is a bit more titillating. Even Lust of Desire or Object of My Desire would have been better choices. Law of Desire screams of a tepid episode of television’s Law & Order.

For a director with such an outlandish approach and such bizarre characters, the title is bland, banal, and tough to remember.

Those seeking a kinky and provocative late-night affair will find Law of Desire (1987) a good old time. It lacks much of a clear message instead providing a sexy romp and dreary ending.

Running the gamut of adding musical score pieces as unique as the 1970s The Conformist, a film also shrouded in same-sex desire, to cheesy 1980s synth-laden beats, adds some confusion.

Nonetheless, diversity and inclusiveness are good recipes to chow down on and celebrate.

Au Revoir Les Enfants-1987

Au Revoir Les Enfants-1987

Director Louis Malle

Starring Gaspard Manesse, Raphael Fejto

Scott’s Review #859

Reviewed January 21, 2019

Grade: A

Au Revoir Les Enfants (1987), the English translation Goodbye, Children is a powerful story of youth and friendship amid a French boarding school during the Nazi occupation of France.

As World War II rages on Director Louis Malle crafts a tragic and poignant film that resonates on many levels featuring both good and evil and the forever loss of childhood innocence.

The film is based on actual events that Malle experienced as a child when he attended a Roman Catholic boarding school. At age eleven he witnessed a Gestapo raid in which three Jewish children and a Jewish teacher were savagely rounded up and taken to Auschwitz concentration camps and presumably to their deaths.

What a powerful and tragic event he faced, and he brilliantly transplants this into his film.

We meet young Julien Quentin (Gaspard Manesse) as he bids his mother farewell and takes a train to his boarding school after a lengthy vacation. The headmaster introduces three new students one of which is Julien’s age. Jean Bonnet (Raphael Fejto) is socially awkward but excels at mathematics and piano.

The boys initially dislike one another but slowly forge a powerful bond when they are immersed in playing a game of treasure hunt together. Julien soon discovers that Bonnet is Jewish, and the school is protecting him from capture.

The film is divided into two main stories, the troubled relationship and subsequent friendship between Julien and Bonnet, the revelation that Bonnet is Jewish, and the benevolence of the school officials to the plight of Jews.

The latter gives Au Revoir Les Enfantes a socially relevant angle as the audience begins to care deeply about Bonnet and the other Jewish boys yearning for education and freedom.

Their innocence and confusion over being hated are effective and painful to watch.

The tyranny of the Gestapo is matched by the kindness and courage of the teachers who defy the anti-Semitic policies and admit Jewish students into the school under assumed names.

The teachers are the heroes of the story and largely unsung as they yearn to give children of any religion a good education and a chance at happiness and fulfillment.

I would love to see schools feature Au Revoir Les Enfantes to their students as a lesson in bravery.

Any viewer who has visited France will assimilate nicely with the good culture and sophistication of the country envelopes. Most scenes occur at the boarding school with lessons being learned and the growth of many of the students, but a favorite scene takes place at a gourmet restaurant.

As Julien and his mother lunch with Bonnet and others the meals, staff, and ambiance exude French style and goodness, but among these luxuries also lies the constant threat of the Nazis as they bombard the restaurant and attempt to kick a Jewish man out of the establishment.

Malle wisely affixes the camera closely on the faces of Manesse and Fejto with a glowing quality that is both beautiful and haunting. This results in many scenes featuring the expressions of the boys including wonderment, shock, intensity, and fear.

The young actors rise to the occasion and perform their roles flawlessly with a natural quality.

The boys learn a myriad of valuable lessons most notably that the world is unjust and filled with unfairness. Malle gives the finale more than enough power and angst to leave the viewer pondering the fates of the Jewish characters.

Their fates are undoubtedly sealed by the Nazis the hows and the whys are left ambiguous eliciting powerful emotions.

Au Revoir Les Enfantes (1987) is a superb and relevant offering depicting the pain and fear experienced by Jewish people in a tragic period of history. Told through the eyes of children the film hits home as innocence is discovered and then lost.

The film was nominated for the Best Foreign Language Film Oscar but was defeated by Babette’s Feast.

Oscar Nominations: Best Screenplay Written Directly for the Screen, Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

Babette’s Feast-1987

Babette’s Feast-1987

Director Gabriel Axel

Starring Stéphane Audran

Scott’s Review #796

Reviewed July 27, 2018

Grade: A

Babette’s Feast (1987) is a pure delight for any viewer who is a foodie, particularly of stylish French cuisine.

In fact, during the final thirty minutes or so I was salivating with pleasure as a final multiple-course meal was presented before me. The film is rich with “flavor” and tells a wonderful tale of self-sacrifice, benevolence, and good human nature.

The film won the Oscar for Best Foreign Language Film- the very first Danish film to do so.

Adapted from a 1958 short story, Babette’s Feast tells of two elderly and deeply religious Protestant sisters, Martine (Birgitte Federspiel) and Phillipa (Bodil Kjer), who exist in a small village in Denmark.

The sisters have lived there all their lives and, through flashbacks, it is revealed that each had an opportunity for romance with men decades earlier, as young and fresh young ladies. Each resisted the temptation due to the deeply religious beliefs of their disapproving father.

When a delightful French woman, Babette (Stephane Audran), appears on their doorstep with a note from Phillipa’s potential beau, the kindly women take her in.

Babette is a refugee fleeing Paris and offers to serve as the sister’s housekeeper. Babette is filled with life and a passion for cooking and art- largely contrasting the townspeople, who frequently shun pleasures and harbor reserved and repressed feelings for joy.

When Babette wins the lottery and is assumed to depart back to Paris, she instead offers to make the town a lavish, classic french meal.

The film is a pure treat, especially in the final act when Babette decides to prepare an exquisite meal. This is the true highlight of the film and the menu simply must be listed below to wholly appreciate the film.

As each course is served, the film depicts the cooking process, as spices, salts, wines, and reductions are featured, so much so that we wonder, who made such a gorgeous meal when filming transpired? Audran, known to be a gourmet, must have adored this fabulous and creative role!

In order, Babette’s delicious feast consists of turtle soup served with Amontillado sherry, buckwheat pancakes with caviar and sour cream served with Veuve Cliquot Champagne, quail in a puff pastry shell with foie gras and truffle sauce served with Clos de Vougeot Pinot Noir, an endive salad, rum sponge cake with figs and candied cherries served with Champagne, assorted cheeses and fruits served with Sauternes, coffee with Vieux marc Grande Champagne Cognac.

My mouth is watering and my stomach growling as I write this!

Wisely and poignantly, the film heralds the return of Martine’s longtime admirer, Swedish officer Lorens, who escorts his elderly aunt to the dinner. The other dozen or so dinner guests agree not to fuss or voice any reactions to the meal, but Lorens is different.

With each serving, he comments in explicit detail the pleasures of the tastes and fondly recollects an experience with each course. He speaks for the rest of the guests as we see their reactions and the pleasures they exhibit non-verbally.

Tenderly, Lorens confessed that he had never forgotten Martine, and she the same for him. Despite not having seen nor heard from each other in decades, their connection has never wavered, and thus have spent their lives as one.

What a lovely and powerful scene this is and adds romanticism and elegance to the overall film.

The lighting is effective as many scenes seem to bask in an illuminating glow. The whimsical village is well lit with many soft or muted scenes exuding elegance and grace in the tiny living community.

The costumes and styles are meaningful and make the period of the 1800’s realistic. This adds a tremendous amount to the look and texture of Babette’s Feast.

The overall themes of Babette’s Feast (1987) are ones of kindness, forgiveness, enjoyment, and honesty. The characteristics are brought to life by the characters in the film, rich with flavor and taste, and all experienced through the importance and pleasures of food.

What a magnificent piece of film making this work is and the enormity of riches through good dining.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

Broadcast News-1987

Broadcast News-1987

Director James L. Brooks

Starring William Hurt, Holly Hunter

Scott’s Review #602

Reviewed January 11, 2017

Grade: B

Broadcast News is a 1987 feature film that admittedly is an intelligently written romantic comedy. It was rewarded with several Academy Awards nominations, in what has been known to be a bleak year for the film industry.

That being said, I found the overall result of the film to be a decent experience, but certainly nothing fantastic. I was left with the feeling that it was “okay”.

I do not think it was good enough to warrant Oscar nominations, but it was enjoyable all the same.

The principal characters are interesting enough, albeit safe.

The film centers around three television news people- a neurotic news producer (Holly Hunter), a reporter (Albert Brooks), and his rival (William Hurt).

All of them are ambitious and determined to climb the ladder of success in their Washington D.C. base.

The film explores the relationships between the characters.

As stated, there is nothing wrong with the film. I would have expected a bit more- perhaps a deeper or darker story- instead, despite some witty dialogue, the film is largely a safe, predictable journey.

Oscar Nominations: Best Picture, Best Actor-William Hurt, Best Actress-Holly Hunter, Best Supporting Actor-Albert Brooks, Best Screenplay Written Directly for the Screen, Best Cinematography, Best Film Editing

The Believers-1987

The Believers-1987

Director John Schlesinger

Starring Martin Sheen

Scott’s Review #547

Reviewed December 12, 2016

Grade: B

The Believers is a very obscure film that I had never heard of before viewing it. Combined with the fact that it was made in 1987 (not a great time for movies) I was skeptical about this one but was pleasantly surprised.

It has some edge to it, is mysterious, and is set in New York City- always a plus for me.

Martin Sheen- merely a youngster when this was made-plays a police psychologist, Cal Jamison, involved in a voodoo serial killer cult.

He moves from Minnesota to New York City following the death of his wife by electrocution, when her coffeemaker malfunctions.

Is this key to the case or a red herring?

The plot is a bit convoluted as when Cal’s son is targeted by the serial killer and when frazzled police officer, Tom Lopez (Jimmy Smits),  takes center stage.

I did not find Smits all too believable in this role, and the film has a striking 1980s feel to it.

The locales, since it was shot in New York, are fantastic, and the plot contains some scares, surprises, and spooky effects along the way.

I also was very impressed by the satisfying ending.

The Believers (1987) is a very good thriller/horror film.

Wall Street-1987

Wall Street-1987

Director Oliver Stone

Starring Michael Douglas, Charlie Sheen, Daryl Hannah

Scott’s Review #511

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Reviewed November 5, 2016

Grade: B+

Rather late in the game, but 2011 was my first time seeing the film Wall Street and it was a very good film.

Douglas and Sheen have great on-screen chemistry and the numerous scenes of New York City are pleasing- pre- 9/11 they capture a haunting feeling.

Despite being made in 1987 (not a great year for cinema), it does not feel dated except for the soundtrack.

Unfortunately, the circumstances in this movie still ring true today. There is a lot of dishonesty and greed in the financial world (check out the documentary Inside Job for proof of this).

The financial collapse of 2008 is a great indicator.

Michael Douglas is excellent in the role of Gordon Gekko, a power-hungry, greedy financial mogul.

He encompasses the role in every way and deservedly won the Best Actor statuette for this year.

Oscar Nominations: 1 win-Best Actor-Michael Douglas (won)

Fatal Attraction-1987

Fatal Attraction-1987

Director Adrian Lyne

Starring Michael Douglas, Glenn Close

Top 100 Films #45

Scott’s Review #329

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Reviewed January 8, 2016

Grade: A

Fatal Attraction is a film that was a monster smash hit at its time of release (1987) and has all the makings of a trashy, forgettable, slick Hollywood film from a disastrous time in the film.

Guess what? It is a fantastic, gripping, thriller that still holds up well after all of these years.

Say what you will about Anne Archer, who is very good, but this film truly belongs to Michael Douglas and Glenn Close, who made it the believable thrill ride that Fatal Attraction is.

The subject matter is adultery, which made it the water-cooler topic of its day.

The plot is quite simple- Douglas plays Dan Gallagher, a successful New York City attorney, happily married to Beth (Archer), and raising a cute young daughter, Ellen.

When Beth and Ellen are away looking at new houses one rainy weekend, Dan embarks on a torrid affair with sexy, successful businesswoman, Alex (Close), not realizing that she is an unbalanced, needy woman, who is not about to let Dan out of her life.

I adore this film in large part because it’s a film that can be debated.

Many seem to blame either (mostly) Dan or Alex, but the question of monogamy can always be a topic of conversation after viewing this film, so in that regard, it is multi-faceted, rather than solely a well-acted Hollywood potboiler.

Was it okay for Dan to cheat? Does Beth overreact or does she forgive too easily? Do we sympathize with Alex? Is she a victim?

The film is unique in that many folks were rooting for Dan and Alex, despite her being the other woman.

So many memorable lines or scenes contribute to this film- who can forget the infamous “boiling pet rabbit” scene or the wonderful line that Alex utters to Dan, “I will not be ignored, Dan”.

They are so ingrained in pop culture that it brings a smile to think of these aspects of Fatal Attraction.

The real selling point, though, is the natural and honest chemistry that Douglas and Close share. Their scenes, mainly the romantic weekend they spend together, flow so nicely that they have real rooting value and I instantly bought them as a couple.

Without this undeniable chemistry, Fatal Attraction would be a standard romantic thriller- and not much else. And the smoldering sexuality during their love scenes is erotic and intense.

Surely not suffering from the dreaded “1980s look”, Fatal Attraction is a gem that holds up very well and is a slick thrill-ride, easily watched and enjoyed time and again.

Dozens upon dozens of carbon copy films cropped up in the years to follow, but none were ever as fantastic as Fatal Attraction (1987).

Oscar Nominations: Best Picture, Best Director-Adrian Lyne, Best Actress-Glenn Close, Best Supporting Actress-Anne Archer, Best Screenplay Based on Material from Another Medium

Opera-1987

Opera-1987

Director Dario Argento

Starring Cristina Marsillach, Ian Charleson

Scott’s Review #104

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Reviewed July 11, 2014

Grade: B+

Opera is a 1987 Italian horror film directed by Dario Argento.

The story revolves around a theatrical production of Verdi’s “Macbeth” as the understudy takes on the lead role of Lady Macbeth after the star is hit by a car, and strange and horrific events begin to occur.

The film contains traditional Argento elements- stylistic, extreme close-ups, and weird camera angles.

Members of the cast are systematically murdered as the killer forces the film’s heroine to watch- aided by a device which, if she blinks, sharp nails will go through her eyes.

The ending is killer- no pun intended. I love surprise endings in horror films and this one was dynamite.

My main criticism of the film is the horrendous dubbing, which distracted me a great deal. It has a muffled, hard-to-hear quality to it and no subtitles.

I’d rather it have been available in Italian with English subtitles. The film needs to be upgraded to Blu-ray ASAP.

Another odd aspect of the film is the mixture of operatic music with heavy metal music with each kill. It did not seem to fit the film at all.

Not Argento’s best- Suspiria (1977) and Deep Red (1975) have that honor, but a very good, enjoyable cinematic horror film.

No Way Out-1987

No Way Out-1987

Director Roger Donaldson

Starring Kevin Costner, Sean Young, Gene Hackman

Scott’s Review #96

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Reviewed July 5, 2014

Grade: B+

No Way Out is a slick political thriller from 1987 starring Kevin Costner as a U.S. Naval Officer investigating a Washington D.C. murder.

Gene Hackman and Sean Young are co-stars. Costner is at the top of his game in the film and is quite charismatic and charming.

The plot has several twists and turns that keep the viewer guessing and engaged and is a classic edge-of-your-seat stylistic film.

The film is paced very well as it gradually picks up steam with each plot turn until it builds to a frenetic finish. Specifically, the final forty-five minutes that take place in the CIA are quite a cat-and-mouse game.

It’s a film about sex, murder, love affairs, politics, and backstabbing.

Hugely successful in the 1980s, and as much as I still enjoy it, the film unfortunately now appears quite dated as the soundtrack, hair, and clothes, all scream late 1980’s and that is not to its credit.

It now seems all too similar, though a cut above, to other countless themed films of the same period. Truly great films are timeless.

Kevin Costner was in his prime with No Way Out (1987) and Sean Young has a wonderful turn as the mysterious Susan Atwell.

Outrageous Fortune-1987

Outrageous Fortune-1987

Director Arthur Hiller

Starring Bette Midler, Shelley Long

Scott’s Review #85

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Reviewed July 2, 2014

Grade: D

Outrageous Fortune (1987) is one of many silly plot-driven comedies to come out of the late 1980s.

It stars huge comedic actresses of the time (Bette Midler and Shelley Long) as opposites, Midler-brash, Long-refined, who are acting students and in love with the same man (Peter Coyote).

Of course, they meet and hate each other then become friends. This sets off a series of misunderstandings and standard comedy fare.

It’s a female buddy movie. I must say that I did enjoy the chemistry between Long and Midler as the on-screen chemistry is evident.

Besides the chemistry, the only other positive is the New York City location scenes and the acting/theater workshop setting.

Whose idea was it for Midler to use a horrible, phony New York accent??

It distracted throughout the entire film which is not very good, to begin with. Otherwise, this is a dud and is completely plot-driven and predictable.

It has a pure 1980s comedy feel to it (by that I mean overdone hairstyles, bad music, and a silly plot).

Shelley Long is the highlight of this film as she is great at comedic timing, but, unfortunately, her film-starring career was short-lived.

Maurice-1987

Maurice-1987

Director James Ivory

Starring James Wilby, Hugh Grant

Scott’s Review #14

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Reviewed June 17, 2014

Grade: A

A brilliant film adaptation of the E.M. Forster novel set at Cambridge University during the turn of the twentieth century, it tells the story of oppression and social norms that took place at the time.

It is a gorgeously shot film, with beautiful landscapes, photography, and costumes.

Reminiscent of the British films “A Room with a View”, and “Howard’s End”, it is a male love story during a time when it was forbidden and lives were ruined because of sexuality like this.

The film’s characters make choices: some repressed, others celebrate, with differing results. In the middle of it, all is a beautiful love story.

Maurice (1987) is a timeless, brave treasure.

Oscar Nominations: Best Costume Design