Cronenberg’s Videodrome first attempts to be a social commentary, but ends up a bizarre experience that is high on the smut, tits and phallic imagery, but low on the substance.
Two metropolitan friends keep on going backwards and forwards for years before finally committing to a relationship in a little above the average romantic comedy.
Going Overboard kind of works at first when it keeps on mocking its own low budget shoddiness – but crashes and burns the minute it starts to pass itself as a real comedy.
The top grossing movie of the year still entertains, but isn’t as spectacular as it was back in 1989 – and in retrospect its value as a pop culture event surpasses its merits as a movie.
What could’ve been your average 80s comedy is levelled up by Keaton’s, Lloyd’s, Boyle’s and Furst’s acting talent that help the movie find its heart and to provide the laughs.
Two cultures clash after a japanese company buys out a out-of-business american car company in Ron Howard’s delightful comedy that only falls short in its final denouement.
Tim Burton’s and Michael Keaton’s take on a deceased couple doomed to haunt a mansion is a truly unique, delightful and entertaining movie experience.
The most traditional Christmas film of the bunch, The Christmas Gift is an easy going, safe for the family TV movie that plays through without much surprises.
A (somewhat annoying) girl finds an injured raindeer she’s convinced to be Santa Claus’ Prancer in a surprisingly dark, grim and gloomy wet blanket of a Christmas movie.
The Night They Saved Christmas showcases Santa, his elves, toy factories and gizmos – and the rest of the 90 minute run time seems to be there just to fill the remaining vhs tape.
It Came Upon The Midnight Clear’s stronger than average christmas movie plot is wasted with sluggish writing work, but the great Mickey Rooney keeps the movie afloat till the end.
A country star flees the city to find herself in a house full of orphans in a so-so modern day fairytale adaptation really recommendable if you’re a fan of Dolly Parton and her music.
Back to the Future Part II triumphs in the seemly impossible task of doing a worthy sequel to a blockbuster movie – and does it so well that it’s partly better than the original.
Oh wow. The big 500 is finally here.
When starting out the project two years ago I kind of ever really imagined I’d make it this far; five hundred is a big amount of films any way you look at it, but to my surprise it hasn’t been a chore I first anticipated but something I’ve always looked into doing – thanks to some amazing gems I’ve found along the way. While I regret not having the time to write a full review of every single film, that only means I’ve something to do in the round two when I watch these movies again, right?
So, what a better way to celebrate the big number than to say a few words about my favourite movie of the 80s. Beware though as this is not going to be a review in a traditional sense, but much more a fanboy rant.
Back to the Future is a movie that started it all for me. I remember being amazed and obsessed by it when it first came out and when the 80s ended I still kept on going back to it. And that pattern repeated again and again when I found myself in a new decade.
I’ve never fully analysed why the movie rocks and I’m not going to do it this time either. Why? Well, Back to the Future is a kind of a sacred thing to me, it’s a thing of pure magic and something I’d never want to ruin by dissecting, measuring and analysing it.
The work by Robert Zemeckis and Bob Gale to realise Back to the Future from the early concepts to the final movie is nothing less of amazing and becomes much more obvious if you watch any of the making of videos how the movie came to be. Usually, no matter what the movie is there’s always something I’d change, from pacing to the characters to the plot twist to the ending.
With Back to the Future I’d change nothing.
It’s perfectly executed film and well beyond what I could ever come up with. It’s so well made from the tiniest of the details to all the way to the big picture, it’s a humbling experience to watch every single time.
Finally, Back to the Future gathers together everything I love in the era and its movies. It’s a wonderful adventure with a strong scifi story, great humour, an amazing array of characters, thrill and excitement. It’s one of those rare times in the universe when everything just lines up the perfect way – and the end result is just pure magic.
Walker is a smart, flesh and hilariously entertaining genre bender that’s only downside is the director Alex Cox’ urge to underline its subtext and cleverness far too much towards the end.
Yet another 80s horror movie based on a Stephen King’s novel, Silver Bullet is a werewolf movie that would’ve been considerably better if it wasn’t about werewolves. Still, it’s a neat little campside ghost story for your inner 12-year old kid.
Gary Busey is perfect as the irresponsible, but lovable uncle Red.
Playing like a tired, light weight summer vacation novel, Cat Chaser has regrettably tons of made-for-tv screenplay quality to it, and is as exciting as watching paint dry.