#1349 Delivery Boys (1985)

The never-heard-before Delivery Boys is a comedy with a typical problem of the team not having a proper focus. This results as the movie being an uneven collection of adolescent sex comedy, a musical and a serious film about break dancing, as if it was patched together from the leftovers of three different movies.

The comedy bits are of your typical lowest common denominator type, with men dressing as women and horny men then trying to have sex with them, and the breakdance and training parts of the movie are much more interesting to watch.

Delivery Boys would’ve worked much better as a showcase to the 1985 New York and to its breakdance / hiphop scene with the comedy bits somehow related to that theme.

80s-o-meter: 85%

Total: 29%

#1336 Hairspray (1988)

Somebody please explain me why movies like Hairspray exist.

Just kidding – I know, I know. They’re there to give a dose of nostalgia for those long for the bygone days when the sun always shone and the colors were much more vivid. You can spot useless nostalgic movie by reimagining it to the current day and figuring out if the concept still holds up.

Hairspray was definitely my cup of tea, even despite its favorable anti-segregation message.

80s-o-meter: 3%

Total: 4%

#1299 Zoot Suit (1981)

Zoot Suit is the lavish and showy outfit with high-waist, wide-legged trousers and a ridilously long coat with wide, padded shoulders, coupled with a overlong watch chain dangling below the knee, and worn mostly by the youngsters of African-American, Latino, Italian American, and Filipino descent in the 1940s. What makes Zoot Suit interesting is its rebellious statement of self expression and the showiness of it by using excessive amount of materials, making them a luxury items and the way to show the neighbourhood (and the ladies) how much of a cool cat you were.

This is where the interesting part of Zoot Suit ends. The movie itself is an adaptation of a 1979 musical of the same name with possibly the worst music I’ve heard and the movie itself is shot with theatrical setting as if it was a play, likely to underline the fairy tale like nature of the movie, but to me it just did not work, give a take a few scenes. What worked though was the narrator and the ’Zoot Suit Spirit’ played by Edward James Olmos.

Like most of the musicals, Zoot Suit has a limited, but die hard fan base that rates it up there with the actual musical timeless classics.

80s-o-meter: 3%

Total: 18%

#1296 Blame It on the Night (1984)

Look, I totally get what the team behind Blame It On The Night was trying to achieve by joining together a free spirited rock’n’roll star father and a high-strung son studying in a military academy.

But this obvious setup of mixing two very different elements together, having them going through a set of clashes before each one learns a lesson from each other pressed all the wrong buttons to make its point. The movie features useless and overlong segments of lame adult pop concert footage that serves no purpose after the first time the status of the father as a pop star figure was established and uses only a little time establishing believable relationship between the father and the son. The way the movie sets up the clashed feels very artificial, and the resolution of those clashes feel equally lame and forced.

The name of the movie remains a testament of how much of a misaligned mess Blame It on the Night is, as it has absolutely nothing to do with what’s seen on the screen.

80s-o-meter: 70%

Total: 4%

#1273 Shock Treatment (1981)

A spiritual sequel to the 1975 The Rocky Horror Picture Show, Shock Treatment marches similar kind of bizarre imagery and zany characters on screen, but falls short every way our heads RHPS managed not to, despite its unorthodox setup.

Placed on a set of a TV show/hospital the music remains the only good point in Shock Treatment – and the music is not very good.

80s-o-meter: 50%

Total: 2%

#1229 The Idolmaker (1980)

Based on the life of rock promoter/producer Bob Marcucci, The Idolmaker tells a story of a musician who after failing to become a music idol himself, ends up a producer talented in finding and sparring the next generation of stars.

While the movie and its late 50s, early 60s nostalgia wasn’t exactly my cup of tea, Peter Gallagher as the lead makes a perfectly magnetic performance as Caesare, who makes a transformation from a mere busboy to a star with enough charism to fill a big stage.

80s-o-meter: 3%

Total: 61%

#1208 White Nights (1985)

White Nights cooks up a fairly lukewarm dish out of some top shelf ingredients: The synopsis is unique and interesting, soundtrack contains multiple tracks from the contemporary chart-topping artists and the movie pictures its Russian locations credibly, thanks to the footage shot actually in location by the Finnish 2nd camera crew. And most importantly, even if watching dancing isn’t your thing – it for sure isn’t mine – there’s no denying that Mikhail Baryshnikov’s seemingly effortless movement on the stage is pretty darn impressive.

Problem is that I felt really indifferent for all the characters in the film. The golden cage they were locked in felt something of a third world problem as they were still better off than 99,9% of the population – and knowing know that CCCP was only a few years away from collapse, the drama in White Nights did not catch me at all.

I could’ve also lived without Gregory Hines’ tap dancing defector character that added absolutely nothing to the story.

80s-o-meter: 33%

Total: 61%

#1206 The Jazz Singer (1980)

Based on the 1927 movie of the same name, The Jazz Singer depicts a 40-year old jewish cantor rebelling against his father in a story that did not beg to be told.

It’s not exactly a good sign if during a remarkably bad musical movie it’s the music parts that you end up wanting to fast forward.

Most people that have seen The Jazz Singer seem to agree that it’s worth watching only for Neil Diamond’s songs and performances. As someone to whom the monumental success of mr. Diamond remains one of the biggest mysteries of popular music, I don’t have even that.

80s-o-meter: 7%

Total: 3%

#1037 School Daze (1988)

Spike Lee’s School Daze makes a successful and interesting late 80s look on African-American college life that’s very convincingly portrayed from inside out.

Being quite far away from its frame of reference as a pale skinned European I probably missed a lot of the references and subtleties of the movie, but on the other hand many of the themes here are still universal enough for me to relate to, especially the way the young and somewhat misguided adults having to choose their side to belong, be it jigaboos, wannabes or fraternities. We’ve all been there.

I also love how many of the clashes on the movie are built around petty issues of the middle-class college students and thus feel like actual, interesting conflicts.

Lee makes admittedly many uniquely interesting insights about the interracial conflicts, principles, having to choose one’s side, fraternities and the petty power that corrupts. But if the movie was out there to make a clear statement, it’s lost in translation for me.

80s-o-meter: 87%

Total: 72%

#1004 Grease 2 (1982)

Grease 2, the sequel for the original 1978 runaway musical hit starring John Travolta was a critical and a box office failure. Oh boy, I thought as I pressed the play on my remote, assured I was facing a torture even worse than having to watch through the original.

Pessimism be blessed, as the experience didn’t turn out to be nearly as bad as I’d anticipated. The movie is inept – that’s given – but it all seems to have been done in a good humour with a fair amount of tongue in cheek. Grease 2 does a remarkably bad work at establishing the early 60s setting and the movie never seizes to feel like 80s kids doing a cosplay of the former era.

Personally I count this only as a definitely plus for the movie.

80s-o-meter: 41%

Total: 48%

#889 Vicious Lips (1986)

Vicious Lips is what happens when you gather a bunch of young models and promise them they’ll get to star in the talking pictures — and them at some point you have no choice but to have that movie made, with ideas on not.

Very little in this movie makes any sense, and it all feels like it’s been made up as they go along. There’s something about a crashed spaceship, topless women running around in a desert and an intergalactic girls band trying to find some venue while being harassed by something kind of resembling a monster.

If any of that managed to sound funny, I can assure you it’s not.

The only somewhat passable thing here are the musical numbers scattered around the movie, but honestly I really couldn’t be bothered by them either.

80s-o-meter: 80%

Total: 12%

#866 Fame (1980)

After the first 15 minutes to the Fame I’d made up my mind what I going to say about it: Yet another pretentious and theatrical musical about the young performance artist suffering melodramatically while trying to make it to the top. While my initial impression still partly holds, I have to admit Fame wasn’t really all that bad.

Yes, there’s a lot of melodramaticism going on here, but also a lot of undeniable warmth to the way that the characters are written and presented in the movie, and it was that love for the characters that won me over eventually. The movie is noticeably lengthy at 134 minutes and would’ve gained from a bit more rapid pacing at times.

Young Irene Cara provides great vocals to the key songs and would go on to an even greater musical triumph with Flashdance three years later.

80s-o-meter: 78%

Total: 73%

#851 Voyage of the Rock Aliens (1984)

Voyage of the Rock Aliens is made to spoof the swinging beach movies of the 60s with an element of extra terrestrial synth pop band traveling to study earth.

Wanting to be one of those crazy comedies, Voyage of the Rock Aliens makes an endless number of desperate attempts for humor. The most amount of wittiness you will see though is a convict attacking a cop with an electric can opener, and the cop then defending himself with a can of tomatoes, or a robot transformed to a fire hydrant then getting peed on by a dog. And both of these gags sound funnier in writing than they come out in the movie.

Much of the humor is built upon the fish out of water aspect of it all that grows stale already during the first minutes into the movie. There are also a lot of lengthy pop songs along the way, all of which have a strong vibe of if the soviet union had produced some music videos, and tried to pass them as the real thing.

Voyage of the Rock Aliens is one of those movies that is shoddy by design, and approach which sometimes works, but here the end result is just one cringeworthy mess.

80s-o-meter: 80%

Total: 3%

#846 The Cotton Club (1984)

Directed by the legendary Francis Ford Coppola and made with the top talent of the era and a budget the size of the GDP of a small nation, I should’ve liked The Cotton Club. But, this wasn’t a movie for me.

The Cotton Club is a mobster movie with some jazz and dance thrown in. It lifts all of its imagery from the prohibition era cliché book and the end result is very movie like, and detached from reality. I would’ve kind of applauded the effect if it was restricted to the scenes inside the Cotton Club, underlining how it is a wonderful world of its own, outside the harsh day to day life.

Counting out the few nice musical numbers there are, the narrative in The Cotton Club falls flat and I found myself indifferent about the events and the people involved.

It feels like Coppola never quite knew what he wanted to accomplish with this project.

80s-o-meter: 27%

Total: 52%

#843 Eddie and the Cruisers II: Eddie Lives! (1989)

An idea to do a continuum for the original movie like a miscalculation at first and seems just like another unmotivated sequel that will end up devaluing both of the movies. But as the events start to evolve Eddie and the Cruisers II: Eddie Lives actually makes sense and feels like a good continuum for the events left without closure in the first movie.

The thing is, I somehow like the second story better. Living true to his mantra of wanting to be remembered by the music or not at all, Eddie has gone incognito, working as a blue collar construction worker. As the events unravel he soon finds himself as an unwilling lead of a rock band headed for fame.

Like the first time around, much of the charm of the movie is built around Michael Paré’s, who mimics the songs with such credibility and intensity, one’d wish Eddie was an actual, living rock star.

80s-o-meter: 81%

Total: 82%

#842 Eddie and the Cruisers (1983)

A tale of a reporter investigating steps that lead to the tragic disappearance of the leader of an iconic 60s rock band, Eddie and the Cruisers is told through numerous flashbacks – an approach that sort of works, but does make the end result a somewhat patchy.

But, when it comes to music, the movie more than delivers. Michael Paré possesses a true rock star quality as the head of the band and mouths all the heartland rock songs with a convincing intensity. Purely as a musical the movie is among the best, void of the cringeworthiness often associated with the genre.

This poetic and enigmatic journey to unravel the mystery of a lost rock’n’roll star earned a cult status already in the 80s, and spawned a follow-up, released in 1989.

80s-o-meter: 71%

Total: 80%

#820 Pennies from Heaven (1981)

Based on the BBC serie of the same name, Pennies from Heaven is a musical that is for some reason being served as drama, although its core concept of dancing and mouthing old hits from the golden era cannot be perceived as anything but comedic and silly.

The big gimmick of the movie, escaping the grim day-to-day life to a jolly song totally detached from reality – a concept used later successfully in Lars von Trier’s Dancer in the Dark – works well for a short time, until it gets repetitive and then finally gimmicky. Actually, it’s not the musical numbers but the actual movie bits that start to feel tiresome after awhile: Pennies from Heaven is the kind of period picture that relies far too heavily on just establishing the period for a cozy feeling, and if taken to the current time, the story just wouldn’t have much going for it.

The dance numbers themselves are fabulously constructed and clearly it’s taken a lot of practise for the actors to train for them. What’s distracting though is the way the original songs are being lip-synced instead of having the actors perform them. The real treat of the movie is Christopher Walken whose brief performance is nothing short of a breathtaking.

80s-o-meter: 45%

Total: 58%

#816 Salsa (1988)

Well, this was a painful experience.

I had to check back to internet every fifteen minutes to check if Salsa’s origin of country would’ve magically changed to something else than USA, giving me an excuse to skip sitting through this atrocity. Alas, no. The director Boaz Davidson remained Israelian and the lead Robby Rosa and his sweat oozing curls remained firmly Puerto Rican.

The movie – the term has to be used very loosely here – is a collection of salsa music numbers and a thin plot that’s not able to tie them together to a comprehensible entity. Rico is an obnoxious character, often seen trying to run his baby sister’s life or twitching around in a theatrical manner filled with pain that is his life. The subplot of forbidden love between his best friend and his sister is a much more interesting story line, even if I’ve seen music videos with a stronger plot.

Salsa is without point, pretentious, melodramatic and seemingly clueless of all this – once again reminding me of everything I loathe about musicals.

80s-o-meter: 71%

Total: 1%

#810 Coal Miner’s Daughter (1980)

Telling the story of the country music singer Loretta Lynn, Coal Miner’s Daughter wasn’t too interesting concept for me, not familiar with her work, but I soon found myself Not familiar with her work, it wasn’t the country singing fame part that sucked me into the movie, but its gritty and lifelike portrayal of the small coal town in Kentucky.

The director Michael Apted and the actors have managed to carve out remarkably well-rounded and realistic portrayals, making it easy to identify with and adapt to the characters. Sissy Spacek – who impressively did all the singing on her own – walked away with the academy award for best actress, and quite deservedly so. Tommy Lee Jones on the other hand makes for a memorable Oliver ’Doolittle’ Lynn, a contradictory character that in many ways culminates the essence of this movie.

Last but definitely not least Levon Helm in his feature film debut gives one the most honest and heartbreaking performances I’ve seen in a while as Lynn’s honest, hard working father. That railway station scene still gives me the chills.

Coal Miner’s Daughter is a triumph, although it does lose some of its momentum towards the end as the movie focuses on patching in the key points of her later career. The major breakdown that could’ve been build up to and surveyed with care is both presented and dealt with quite hastefully.

80s-o-meter: 33%

Total: 85%

#769 Flashdance (1983)

Plotwise there wouldn’t be much to Flashdance: A model working in a steel factory wants to attend to a dance school but is paralysed by her fear of trying and failing. She then falls in love with her boss, they have a few fights along the way and finally she conquers her fears and dances in the audition.

With the thin plot out of the way let’s move on to the music; and there’s plenty to love here! The highly energetic title song ’Flashdance.. What a feeling’ composed by Giorgio Moroder and performed by Irene Cara, became a huge hit and won the Academy Award for Best Original Song. Michael Sembello’s Maniac is equally lively, and became almost as big a hit with both songs reaching place #1 on the Billboard Hot 100. Other featuring artists include Laura Branigan, Kim Carnes and Joe Esposito, and the soundtrack album went on to win the Grammy Award for Best Album of Original Score and became a best seller.

The movie is professionally shot and the camera just loves Jennifer Beals who looks absolutely gorgeous on the screen. Unfortunately, although the movie is an easy watch, it’s still nothing to write to home about, and it’s clearly the soundtrack here that gives the movie additional value – and not the other way around.

80s-o-meter: 85%

Total: 62%