1985: Part 1

Back to the Future. Directed by Robert Zemeckis. I guess I used to think Back to the Future was kind of silly, but now that I’ve seen it again in its entirety, it’s actually a really well-made, well-thought-out film. Michael J. Fox is believable as 17-year-old Marty McFly, despite actually being 23. He is ably supported by Lea Thompson and Crispin Glover, who play parents Lorraine and George both young and middle-aged. Glover is particularly enjoyable in another of his typically kooky performances. (Note: Isn’t it kind of sad how he aged so much better in the movie – whether at the beginning or at the end – than he did in real life?) The movie would be nothing without Christopher Lloyd, the king of eccentrics as genius Dr. Emmett Brown, inventor of the Flux Capacitor. Lloyd manages not to get too wacky but still gets a lot of laughs. I don’t know if I’m ever going to bother with the two sequels, but the original Back to the Future is guaranteed fun.

Desperately Seeking Susan. Directed by Susan Seidelman. I know that this film has its detractors, but honestly, how can you not love all that nutty 80s style? Desperately Seeking Susan is a true time capsule. From the music to the fashion to the frizzed-out hair, Rosanna Arquette (who won a BAFTA for Best Supporting Actress) and Madonna contribute to the iconic look and feel of the film. It’s easy to see why Madonna’s clothes, makeup and hairstyle were such an inspiration; she makes it all look cool. Aidan Quinn does a nice job as the requisite male eye candy, also displaying good acting and real chemistry with Arquette. A number of character actors, including Mark Blum, Robert Joy, Laurie Metcalf, comic Steven Wright, John Turturro and Giancarlo Esposito, populate the cast. (Look fast for infamous punk figure Rockets Redglare as a taxi driver and Shirley Stoler as a prison matron.) If you’re looking for a funny, sexy comedy that defines the 80s, this movie is it.

The Goonies. Directed by Richard Donner. Doesn’t every kid love this movie? The Goonies is an awesome adventure with plenty of heart. Everyone has his own favorite character; for me, as a young girl I found it nearly impossible not to adore teenage Josh Brolin and his character’s multilayered 80s fashion. The rest of the cast is, of course, terrific: Sean Astin, Jeff Cohen, Corey Feldman, Kerri Green, Martha Plimpton and Jonathan Ke Quan are funny and sweet in their own weird, unique ways. The gang’s search for lost treasure in underground caverns turns small-town Oregon into a mystical land full of wonder and possibility. Villains come in the form of Joe Pantoliano, Robert Davi and Anne Ramsey, though football player John Matuszak’s role as Lotney “Sloth” Fratelli proves to be loveably heroic. The Goonies is one of those movies you can watch at any time of day and it will always be engaging.

The Purple Rose of Cairo. Directed by Woody Allen. Watching the Mia Farrow decade of Allen films (1982-1992) makes one wistful for what could have been had they not split up in such an ugly way. This is definitely one of their best collaborations, giving Farrow yet another wonderful showcase for her all-too-underrated talents. Like the later gem Alice, Purple Rose is a delightful romance rooted in fantasy. It is also a rather poignant film, showing us how cruel reality can be, as noted in the abusive relationship Farrow has at the hands of her husband, played by Danny Aiello. Farrow’s idyllic time spent with Jeff Daniels (playing dual roles) is both funny and heartbreaking thanks to the top-notch performances by the two actors. As the movie’s tagline says: “She’s finally met the man of her dreams. He’s not real but you can’t have everything.” Maybe so, but this movie provides everything you need for a fulfilling and moving experience. P.S. The film has a number of other great actors, including Van Johnson, Edward Herrmann and Dianne Wiest.

Ran. Directed by Akira Kurosawa. Having seen three other Kurosawa films – Rashomon, Throne of Blood and Yojimbo – I consider Ran far and away the best. The Oscar-nominated cinematography alone is worth it; the color is sharp and beautiful, making even the most haunting imagery, like the film’s final shot, vibrant. As for the story, Ran is a reworking of King Lear and lead actor Tatsuya Nakadai’s performance as Lord Hidetora Ichimonji is brilliant. Shakespeare’s nuance is certainly captured by Kurosawa’s screenplay, which he co-wrote with Hideo Oguni and Masato Ide. Other highlights are the Oscar-winning costume design and nominated art direction/set decoration. (The film’s fourth nomination was for its direction.) Besides Nakadai, famed entertainer Pîtâ (or “Peter”) is excellent as Kyoami (the fool) and Mieko Harada is unforgettable as the savage Lady Kaede, who uses sex and violence to get what she wants. The Criterion Collection DVD of Ran is pristine, allowing every hue to stand out. Depending on how interested you are in Japanese cinema and/or Shakespeare adaptations, this masterpiece has a fair chance of completely immersing you in its world.

1989: Part 1

The Abyss. Directed by James Cameron. Thanks to the Fox Movie Channel, I was able to watch the 1992 director’s cut of this fascinating science fiction film. There’s one thing you can say in James Cameron’s favor: he’s ambitious. He sets out to make great movies, to do things bigger and better than ever before. This nearly three-hour adventure has everything you need: aliens, nuclear warheads, deep-sea psychosis and a touch of romance. Ed Harris and Mary Elizabeth Mastrantonio both do a nice job as a soon-to-be-divorced couple who head up the diving expedition to find a sunken submarine. Michael Biehn, who had previously worked with Cameron in The Terminator and Aliens, has a plum role as a Navy SEAL lieutenant also on the mission, who unfortunately begins to experience the effects of high pressure nervous syndrome while in the team’s sub. Despite the film’s length (even the original theatrical cut is over two hours), its fine actors and excellent technical craftsmanship, including Oscar-winning visual effects and Oscar-nominated cinematography, art direction/set decoration and sound, keeps the viewer on the edge of his/her seat.

Bill & Ted’s Excellent Adventure. Directed by Stephen Herek. It’s the time-travel comedy classic that will never grow old. Alex Winter and Keanu Reeves play Bill S. Preston, Esq. and Ted “Theodore” Logan, two teens from San Dimas, California, destined to flunk their high school history class. Coming to their rescue is Rufus, played by none other than George Carlin. Rufus is from the future, a future in which Bill and Ted’s fledgling band, “Wyld Stallyns,” reigns supreme. In order for that to come true, however, the guys have to get a good grade for their history class presentation. With the help of a time machine in the form of a phone booth with an antenna attached, Bill and Ted fly through time and space, picking up historical figures like Napoleon, Billy the Kid and Socrates, plopping them back in San Dimas. The adventures Bill and Ted go on, including a little romance with two 15th-century English princesses, are made fun thanks to a hilarious script and the comic chemistry between Winter and Reeves. If I were a history teacher, this would definitely be a film to show my class.

Dead Poets Society. Directed by Peter Weir. Robin Williams is at his best when required to actually act (see: Awakenings, Mrs. Doubtfire, The Birdcage), so it is no surprise that he is so effective in this coming-of-age drama set in 1959. The title society, originally created by English teacher Williams during his formative years at the New England prep school where he teaches, is newly populated by a small group of his current male students. The teens, played by Robert Sean Leonard, Ethan Hawke, Josh Charles, Gale Hansen and James Waterston (son of Sam Waterston), gather in the woods in the middle of the night to read poetry and to feel inspired to lead bolder lives. Each of the boys goes through various crises during his time at school, but none more than Leonard. His desire to be an actor is at odds with his father’s stern orders for Leonard to go to medical school. One of the highlights of the film is his performance in a local production of “A Midsummer Night’s Dream,” in which he finally gets the chance to show his inner talent. Leonard’s performance is matched by young Hawke, who is equally emotional as Leonard’s shy, introverted roommate. Hawke is worlds away from the arrogant character he would play in Reality Bites five years later. Ultimately, Dead Poets Society is a film which both parents and children should see, but especially anyone who has ever been a student or a teacher.

Say Anything… Directed by Cameron Crowe. Say Anything… established Crowe’s directorial career, but more importantly, it proved that a romantic drama could revolve around teenagers and still be as mature and profound as if it were about much older adults. John Cusack, whose leading man career had mainly consisted of teen comedies like The Sure Thing, Better Off Dead… and One Crazy Summer, struck gold as Lloyd Dobler, a “noble underachiever” who plans on becoming a kickboxer. (It’s “the sport of the future,” he says at one point.) Lloyd is madly in love with Diane Court, played by the lovely Ione Skye. At the beginning of the film, Lloyd and Diane graduate from high school, where Diane is the valedictorian and recipient of a fellowship that will allow her to go to college in England. Lloyd’s quest to win over Diane before the end of the summer forms the basis for an extremely engaging and sweet plot.

Sex, Lies, and Videotape. Directed by Steven Soderbergh. No one makes films quite like Soderbergh. He has a visual style that is unmistakably his. Like his later masterpiece, the undeniably cool Out of Sight (1998), Sex, Lies, and Videotape uses editing, cinematography, strong acting and terrific dialogue to fuel its fire. Soderbergh knows how to create characters and scenarios that will get under the viewer’s skin. The starring quartet – James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo – doesn’t have a single weak link. Best of all is the unforgettable score by longtime Soderbergh collaborator Cliff Martinez (my favorite tracks are this and this), music which sets an appropriately eerie and almost Lynchian tone for characters who have been haunted by emotional insecurities. For a movie which speaks so honestly about sex, the real theme is love. At its core, it is the story of a group of people who are trying to find a way to be happy; the difference is how each of those characters tries to achieve that goal.