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1985

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THE BREAKFAST CLUB (dir: John Hughes, R) - Thom says, "It’s pretty hard to mess with a John Hughes film. No one presents stereotypes in such a pleasing, entertaining way (popular girl, jock, nerd, crazy girl, bad boy stoner). I recently re-watched this classic and am proud to say that it still stands the test of time (the same can not be said about Sinbad’s HOUSEGUEST). If you haven’t seen this gem - see what all the fuss is about. If it’s been over a decade since you last saw THE BREAKFAST CLUB, it’s time baby-girl. Take out the painfully egregious homophobia (the more biting because of its unexpected, off-handed nature) and you have a perfect American movie; actually, in the age of the Lawrence King shooting and the constant negation of equal rights (way to go voters!), this may actually be the perfect American movie. That said, Molly Ringwald forever!"
PEE-WEE'S BIG ADVENTURE (dir: Tim Burton, PG) - Thom says, "DUCK SOUP and PEE-WEE’S BIG ADVENTURE are my two favorite comedic films (a.k.a., The Greatest Comedies of All Time). These movies are consistently hilarious – they never drag – and only get better with each repeated viewing. Like Shakespeare and some other reference that would further illustrate my point, these films have the perfect mixture of world-rocking wit and farcical slapstick. And as for Pee-wee as a character… whether you renounce Reubens for his porno-theater fiasco nearly twenty years ago or were in the next seat over, I will fight you to the death to say that he created in Pee-wee one of the all-time great comedic characters - alongside Chaplin’s Tramp, Seller’s Clouseau, and any creation of Monty Python or Mel Brooks. Eat that, Keaton (you racist)."
THE PURPLE ROSE OF CAIRO (dir: Woody Allen, PG) - Thom says, "I love Jeff Daniels. SO much. Luckily, so does Cecelia, Mia Farrow’s character in what Woody Allen has called his favorite of his own films. Otherwise we may never have seen Daniels’ Tom Baxter, on-screen (film within the film) adventurer, come off the screen and fall in love with a down-on-her-luck moviegoer. This is pre-WWII Woody Allen a la RADIO DAYS and is, like RADIO DAYS, among the most innocent and sweet films Allen has ever made. CAIRO asks the question, what is better: loving a fiction or settling for reality? Don’t worry – there are no surrogate Allens making the same trite diatribes about life and death for the thirteenth film; instead we are left with a strangely relatable Woody Allen - a lonely movie-goer falling in love with a wonderful, timeless film."
BRAZIL (dir: Terry Gilliam, R) - Michelle says, "Gilliam peaked in his writing and direction of this gem, which takes a paranoid, Orwellian approach to satirizing the pencil-pushing bureaucracy that allows a civilized material culture – replete with quasi-futuristic technology consisting of ductwork and Rube Goldberg machines – to routinely abduct and torture its citizens. Jonathan Pryce plays the hapless protagonist who rebels too late, but his performance is overshadowed by a cast of intensely funny and disturbing characters: Ian Holm, as the effeminate superior; Michael Palin, as the affable yet sinister success story; Bob Hoskins, as the aggressive, cockney technician; Katherine Helmond, as the meddling mother who’s had too many facelifts; and the real hero of the story, Robert DeNiro, a terrorist heating engineer. This is another movie that I’ve seen at least five times and would watch again. With you, if you ask nicely."
THE COLOR PURPLE (dir: Steven Spielberg, PG-13) - Michelle says, "Spielberg honors Alice Walker's character-driven epic in this weepy adaptation featuring Oprah Winfrey and Whoopi Goldberg as poor black women in a patriarchal, early twentieth century South. It's often critiqued as a white man's Hollywood treatment of a black woman's story, but I can't begrudge the A it helped me get on a high school English paper. And I read the book; the movie just was better."
DESPERATELY SEEKING SUSAN (dir: Susan Seidelman, Not Rated)
LOST IN AMERICA (dir: Albert Brooks, Not Rated)
MY BEAUTIFUL LAUNDRETTE (dir: Stephen Frears, Not Rated)
MY LIFE AS A DOG (dir: Lasse Hallström, Not Rated)
RAN (dir: Akira Kurosawa, Not Rated)
TAMPOPO (dir: Juzo Itami, Not Rated)
VAGABOND (dir: Agnès Varda, Not Rated)
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