From E.T. to Stranger Things, an Oral History of Kids Cursing On Screen What made 80s movies so accepting of children swearing? What does it say about character construction and realism? And why is it no longer accepted today? "As long as you stick together and save the day, if you say ‘shit’ a couple of times, it’s probably not the worst thing in the world, you know?”
Bitch Flicks offers a number of pop culture related essays (mostly film) from their recent website event, Ladies of the 1980s Theme Week. [more inside]
She Looks Like Sunday Comics: Watching The Brenda Starr movie (1989) (The Toast) Mefi's own The Whelk (John Leavitt) and Josh Fruhlinger of The Comics Curmudgeon [previously] discuss a glorious 80s flop-turned-cult-movie. [via mefi projects] [more inside]
"[Director John] Moore is taking on what is, from a creative perspective, an awfully daunting task. What makes the Die Hard franchise practically tragic is that it's become so stupefyingly ordinary after bowing in 1988 as a remarkably taut, funny, exquisitely crafted action film that — but for the appearance of late-'80s computer and phone technology — has not aged a day. As explosively entertaining as it was the first time I saw it on the big screen 23 years ago, it was just as good two weeks ago..." MetaFilter's own Linda Holmes analyzes the original Die Hard movie, and the failure of a film franchise, on NPR's pop-culture and entertainment blog, Monkey See: Take THIS Under Advisement: Hey, 'Die Hard 5,' Don't Drag Down A Classic. [more inside]
This is a tale nobody wanted to be told. It’s a cautionary tale about an obscure 1980s horror movie cobbled together from work by two separate groups of filmmakers working on the same set with two totally different casts. There’s also a savage businessman, crooked real-estate dealings, betrayal, madness, death, ex-Green Berets, ex-porn stars, and one of the founding fathers of the United States. - The Dissolve on "Spookies"
The exhaustively researched Hollywood history podcast You Must Remember This (Previously) presents a two part episode focusing on Madonna's use of classic Hollywood imagery and references as a form of conceptual art and her early attempts to trade pop idol success for movie stardom within the context of two high-profile relationships with Sean Penn and Warren Beatty. Episode One. Episode Two. Meanwhile, Todd In The Shadows creates video reviews for every movie Madonna was ever in. So far he's done Desperately Seeking Susan, Shanghai Surprise, A Certain Sacrifice, and Who's That Girl.
"Twenty-five years after its release, The Abyss remains an oddity in director James Cameron's filmography. But the fact that it's an oddity seems like an oddity. The underwater sci-fi epic, about a team of commercial drillers who stumble upon a deep-sea alien civilization, wasn't a flop by any means. It made more money than The Terminator and came very close to matching Aliens at the box office. It holds a higher critical rating than Avatar and Titanic (according to the almighty Rotten Tomatoes, at least). And yet it has utterly failed to reach the same levels of cultural saturation as Cameron’s other works."
"Liquid Sky is one of the most visually ambitious films ever made about fashion, heroin, New Wave clubs, UFO saucers, ordering Chinese food and having them put it on your tab, the Empire State Building, androgyny, neon and tin foil. The 1982 cult classic may be the perfect embodiment of camp. " The Awl talks to the director of the film about his plans for a sequel.
It’s entirely possible the whole thing is some sort of comedy-lover’s fever dream. Tina Fey and Paul Rudd apparently met for the first time on the set of a live reenactment of Sixteen Candles, part of an unaired VH1 special based on the UCB Theatre show called Soundtracks Live. Oh yes -- and they also took on Pretty in Pink and Fast Times at Ridgemont High. Favorites from Stella/The State, Upright Citizens Brigade, Saturday Night Live and more took part. [more inside]
Return of the Living Dead (NSFW) is one of the greatest zombie movies ever made. Not only does it have loads of great looking zombies in it, it's one of the few zombie movies, besides its sequel, that has a perfect blend of humor and horror.
... Buckaroo Banzai is paradoxically decades ahead of its time and yet completely of its time; it’s profoundly a movie by, for, and of geeks and nerds at a time before geek/nerd culture was mainstreamed, and a movie whose pre-CG special effects and pre-Computer Age production design were an essential part of its good-natured enthusiasm. What at the time was a hip, modern take on classic SF is now, almost thirty years later, almost indistinguishable from the SF cinema that inspired it in terms of the appeal to modern viewers: the charmingly old-fashioned special effects, and the comparatively innocent earnestness of its tone. - Danny Bowes [more inside]
Roger Spottiswoode looks back on his 1983 film Under Fire.
Michael Mann's "Thief" is a film of style, substance, and violently felt emotion, all wrapped up in one of the most intelligent thrillers I've seen. - Roger Ebert [more inside]
AIRBOYD.tv has three Youtube channels: The eponymous AIRBOYD features 2000+ videos for "aviation and aerospace enthusiasts. Then there's the Nuclear Vault: Vintage Military, War and News Videos, with 1200+ full-length documentaries, news reels and other assorted footage, including 200 episodes of "The Big Picture (Army Signal Corps)" and a variety of Atomic and Nuclear energy films. Last but not least is US Auto Industry, an archive of over 450 vintage automobile films, including commercials from Buick, Pontiac, Chevy and Ford. [more inside]
[Absolute Beginners] has a glossy immediacy, and you can feel the flash and determination that went into it. What you don't feel is the tormented romanticism that made English adolescents in the 70s swear by the novel the way American kids had earlier sworn by The Catcher in the Rye. - Pauline Kael [more inside]
After 25 years I revisited To Live and Die In L.A. (1985), William Friedkin's cynical, fatalistic, hardboiled and high-energy crime noir about corruption and survival in the city of no angels. The script is literate, the characters are believable, the performances are brutally honest, the unpredictable twists keep coming, the action never stops, and the car chase is shot for real without any fake process. (spoilers)
Alex Cox: REPO MAN was made as a "negative pickup" by Universal at the time when Bob Rehme was head of the studio. At the time, the big deal over there was STREETS OF FIRE, and nobody really noticed our film [8 MB PDF] at all. Which was lucky for us, since Bob Rehme had "green-lighted" a film which was quite unusual by studio standards. (previously)
Under the stewardship of Israeli cousins Menahem Golan and Yoram Globus, Cannon Films was responsible for many of the worst - and a few of the best - movies of the 1980s. Along the way it won an Academy Award and enriched the language. (previously) [more inside]
The French romantic thriller “Diva” dashes along with a pellmell gracefulness, and it doesn’t take long to see that the images and visual gags and homages all fit together and reverberate back and forth. It’s a glittering toy of a movie... This one is by a new director, Jean-Jacques Beineix... who understands the pleasures to be had from a picture that doesn’t take itself very seriously. Every shot seems designed to delight the audience. - Pauline Kael, 1982 [more inside]
Threads (1984). (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) Testament (1983). (1, 2, 3, 4, 5, 6, 7) [more inside]