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]
The Iceman List, by Tim Carmody. Classic movie antagonists who were pretty much right all along.
Today's TV and movies as 80s VHS covers. Worth it for the Breaking Bad one alone.
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]
SSS is a 1988 experimental film featuring rapid-fire clips of dancers on the streets and junkyards of New York's East Village, "painstaking synched" to improvised music by Tom Cora (cello), Christian Marclay (turntables), and Zeena Parkins (harp). It's by filmmaker Henry Hills, whose official site is here. More collage films here, including Radio Adios, the quick cut-up KINO DA!, Money ("a manic collage film from the mid-80s when it still seemed that Reaganism of the soul could be defeated," with appearances by John Zorn, Fred Frith, Arto Lindsay, Ron Silliman among others), and Gotham, one of three films Hills made for Zorn's Naked City project.
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]
[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]
It’s about time people started rendering unto Liquid Sky. Its long lipstick trace is smudged through much of indie cinema. [more inside]
The House Next Door has kicked off this year's installment of the "Summer of..." series, where they look back at the summer movies from 25 years ago. For the next few months they'll be revisiting the summer movies from 1986, and you can check out the previous installments to relive the glories of 1985 (Weird Science, Mad Max Beyond Thunderdome, St. Elmo's Fire), and 1984 (including the magical day Gremlins, Ghostbusters, and Top Secret! opened simultaneously).
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]
The A-Team film is filled with sex and violence. Mr T pities the fools.
It was the 80's. We were younger then, and anything seemed possible. So it all seemed part of Destiny when my very first screenplay was bought and produced; fame and fortune was surely just around the corner. HA! Fat chance.- The making of Forever Evil.
Branded in the 80's: Peel Here From the obvious to the obscure to the downright frightening, Peel Here documents the collectible stickers of the 80's and related ephemera.
With Indiana Jones and the Crystal Skull restarting a franchise from the 80s, this is the perfect time to consider how to ruthlessly pillage the treasured movies of our youth. So, on that note, presenting: Back to the Sequels
Long Duk Dong: Last of the Hollywood Stereotypes? Related: Whatever Happened to John Hughes? which has an accompanying photo gallery: Where are Hughes' teen stars now? [A previous post about John Hughes here.]
Decade of Rad: The 10 Eightiest Movies
Here's a fine way to start a Thursday: pour a cup of joe, settle into your ergonomic chair, and enjoy 80s Ending, a funny little film by Douglas Jordan. Six minutes long, well worth the watch.