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We here at JPFmovies didn’t know you could be “Less than Zero” until we re-watched the 1987 film classic starring Robert Downey Jr. Andrew McCarthy, Jami Gertz and James Spader.

When deciding what film to review next, the editorial board here at JPFmovies decided to follow our 1980s Brat Pack lead of the Breakfast Club with a far darker movie involving sex, money, drug abuse and well . . . It is a bit telling that Robert Downey Jr., was one of the stars of this film given his recurring substance abuse problems—After five years of substance abuse, arrests, rehab, and relapses, Downey, while incarcerated, had to be released from prison during the day to finish a film he was in the middle of making. He claims (and since 2001 there has been no evidence to the contrary) to have left his substance abuse problems behind. We here at JPFmovies sincerely hope he has beaten those demons down and out of his life. Well, enough of that, let’s get to the film.

The cast of Less than Zero were part of the 1980s “Brat Pack”; however, this is hardly your typical Brat Pack film. It is much darker, grittier and tragic than any John Hughes film (i.e. Pretty in Pink and the like). Very loosely based on Bret Easton Ellis’ novel of the same name (note he was also author of American Psycho), Easton Ellis himself wasn’t too happy with this film at first, but he mentions that it has grown on him over the years. The book was much darker. Andrew McCarthy’s character “Clay,” as we shall see, was altered the most. In the book, Clay’s behavior was not as cut and dry as in the film. In the novel, Clay is a user as well, plus he is bisexual. The studio decided to eliminate both perspectives because they needed a character that audiences could sympathize with, and, in the book, Clay wasn’t the all American he is portrayed as in the film. Naturally, the studio went and changed Clay around to appease teenage Andrew McCarthy fans.

The film that was shot was far edgier than what ended up on screen. It was ultimately taken away from its director, denying Marek Kanievska the final cut. This is textbook behavior for a studio that gets nervous about selling a film with an edgy subject manner. Chicken shits! As anyone who follows JPFmovies knows, this is one of our biggest pet peeves, and we firmly believe that such a lack of courage is one of the main factors that has led to the collapse of American cinema.

The story begins with three rich, happy, wide-eyed teenagers graduating from high school. Julian (Robert Downey Jr.) is skipping college and starting “Tone Deaf Records,” a label financed by his wealthy father; Blair (Jami Gertz) is foregoing college to pursue a modeling career; and Clay (Andrew McCarthy) is heading out east to an unnamed ivy league school. The movie essentially takes place when Clay comes home for Christmas break. Upon Clay’s return, he finds that his high school girlfriend, Blair, has become addicted to cocaine and has been having sex with his high school best friend, Julian. Julian, whose life has really taken a turn for the worse, after his startup record company falls apart, has become a drug addict, cut off by his family for stealing to support his habit and reduced to homelessness. Julian is also being hassled by his dealer, an old classmate named Rip (James Spader), for a debt of $50,000 that he owes to him.

Clay’s relationship with Blair rekindles and Julian’s behavior becomes more unstable. His addiction is worsening and, since he does not have the money to pay off his debt, Rip forces him to become a male prostitute to work off the debt. After suffering through a night of withdrawal and hiding from Rip, Julian decides to quit and begs his father (Nicholas Pryor) to help him. He then tells Rip his plans for sobriety, which Rip does not believe; Rip forces Julian back into doing drugs and hooking. Clay finds Julian and rescues him; after a violent confrontation with Rip and his henchmen, Clay, Julian and Blair all escape in Clay’s awesome Corvette and they begin the long drive through the desert so Julian can attempt to achieve sobriety once and for all. However, the damage has already been done; the next morning Julian dies from heart failure in the car.

After Julian’s funeral, Clay and Blair are sitting on a cemetery bench reminiscing about him. Clay then tells Blair he is going back east and wants her to go with him, to which she agrees. We see the snapshot of the three of them at graduation—the last time all three of them were ever happy together. In our opinion, Blair is the worst actor in the film.

Less Than Zero is a wonderfully strange movie. It’s a beautiful looking film about some very ugly things. It deals with issues of drug abuse and empty lifestyles while the acting is so well done, the takes and compositions so great to look at. But for every beautiful scene in the film there is an equally dark nihilistic shot where we watch Julian experience the deep suffering that serious drug addiction can lead to: homelessness, desperation, lies and eventually the ultimate self-destruction: death.

When you watch this film, and we here at JPFmovies recommend that you do, be ready for a film with characters that you probably won’t like very much, selfish characters only looking out for their own personal satisfactions, especially given the evolution of the careers of these familiar faces we see today.

 
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Posted by on July 1, 2017 in Movie Reviews

 

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Don’t you forget about this review The Breakfast Club (1985).

We know many of you thought we here at JPFmovies were going to start this review reminiscing about when Generation X saw this film in the theaters and its impact on us, the career of its director and the actors who, because of this, movie eventually became known as the “Brat Pack.”  Obviously named after the famed “Rat Pack” of the 1950’s and 1960’s.

A little over 30 years ago the JPFmovies team saw the Breakfast Club (1985) in the theaters and then on VHS tapes.  The ground-breaking John Hughes coming of age film deals with many of the issues faced by parents and their children today.  Then it occurred to us, we are the parents now, and if our kids were in detention today they wouldn’t be talking to or otherwise interacting with each other.  Instead they would be playing on their phones.  During our research, we discovered that many believe this type of human interaction causes them some form of social anxiety—what a waste.  The Breakfast Club is much more than a classic movie that has withstood the test of time, it also contains a lesson our children need to learn; that talking and listening each other isn’t so bad.  Put down the God damn phone and really communicate!  You might actually learn something about yourself and the others around you that can’t be articulated in a text or some “Emoji.”

Now let’s take a look at the film.  The movie starts with 5 different kids that personify the stereotypes often seen in high school clicks: the popular girl, Claire (Molly Ringwald); the jock, Andrew (Emilio Estevez); the rebel, John (Judd Nelson); the outcast, Allison (Ally Sheedy); and the geek, Brian (Anthony Michael Hall).  Throughout the film we learn when each of them has done to land themselves in the all-day detention. Under strict orders from the assistant principal.  There not allowed to talk, move from their seats and are required to write a 1,000-word essay on “who you think you are.”  The overbearing assistant principal then leaves, returning only occasionally to check in on them.  Bender, who has a fantastically antagonistic relationship with the vice principal, ignores the rules and frequently riles up the other students, teasing Brian and Andrew as well as harassing Claire.  Allison is initially quiet, except for an occasional random outburst or when she is eating her fingernails.  See the film clip below:

 

Initially tensions run high between both the students and the authority figure embodied by the vice principal, Vernon.  The vice principal treats all of the students with blatant disrespect, especially when he and Bender get into a battle of wills over how far he is willing to go to let Vernon know that he is not afraid of these Saturday morning detentions which is the only real hold this vice principal has on our rebel.

 

The students begin to pass the hours by talking, arguing, Allison drawing and then using her dandruff to simulate snow. 

After lunch, they smoke some marijuana that Bender retrieves from his locker. Gradually, they open up to each other and reveal their deepest personal secrets: Allison is a compulsive liar; Andrew cannot easily think for himself; Bender comes from an abusive household.

Brian was planning suicide with a flare gun due to the inability to cope with a bad grade; and Claire is a virgin who feels constant pressure from her friends to be a certain way. They also discover that they all have strained relationships with their parents, which are a key cause for their personal issues as well: Allison’s parents ignore her due to their own problems to the point that she shows up at detention because she had nothing else to do.

Andrew’s father constantly criticizes his efforts at wrestling and pushes him as hard as possible; Bender’s father verbally and physically abuses him; Brian’s overbearing parents put immense pressure on him to earn high grades; and Claire’s parents use her to get back at each other during frequent arguments. The students realize that, despite their different situations, they face similar pressures and complications in their lives.

As the day wears on, despite their differences in social status, the group begins to form friendships (and even romantic relationships).  Claire gives Allison a makeover, to reveal just how pretty she really is, which sparks romantic interest in Andrew. Claire decides to break her “pristine” virgin appearance by kissing Bender in the closet and giving him a hickey.  However, they know that these relationships will end when their detention is over.

As their time in “jail” nears its end, the group requests that Brian write one essay for all of them.  Brian writes the essay and leaves it in the library for Vernon to read. As the kids begin to part ways, Allison and Andrew kiss, as do Claire and Bender.  Allison rips Andrew’s state champion patch from his letterman jacket to keep, and Claire gives Bender one of her diamond earrings, and director John Hughes makes a cameo appearance as Brian’s father driving the cat that picks him up.  Vernon reads the essay (read by Brian in voice-over), in which Brian states that Vernon has already judged who they are, using simple definitions and stereotypes. One by one, the five students’ voices add, “But what we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal.” Brian signs the letter as “The Breakfast Club.”

Then the Simple Minds theme song of the movie begins as Bender raises his fist in triumph while he walks across the school football field toward home.

Note Billy Idol did a fantastic cover of Don’t You Forget About Me (When I’m gone).  You can listen to it here:

Princess or prisoner, nerd or nut-job, these five different teens bond over their conviction that they can’t talk to their parents, which leaves them adrift at a time when they could use help the most. Has anything changed?  If there is one thing we here at JPFmovies can say to the next generation it’s go watch the Breakfast Club, but don’t get into too much trouble because detention isn’t really like the film, but we can dream.

Sincerely, JPFmovies.

 
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Posted by on June 24, 2017 in Movie Reviews

 

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John Carpenters’ “They Live” (1988). Sort of a Sci-Fi Film but Definitely a Cult Classic.

Well JPFmovie fans here is a blast from the past that’s been under the radar for most of the population: John Carpenters’ They Live (1988).  Despite its age, this film was recently in the news because neo-Nazis and anti-semites took to claiming on various white power websites that Carpenter’s paranoid sci-fi action flick was an allegory for “Jewish control of the world.” When we here at JPFmovies read this nonsense, we had the same reaction as director Carpenter who said in a tweet ““THEY LIVE is about yuppies and unrestrained capitalism.  It has nothing to do with Jewish control of the world, which is slander and a lie.” The morons who believe the film was created for some white power fools are possibly the stupidest people alive.

That said, They Live reached cult classic status more than a decade ago because that is exactly what it is—a cult classic.  The film stars the recently deceased Roddy Piper (1954-2015) (the former WWF professional wrestler) as a no-name wonderer who is down on his luck living on the street while looking for any kind of work.  As the wanderer arrives in Los Angeles (arriving from Colorado) he is initially rebuffed by an employment agency but his luck changes a little when he stumbles onto a construction site and after a little groveling is given a job.  After a hard day’s work, the wanderer is approached by another laborer who directs Piper to a shanty town located in some vacant lot.  During his stay in the shanty town, the T.V. shows are hacked by some bizarre person talking about the masses staying asleep and the population is being breed as “livestock.”

 

The wanderer realizes that the man on television is in a local church where he discovers that the church it is actually the headquarters of an underground organization.  The shanty town is subject to a violent police shakedown and Piper starts to believe that something is rotten in the state of Denmark so to speak.  To learn more, he re-enters the church and finds a box full of sunglasses that allows his to see the world as it is. Though sunglasses found by Piper appear to be worthless, they actually provide him with the greatest gift of all: The Truth and the truth is shocking.  After discovering the truth, Piper gets really pissed off and grabs a shotgun and starts shooting aliens.

After the aliens realize that the wanderer can see through their disguise, they immediately alert the authorities saying “I’ve got one that can see.” Being able to “see” is obviously frowned upon by the aliens – they do not like to be exposed.  Piper says the profound and timeless words: “I don’t like this ooooooooone bit.”

 

Upon learning the shocking truth about the world, the wanderer needs to get others to see the truth as well and shares this vital information with his friend Frank Armitage.  However some people do not want to hear about it.  When Piper asks Frank to put on his sunglasses so he can see what he sees, Frank firmly refuses and calls him a “crazy motha…”  But Piper replies with another classic line “Either you put these sunglasses on or start eating that trash can.” What comes next is arguably the longest one-on-one fight scene consisting of eight minutes of punching and kicking, which is dragged out for so long that it becomes comical.

 

After convincing his friend that the world is not what it seems to be, a shooting spree ensues.  While at a bank, Piper says the famous line “I have come here to chew bubblegum and kick ass… and I’m all out of bubblegum” and then starts shooting every alien he sees.  During his shooting spree, he meets Holly Thomspon, a Cable 54 network executive that always somehow brings trouble.  During a resistance meeting she poses as a sympathizer and claiming that where she works–Cable 54–“was clean” and not the source of aliens’ signal, which was false and misleading.  The wanderer and his friend Frank however attack Cable 54 anyways where Holly appears again, claiming that she wants to help him. However, she is simply trying to kill him before the mission is accomplished.  She is simply another human that sold out to the aliens being used to disrupt non-corrupted humans attempting to liberate themselves and others.  Despite the odds against him Piper manages to take down the aliens’ transmitter and saves humanity.  His heroics get him killed, however, as a policeman inside a helicopter shoots him dead, but while dying, the wanderer gives the alien/cops the proverbial finger!

What a film!  Aliens, statements about America’s consumer culture, shotguns classic one-liners and flipping the police the bird before dying—frankly it doesn’t get much better than this.  This is a JPFmovies must see film that will hopefully make you part of its “cult.”

 
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Posted by on May 2, 2017 in Movie Reviews

 

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Big Trouble in Little China (1986) starring Kurt Russell and created by John Carpenter. Give it a chance you won’t regret it.

I was scrolling though the Netflix on demand movies wondering what would be family appropriate and was happy to see the Big Trouble in Little China was available for the watching.  I remember this film from the 80’s and have always liked it.  Given that the movie is now considered a “cult classic” I feel vindicated that my perception of the film has some wider-spread acceptance than the Box Office numbers the movie failed to generate.

 

Few works of ’80s commercial cinema still seem as fresh as John Carpenter’s ninth feature, a rowdy, rocking hunk of fun that both fulfils and subverts many ideals of action filmmaking. Big Trouble has been described as ahead of its time, in that it anticipated, and still outclasses, the great wave of Asian-Hollywood fusion flicks that took over action cinema from the mid ’90s on, represented by The Matrix, Kill Bill, the American starring vehicles of Jackie Chan, Chow Yun-Fat and Jet Li, and sundry others martial-arts-infused movies. But in other, fundamental ways, it’s still unique. It was, in its own moment, a painful flop that effectively ended Carpenter’s rise up the rungs of Hollywood, in spite of it being his most stylistically confident and technically accomplished film; his next work, Prince of Darkness (1987), was a virtual bargain-basement affair. The reasons for Big Trouble’s failure are now practically lost in the mist of time, but its cult status today is undeniable and entirely deserved.

Big Trouble’s cheeky take on the genre template commences with the fact that Jack Burton, the hero Kurt Russell plays, isn’t really the hero at all. He’s a tough-talking truck driver, fond of broadcasting his personal mythology over the CB radio and coming on like John Wayne’s bastard son, but he’s not too far from the kinds of character Bob Hope and Don Adams played, a posturing clot with occasional moments of competence—a poke in the eye for what was then the cult of greased-up machismo represented by Stallone and Schwarzenegger. Jack is friend and veritable sidekick to Wang Chi (Dennis Dun), whose physical prowess as a brilliant martial artist and motivation to snatch back his true love from the forces of evil clearly mark him as the real protagonist.

 

Carpenter and Russell had previously worked together on the telemovie Elvis (1979), Escape from New York (1981)(also reviewed here), and The Thing, but Big Trouble was the true high point of that collaboration, at least in terms of the director’s intent and the actor’s capacities meshing. Few other young male movie stars have ever betrayed such a willingness to send themselves up as Russell did here. For example, Burton answers the question “Are you ready?” when venturing into any enemy lair with a swaggering “I was born ready!” Once there, however, he drops weapons, can’t work out how to let go of an opponent he’s holding prone, and looks momentarily shocked when he shoots someone, giving away his essential lack of experience as a tough guy.

Another thing that marked Carpenter out as a filmmaker, but which made him seem increasingly out of place in modern Hollywood, is his care in evoking a sense of milieu and situating his heroes as a part of an ordinary world. Often, they’re blue collar dudes and ladies, included by accident in greater machinations. Big Trouble commences with an opening that gives a fine sense of Burton as both a bit of a blowhard, ranting on the radio before cramming a giant hoagie in his mouth, but also as a cool guy. After delivering a load of produce to a market in San Francisco, he sits down to gamble with the mostly Asian porters and buyers, including his old friend Wang Chi, a self-made restaurateur. Carpenter doesn’t need a word of dialogue to show us who Burton, Wang, and the rest are: normal people doing real things and relaxing in a normal way, the sort of things nobody does in modern action blockbusters except in the most laboriously signposted fashions. The only remarkable moment is a challenge between Wang and Jack. Wang, who’s just lost all the money he’d saved up for a lavish welcome back from China for his fiancée, bets Jack double or nothing he can split a beer bottle in half with a meat cleaver. He fails, and Jack catches the bottle, which shoots across the table at him, proving he has brilliant reflexes. That’s a classic piece of establishing a hero’s gifts, but it’s a promise the film deliberately, hilariously delays fulfilling.

Jack recompenses Wang by taking him to pick up said fiancée, Miao Yin (Suzee Pai), from the airport, where Jack eyes Gracie Law (Kim Cattrall), a civil rights lawyer. She’s trying to shepherd immigrant Tara (Min Luong) safely past a waiting coterie of thugs from a Chinatown street gang on the lookout for girls to kidnap and force into prostitution. When the goons snatch Tara, Jack confronts them, only to be quickly toppled; the thugs take Miao Yin instead. Jack and Wang chase them to Chinatown, where they’re caught in the middle of a battle between the evil Wing Kong triad, and the good-guy Chang Sing gang, who are having the funeral procession for a leader and are ambushed by their enemies. The Chang Sing’s retaliation proves effective until the intervention of the Three Storms—Thunder (Carter Wong), Lightning (James Pax), and Rain (Peter Kwong)—bizarre beings that seem to have supernatural powers. The Storms slaughter the Chang Sings where they stand. When Jack tries to escape this melee by driving his truck through it, he seems to run down a tall, regally dressed man whom Wang thinks might be David Lo Pan (James Hong), the legendary head of the Wing Kong. Lo Pan seems unhurt by Jack’s truck, and rays of blinding light shoot from his eyes and mouth.

 

Jack soon learns that he and Wang have stumbled into the middle of a metaphysical battle of good and evil. Working with Gracie, whose knowledge of Chinatown’s criminal dealings is great, Jack infiltrates the White Tiger, a brothel where sex slaves are bought and sold, to find Miao Yin. Unfortunately, she’s snatched away by the Three Storms and taken to the underground lair of Lo Pan. He proves to be a 2,000-year-old soldier and magician, cursed by the gods for his offences, who is really a fleshless spirit desperately in search of a girl with green eyes he can marry to end his curse. Miao Yin fits the bill. Jack and Wang’s efforts to find her in Lo Pan’s headquarters prove a comic disaster until they manage to escape and free a number of captive women. But Gracie is left in the hands of Lo Pan and when he proves that both she and Miao Yin can survive the rituals for testing his brides, he plans to marry both, sacrificing one and keeping the other to be his companion as he conquers the universe. Wang and Jack are aided in their quest by Gracie’s journalist friend Margo Lane (Kate Burton), Wang’s debonair maitre d’ Eddie (Donald Li), the Chang Sings, and general-purpose sorcerer and tour guide Egg Shen (Victor Wong).

 

The quality of Big Trouble that sets it apart from many similar ’80s films and makes it tantalizingly hard to describe is the fluent ease with which it shifts between genres and tones: a giddy succession of swerves from slapstick to melodrama; Howard Hawksian verbal byplay; Tsui Hark wire-fu shenanigans; comic book hoot; resonant, sexually and mystically mysterious epic. Carpenter’s shift into action-oriented fare after mostly making horror movies, in which control of mood, atmosphere, and story progression are key assets, saw him assay Big Trouble with a contiguous grace that eludes most physically dynamic movies where a motion rush becomes paramount. Big Trouble’s atmosphere is tangible, as the heroes perform the gleeful boyish fantasy of taking a turn down just the right side street and being plunged into an adventure.

 

Under the surface effervescence, another strength of Big Trouble is that unlike most subsequent fantasy and East-West fusions, Carpenter captures, and even builds upon, the mystical weirdness that infuses much wuxia filmmaking. This is clear in images like Lo Pan transforming from his flaccid old guise into young ghost and passing through walls, and when Jack and the Chang Sing warriors follow Egg Shen down a fire pole into a subterranean shadow world where monsters lurk and the “black blood of the Earth” flows. The references to Chinese mythology alternate wryness with wistful seriousness, and Carpenter’s music score communicates a spacey, almost haunting underpinning to the adventure – the fact that many Hong Kong films of the same period sported synthesizer-dominated scores like Carpenter’s increases the likeness.

James Hong as Lo Pan is an evergreen surprise. Generally known for playing gaunt, cagey ciphers, a la his role as the guardian of dark secrets in Chinatown, Hong presents Lo Pan as alternately the dirtiest of old men when he’s in his corporeal shell of withered leathery flesh, swearing and teasing Gracie with insidious delight, and a weirdly beautiful supernatural master in his classical garb and make-up, appealing to the unconscious Miao Yin with poetic cadence and quivering with frustrated desire. Such flourishes makes Lo Pan a far deeper kind of villain than the usual run, and Hong’s intuitively perfect performance struck such a deep chord with the actor that he directed a film, The Vineyard (1989), that reiterates aspects of this film’s plot. Lo Pan gets his comeuppance, eventually, but that’s really the throwaway end to a grandiose fight. Carpenter even makes fun of the usually epic deaths of supernatural villains by having Lo Pan succumb to the simplest of implements, with his great collection of plaster buddhas spontaneously collapsing like dominos, as if the gods are marking the passing of a great if evil force. Carpenter’s filming of the preceding fight is a source of constant delight to me, with a comic-book-like clarity of action displayed in the way Carpenter offers frames that are cut in half by swords or crisscrossed by battling opponents swooping from one edge to the other. Such stylistic rigor, light years away from the happenstance gibberish seen in so many recent action films, gives a sense of the physical space, combined with the rapidity of the editing and the dynamism of the stuntmen, in what is still a master class for this sort of thing. Whatever Big Trouble’s failures as a revenue earner, it was a big triumph as entertainment, and I still love it.

 
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Posted by on July 23, 2014 in Movie Reviews

 

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Let’s Take a Trip Back to the 1980s: Fast Times At Ridgemont High.

Where do you start with a movie like this?  Let’s go with the fact that Fast Times served as an incubator for many of today’s great actors and actresses: Sean Penn (one of my personal favorites), Anthony Edwards, Eric Stoltz, Phoebe Cates, Jennifer Jason Leigh, a young Nicolas Cage performing under his real name “Copolla,” Judge Rienhold,  James Russo and Forrest Whitaker each appeared in this film early in their careers.  The cast was not solely composed of soon to be stars; Fast Times also had some more seasoned actors in it like Ray Walston (My Favorite Martian) who played Mr. Hand, the history teacher and the dearly departed Vincent Schiavelli who played the biology teacher, Mr. Vargas.  Fast Times was a launching pad for many of these major movie and T.V. stars.

Next is the movie’s great soundtrack.  Songs like “Speeding” by The Go Go’s, “Somebody’s Baby” by Jackson Browne—on a side note, this song reached #7 on the Hot 100 and became Browne’s highest charting single, interestingly “Somebody’s Baby” was not included in a Jackson Browne album until 15 years later when his first “best of” collection was released.  Other great songs include  “Love Rules” by Don Henley, “Fast Times At Ridgemont High” by Sammy Hagar, “I Don’t Know” by Jimmy Buffett, “Goodbye, Goodbye” by Oingo Boingo, “Fast Times (The Best Years Of Our Lives)” by Billy Squier, and “Raised On The Radio” by The Ravyns.  The Fast Times soundtrack reads like a Who’s Who of 1980s top bands and music for the decade.
Now the story of Fast Times: the movie portrays teenage life but is virtually plotless, it simply chronicles a group of teenagers as they stumble their way through high school.  Typical of so many 1980s teen movies, much of it (rightfully so) takes place at the local mall giving the viewer the opportunity to reminisce about all those timeless 80s arcade games.   Though virtually plotless, the basic storyline involves Jeff Spicoli (Sean Penn), the ideal slang-talking emptyheaded surfer sporting Hawaiian shirts.  Spicoli has a hard time with the formality of school, especially as it is personified by his history teacher, Mr. Hand (Ray Walston).  The two begin to have a battle of wills which surprisingly evens out in the end.  Brad Hamilton (Judge Reinhold) is a senior who hops from one fast-food job to the next but has no idea what he is supposed to do in life even though everyone, including his guidance counselor, expects a lot from him.  Stacy Hamilton is a guy-crazy chick who is sensitive, but always wants sex and attention, leading her first into the arms of an older man, and eventually into those of Mike Damone, a cocky hustler, when the only guy who genuinely cares for her is nerdy Mark Ratner. Damone is a shady character, a charming sweet-talker who scalps tickets with his piano scarf and does what he can to make a quick buck.  He tries to help Ratner score with Stacy, then steals the girl right out from under him.  Ratner is an insecure nerd-type who has a good heart and just wants his shot with Stacy.  He finds himself brokenhearted when he uncovers Damone’s betrayal.  Linda Barrett is Stacy’s best friend and confidante, a very sexy, confident girl who is constantly moving from one guy to the next and sort of becomes a quasi role model for Stacy. That’s essentially the basic foundation for what goes on.

In conclusion, this is the best 80s teen movie. Fast Times separates itself from “Brat Pack” films (the group of young actors and actresses who frequently appeared together typically in John Hughes’ films like The Breakfast Club) due in part to a much stronger cast.  Think of where the actors and actresses from Fast Times are now versus members of the Brat Pack.  Fast Times is required viewing for teens, adults and anyone with a fondness for 80s culture.

 
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Posted by on July 3, 2010 in Movie Reviews

 

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