This article contains mention of sexual assault, racism, and homophobia.
Cult classics come in many forms, and many great movies of the 1980s went overlooked, only to be hailed as influential and important today. There are plenty of1980s comedy movies that no one remembers, and the same can be said for most genres, no matter the decade. However,several films have gained cult status but have been reevaluated through a contemporary lensbecause of their dated elements. Most movies have problems, no matter when they were filmed, and this doesn’t mean they’re not worth watching, but context might change the meaning of some scenes.
Every decade has its pitfalls, as plenty ofcult classic movies from the 1990s have aged poorlyas well. Some problems with older movies simply stem from the cultural differences in what was socially acceptable to portray onscreen. Additionally,there are films that hold up well in every aspect except visuallybecause of the technological limitations of their time. Controversial and intense subjects have a place in cinema, but characterizing them well and not perpetuating stereotypes is an important aspect of filmmaking.
Caddyshack
Cast
Caddyshack is a 1980 comedy from director Harold Ramis. The movie centers on a fancy golf club that is turned into chaos when an eccentric new member joins, and a crazed dancing gopher starts destroying the golf courses. The film stars comedy legends Chevy Chase, Bill Murray, and Rodney Dangerfield.
Starring Bill Murray, Chevy Chase, Rodney Dangerfield, and many more icons of their time,Caddyshackrepresents a key period in comedic history.The offbeat sports comedy was never a critical or commercial hit but found a following in the later decadesthanks to the star power of its cast. Many films in the sports genre have attempted to follow its example, butCaddyshack’s disorganized and slapdash nature is difficult to replicate.
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However, it’s hard to ignore the distinct lack of female characters in the film, except Maggie and Lacey, who are both only love interests.Caddyshackboasts a great cast with some of the most influential comedic actorsof the 1980s. However, the humor in the film doesn’t connect with modern audiences the way it did with theatergoers of the past.
An example of this comes in the form of the recurring antics between Murray’s character and the gopher he’s chasing, which is over-the-top and detracts from the main throughline of the plot.Caddyshack’s story reads more like a series of discreet sketches rather than a full movie, but it’s fun if viewers can look past the outdated elements.
Weird Science
John Hughes' 1985 comedy Weird Science tells the story of two high school students who create a virtual woman using their computer, only to have her come to life. Anthony Michael Hall and Ilan Mitchell-Smith star as teenagers Gary Wallace and Wyatt Donnelly, with Kelly LeBrock playing the artificially created Lisa and Bill Paxton and Robert Downey Jr. in supporting roles,
ThoughWeird Sciencewill never rank amongJohn Hughes' best movies, it does highlight some recurring problems in his work. While Hughes' films are classics and were groundbreaking in the coming-of-age genre, they have sexist themes that become uncomfortable inWeird Science.Lisa, the dream woman Gary and Wyatt create, exists only to better their livesand serve them.
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Though she does have some agency in how she grants their wishes, Lisa’s characterization perpetuates the idea that women exist in these narratives only to serve the male characters' development. Additionally, Gary and Wyatt’s only purpose in the movie is to become cool and steal away the girlfriends of the popular boys.
Outside the thematic issues,Weird Sciencealso fails to justify the fantasy elements of the script.Though the point ofWeird Scienceisn’t worldbuilding, and the way the boys build Lisa does have some fun, campy elements, it still leaves the audience with some questions. There are more special effects inWeird Sciencethan most other Hughes films, and they don’t hold up well by today’s standards.
Sixteen Candles
In John Hughes’s directorial debut, Molly Ringwald stars as Samantha Baker, a high school student in suburban Chicago whose sixteenth birthday is marred when her whole family forgets to celebrate the occasion due to her older sister’s wedding. Navigating a school dance and a seemingly unrequited crush on an older boy, Sam’s sweet sixteen becomes a day to remember. Anthony Michael Hall, Michael Schoeffling, and Gedde Watanabe also star.
Molly Ringwald and John Huges collaborated several times across their careers, and the results were mostly fantastic. Their best project together,The Breakfast Club, has held up reasonably well in the eyes of contemporary audiences, butSixteen Candleshas a few problems that can’t be overlooked. As a character,Ringwald’s Sam is a relatable young woman who has trouble navigating the pangs of adolescence.
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Though her budding romance with Jake isn’t perfect, it has some sweet moments, and most of the glaring problems withSixteen Candlesdon’t revolve around Sam’s plotline. The racist depiction of the exchange student, Long Duk Dong, is offensive and is a misrepresentation that would never be allowed onscreen today.
Additionally,one of the most infamous moments in any Hughes moviehappens when Caroline, the popular girl who serves as Sam’s foil, is unconscious and then assaulted by Ted. It’s made even worse by the fact that Jake is complicit in this assault, and when Caroline awakens the next day, it’s played for laughs. This demonstrates everything that was wrong with cinema in the ’80s and is a damaging depiction of rape culture.
Revenge of the Nerds
Revenge of the Nerds is a comedy about a group of social outcasts who band together to form a fraternity to fight against the jocks who bully them. The 1984 film, starring Robert Carradine, Anthony Edwards, and Timothy Busfield, spawned a four-movie franchise.
The 1980s didn’t just have movies about coming-of-age in high school but also the awkward period of almost adulthood in college. These films often included more drinking, partying, and sexual situations because that’s what the culture associated with kids testing their independence at school.
Revenge of the Nerds (1984)
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However,Revenge of the Nerdscarries over the tired nerd and jock stereotypes into the university years.In an escalating series of pranks, the “nerds” try to attain respect and status on campus despite the “jocks” working against them. This conception of the story is simple enough, but due to the prevalence of rape culture in the ’80s,Revenge of the Nerdscan be tough to watch.
Lewis, one of the nerds, pretends to be Betty’s boyfriend, Stan, and they have sex, which is an assault by deception. Additionally, the predominantly white nerds use their acceptance into a historically Black fraternity as a source of insensitive humor. In recent years, after critics and audiences have reevaluated the movie,the writers and filmmakers have expressed regret about including the assault scenein the narrative (viaGQ).
Adventures in Babysitting
Adventures in Babysitting (1987) follows high school student Chris Parker, played by Elisabeth Shue, who finds herself in a chaotic night of mishaps when a simple evening of babysitting turns into an unexpected urban adventure. Directed by Chris Columbus, the film combines elements of comedy and drama as Chris and the children encounter various challenges while navigating through downtown Chicago.
Adventures in Babysittingfeatures a performance from Elisabeth Shue as the lead character,Chris, and audiences might recognize her from her work in theBack to the Futuresequels orThe Karate Kid. In many ways, Shue was a hallmark of teen comedies in the decade, andAdventures in Babysittingis a project that’s often overlooked.
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The movie sees Chris agree to babysit her next-door neighbors when the night takes a surprising turn, and the group ends up on an odyssey across Chicago, trying to find Chris' friend and get home.It’s interesting to viewAdventures in Babysitting’s depiction of Chicago and the city’s suburbs,as many movies of this era only focused on the affluent parts of the area.
However, whereAdventures in Babysittingfails is its use of the racial stereotype that predominantly Black neighborhoods are more dangerous and represent a change in the city. Almost every person of color that the group encounters is characterized as an antagonist. Had the movie attempted to make a critique of racial dynamics in the city during this time, it could have avoided aging so poorly.
Mr. Mom
Mr. Mom is a comedy film directed by Stan Dragoti, starring Michael Keaton as Jack Butler, a man who becomes a stay-at-home dad after losing his job. Simultaneously, his wife Caroline, played by Teri Garr, reenters the workforce. The movie explores the humorous challenges and role reversals they experience in managing their new lifestyle.
Directed by Stan Dragoti,Mr. Momwas written by John Hughes and is part of the filmmaker’s legacy. It features his characteristic brand of humor and stylization in the project and stars a young Michael Keaton as the main character, Jack. The crux ofthe plot sees Jack lose his job and his wife, Caroline, returns to the workforce.
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This leads Jack to discover the struggles of being a stay-at-home parent while Caroline feels estranged from her family.Mr. Momuses role reversal as a comedic element and reinforces gender stereotypes throughout the story. It should be noted that for the 1980s, this reversal of traditional gender roles could almost be considered groundbreaking, as U.S. culture was still deeply tied to the nuclear family.
Seeing a man in the role of caregiver and performing tasks that were considered feminine was unexpected for audiences. Of course, today,viewers expect a lot more from films and can recognize that fathers should pitch it with all aspects of childcareand housework and be supportive partners. While Jack is doing the bare minimum by contemporary standards, it was a conversation starter in the ’80s.
To Live and Die in L.A.
To Live and Die in L.A. follows Secret Service agent Richard Chance (William Petersen) as he hunts down Eric “Rick” Masters (Willem Dafoe), a ruthless counterfeit artist responsible for killing his partner. Directed by William Friedkin, the film explores the gritty underworld of Los Angeles, highlighting themes of vengeance and obsession while portraying the high-stakes world of federal law enforcement.
There are many things to love about the neo-noirTo Live and Die in L.A., from its stellar visuals thanks to director William Friedkin to an early performance from Willem Dafoe. A cult classic for a reason,To Live and Die in L.A.features thrilling action, car chases, and many elements that moviegoers have come to associate with the nebulous and corrupt age of the ’80s in Los Angeles.
To Live and Die in L.A. (1985)
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Though the point of the film is how far Agent Richard Chance, the protagonist, will go and how corrupt he will become, his treatment throughout the narrative is terrible. The audience is supposed to see that he’s no better than the villains he seeks, but that doesn’t change the fact that Chance’s abuse and manipulation of his informant, Ruth, is hard to watch.
Almost every woman in the film is treated as secondary and a means to an endby the male characters. While the film intends to comment on this dynamic, it doesn’t always transcend it.To Live and Die in L.A.is a great example of anon-Western movie set in the American West, but the themes are still deeply entrenched in toxic masculinity and rugged individualism.
Fast Times At Ridgemont High
Fast Times at Ridgemont High is a 1982 comedy based on the book Fast Times at Ridgemont High: A True Story by Cameron Crowe. The film stars Sean Penn, Jennifer Jason Leigh, and Judge Reinhold. Fast Times at Ridgemont High is a simple story detailing the escapades of teenagers in Southern California who center their lives around sex, drugs, and rock music.
The all-star ensemble cast and many overlapping plotlines have madeFast Times at Ridgemont Highinto a household name. For the most part,Fast Timesis an amazing time capsule of the decade and is more honest about the teenage experience than most. Unfortunately,the movie falls flat in its casual homophobia and racismthat were typical of the genre.
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Forest Whitaker is seen in an early role here, but he’s one of the only Black characters in the film. Additionally, Sean Penn’s Spicoli uses derogatory slurs, and he isn’t the only one. Outside this,the relationship between Stacy and Ron is one of the worst parts ofFast Timesat Ridgemont High, as the former is only a freshman in high school while the latter is well into his mid-twenties.
This age difference makes their sexual encounter statutory rape, and the film doesn’t dive deeply enough into the ramifications of this. However, overall,Fast Times at Ridgemont Highis deeply empathetic to Stacy’s journey of exploring her sexuality in ways that other ’80s films aren’t. The frankness of adolescent sexual experiences is what has kept the movie from fading into obscurity.
TRON
TRON is a 1982 science fiction film directed by Steven Lisberger. Jeff Bridges stars as Kevin Flynn, a computer programmer who becomes digitized and trapped inside a computerized world. There, he encounters various digital characters, including a heroic security program named Tron, portrayed by Bruce Boxleitner. The film explores themes of digital landscapes and the relationship between humans and technology, presenting a visually distinct depiction of cyberspace.
The originalTron, which has since garnered sequels, is a beloved classic to many who encountered this revolutionary sci-fi movie in 1982.Tronhas become a cultural touchstone and was deeply in conversation with the early video game boom of the 1980s. Starring Jeff Bridges as Kevin Flynn, the software engineer who’s transported into the world of computer programs,Tronfollows his journey trying to get back to the real world.
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Since so much of the movie takes place inside the computer,the cinematography and VFX leave something to be desired.Like many of Hollywood’s early forays into using CGI,Tron’s visuals don’t hold up to scrutiny when looked at through a modern lens.
This is the biggest issue withTronand one that the recent sequel films have tried to correct by incorporating new and exciting technology for the virtual realities of the story. In some ways, it’s fun to look back on the campy and lower-tech animations in the computer world ofTron, as they’re reminiscent of an earlier period of cinema.
1Zapped! (1982)
Directed by Robert J. Rosenthal
Zapped!is the even raunchier cousin ofWeird Science, and though there’s more of an emotional throughline in the movie, its failures are more significant than its strengths.The protagonist, Barney, accidentally gets telekinetic powers through an experimentand is easily convinced by his best friend, Peyton, to use them to sexually harass women.
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The character Jane, who’s characterized as the stereotypical aloof and popular young woman, is treated terribly by the young men. At the end of the film, Barney uses his powers to strip her naked in front of the whole school, making her a laughing stock.
Like many of the teen sex comedies of the era,Zapped!merelygives its central male characters power and control over the people in their lives and justifies this by characterizing them as “nerds.“The relationship between Barney and his love interest, Bernadette, is slightly better, as Barney genuinely cares for her and is moved to be a better person by her influence. However, the movie’s attempts at being raunchy and poking fun at the genre don’t land well.
