Now we continue our list of the best 50 movies of the 1980's with 10 more great films to debate. Again, we developed the list creating our own personal lists and then combining through a process that included eliminating some pictures on each others' lists we disagreed with and also using vetoes to save some the other tried to knocked off. It's complicated, we know, but it provides a great opportunity to compare our tastes and debate and disagree about certain movies that made it on. For those who may have missed the first installment, here are numbers 50-41.
Without further ado, here we go with numbers 40-31 . . . .
40. Field of Dreams (1989)
Directed by Phil Alden Robinson
Starring Kevin Costner, James Earl Jones, Ray Liotta, Amy Madigan, and Burt Lancaster
Dr. Archibald "Moonlight" Graham: "We just don't recognize life's most significant moments while they're happening. Back then I thought, 'Well, there'll be other days.' I didn't realize that that was the only day."
Jay: Ray Kinsella (Kevin Costner) thinks he's building a baseball field in his cornfield for the ghost of legendary baseball player, "Shoeless" Joe Jackson (Ray Liotta). Jackson was part of the infamous "Black Sox" who threw the World Series back in 1919, and even though it appears he played just as hard as he would of during any game, Joe was banned from Major League Baseball along with his teammates, for life. What follows after Ray builds his baseball field and imperils his family's financial future is a touching story of regret and redemption between a father and a son that will leave you in tears by the final scene. Regret is the major theme here. A father's regret and a son's regret, and the supernatural forces that allow them to reconnect through baseball, a passion that connected them in life. As someone who had a complicated relationship with my own father, I identify with Ray's story. Field of Dreams remains one of the great dramas of the 80's and essential viewing for anyone, regardless if you like baseball. It is timeless and very moving.
Matt: Field of Dreams is one of those films that snuck up on your emotions. First, you think it's some random film about a guy who hears voices, then it transforms into something deeper, more poignant. I have to admit I didn't think about this film when it was being released, but when I watched it on video, it won me over! The performances are solid and while this film is essential if you haven't seen it, for me, it is lacking in the rewatchability department.
39. Parenthood (1989)
Directed by Ron Howard
Starring Steve Martin, Mary Steenburgen, Dianne Wiest, Jason Robards, Rick Moranis, Tom Hulce, Martha Plimpton, and Keanu Reeves
Frank: "You know, when you were two years old, we thought you had polio. Did you know that?"
Frank: "Yeah, well, for a week we didn't know. I hated you for that. I did. I hated having to care, having to go through the pain, the hurt, the suffering. It's not for me."
Jay: This is actually one of Ron Howard's better movies as I am not the biggest fan of his work behind the camera. This movie pretty much gets the joys and struggles of parenting completely right in a way most never do. I like especially how it explores what is to be a parent of children at any age. There is Diane Wiest's single mother struggling with teenage kids she can't seem to find common ground with. Then there is the overbearing Rick Moranis whose demands that he puts on his daughter and wife threaten to destroy his family. Also, there's Jason Robards whose adult son, played by Tom Hulce, is in trouble over money and need's his dad's help to get him out of it. My favorite scene, though, by far, is the one where Steve Martin's sensitive son, Kevin, is made to play 2nd base by his father who also happens to be the coach of the team. When Kevin misses a routine pop-up he cries out in anger at his dad, "Why did you make me play 2nd base?" Martin then imagines a future where his son becomes a sharp-shooting mass murderer because of the psychological damage missing that ball did to him. Hysterical and true all at once.
Matt: I have a deep love for this film in how funny it is but also in how honest it is. The film centers on the Buckman family and their dysfunctions, which make them relatable and real. The film is funny to those who aren't parents, but it's downright hilarious and heartwrenching all at once for those who are. Mary Steenburgen's Karen Buckman is one of my top 10 best onscreen moms, and, to me, Steve Martin gives the best performance of his career here. Issues covered here range from absentee fathers, deadbeat dads, single motherhood, young love, a loveless marriage, and the constant paranoia of screwing up our children -- but it's all set to comedy. I do have to admit, the ending -- with its masterful score by Randy Newman -- gets me a little misty-eyed from time to time.
38. The Right Stuff (1983)
Directed by Philip Kaufman
Starring Sam Shepard, Scott Glenn, Ed Harris, Dennis Quaid, Fred Ward, and Barbara Hershey
Jay: This is a realistic and accurate portrayal of the original Mercury 7 astronauts, based on Tom Wolfe's book of the same name. It's a compelling piece of history but what I like the most is how The Right Stuff does a great job selling the comraderies of these different men, and how being under the bright lights of fame effected both them and their wives. The recently deceased Sam Shepard also shines here as famous test pilot, Chuck Yeager, who was the first human to officially break the sound barrier in his experimental plane, the Bell X-1. This film takes us through the initial years of the fledgling U.S. Space Program and through each man's turn to make it into space. The characters seem real and everything about the movie feels authentic.
Matt: For those who loved HBO's From the Earth to the Moon, this would be a solid preface to that mini-series as Stuff tells the beginnings of the U.S. space program. The Mercury Seven, also known as the "Original Seven," were the first astronauts -- former test pilots with many restrictions in height, weight, education and experience -- who had no full clue at the time as to the task that was set before them. I remember first watching this film and thinking: this is what true heroes look like. They knowingly sacrificed their lives so that we could explore space and further our knowledge of what lies beyond our little world. Featuring performances by a who's-who cast of great actors, The Right Stuff is a wonderful ensemble piece and rightfully earns its spot on this list.
Matt: For those who loved HBO's From the Earth to the Moon, this would be a solid preface to that mini-series as Stuff tells the beginnings of the U.S. space program. The Mercury Seven, also known as the "Original Seven," were the first astronauts -- former test pilots with many restrictions in height, weight, education and experience -- who had no full clue at the time as to the task that was set before them. I remember first watching this film and thinking: this is what true heroes look like. They knowingly sacrificed their lives so that we could explore space and further our knowledge of what lies beyond our little world. Featuring performances by a who's-who cast of great actors, The Right Stuff is a wonderful ensemble piece and rightfully earns its spot on this list.
37. The Untouchables (1987)
Directed by Brian De Palma
Starring Kevin Costner, Sean Connery, Robert De Niro, Andy Garcia, and Charles Martin Smith
Malone: "You wanna know how to get Capone? They pull a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That's the Chicago way! And that's how you get Capone. Now do you want to do that? Are you ready to do that?"
Jay: It's a shame Brian De Palma doesn't get more recognition for his work. Sure, there is a case to be made that he is "a filmmaker's filmmaker," as many other prolific directors point to his unique way of shooting and editing his pictures as an inspiration. I know a lot of people love Scarface, probably his most popular 80's film, but my favorite of this decade is Blow Out, starring John Travolta and Nancy Allen. It nearly made my list. Matt has put forward The Untouchables here, and I think it is a solid choice even despite my reservations about the extreme liberties it takes with historical accuracy. As pure entertainment, though, it is excellent. Ennio Morricone's score is fantastic, but his score's are always brilliant; that's why he is one of the best film composers, ever. The scene in the train station towards the end is a masterpiece of pacing, sound design, and editing. It should be shown in every film class as how to create heightened tension through key technical decisions like the echoing sound of the baby carriage on the steps. Who cares if over half of what happens in this movie is total bullshit? It's bullshit filmed by a master in his element.
Matt: As Jay said, this film is about 95% inaccurate (i.e., Eliot Ness and Al Capone never met in real life). However, because of it's excellent writing , direction and performances, The Untouchables is one of the best mob movies made! Morricone's score is brilliant, as usual! Don't get me wrong, because of taking too much creative license, I HATED the film adaptation of Public Enemies, but there's just something about Untouchables that works! Jay is right; the train station scene alone makes this film so damn wonderful and De Palma -- a filmmaker who hasn't been heard from much lately -- is one of the masters of his craft! The cast shines but it is Sean Connery's role as Jim Malone that is most memorable ... and the most quotable!
Matt: As Jay said, this film is about 95% inaccurate (i.e., Eliot Ness and Al Capone never met in real life). However, because of it's excellent writing , direction and performances, The Untouchables is one of the best mob movies made! Morricone's score is brilliant, as usual! Don't get me wrong, because of taking too much creative license, I HATED the film adaptation of Public Enemies, but there's just something about Untouchables that works! Jay is right; the train station scene alone makes this film so damn wonderful and De Palma -- a filmmaker who hasn't been heard from much lately -- is one of the masters of his craft! The cast shines but it is Sean Connery's role as Jim Malone that is most memorable ... and the most quotable!
36. The Road Warrior (1981)
Directed by George Miller
Starring Mel Gibson, Bruce Spence, Vernon Wells, and Kjell Nilsson
Toady: "Greetings from The Humungus! The Lord Humungus! The Warrior of the Wasteland! The Ayatollah of Rock and Rolla!!"
Jay: If you want to read in detail why I think The Road Warrior is a brilliant movie, read this column I wrote about it prior to the release of Mad Max: Fury Road over 2 years ago. George Miller single-handedly invented the post-apocalyptic sub-genre with the Mad Max films and he nearly perfected it with this sequel that was supposed to be called Mad Max 2 but because the studio feared no one in America had seen the first Mad Max they gave it an entirely different name. The Road Warrior moves along at a breakneck pace and does not really overly concern itself with an elaborate plot. Our hero, Max, simply has to get this group of besieged people from Point A to Point B, driving a massive gas tanker while fending a angry horde of malicious savages. The stunts are insane, the camera work revolutionary for its time, and the action is unparalleled. It also happens to have one of the best performances by a dog in any movie. *Sniff* If there was an award to give out for "Most Badass Movie of the 1980's," The Road Warrior would run away with it, no contest.
Matt: The franchise that gave Mel Gibson his start is much more beloved by Jay than me, but it's placement here is deserving. The post-apocalyptic film doesn't tread lightly on the brutality and violence of the story Miller is telling. This is a big wham-bam road action flick with a character who started his journey looking for revenge and is soon turned into someone who resembles Clint Eastwood's famous Man With No Name. All of you Fast & Furious fans take note, this is the film series for you!
35. Batman (1989)
Directed by Tim Burton
Starring Jack Nicholson, Michael Keaton, Kim Basinger, and Robert Wuhl
The Joker: "Now comes the part where I relieve you, the little people, of the burden of your failed and useless lives. But, as my plastic surgeon always said: if you gotta go, go with a smile!"
Jay: In 1989, I don't think I had ever been as excited to see a movie as I was to see Tim Burton's Batman. The posters were everywhere -- with the yellow oval that has the black bat insignia locked inside. The movie did not disappoint. The two things I remember the most were the elaborate set pieces, like a gothic nightmare come to life, and the over-the-top performance of Jack Nicholson as The Joker. For me, Nicholson owns this movie, which isn't fair to Michael Keaton who is still the best Batman in my mind. It's just Nicholson's movie to blaze through like a tornado. The movie has flaws, though. Kim Basinger is not a compelling Vicki Vale and the fact they decided to make Jack Napier, the man who would become The Joker, the murderer of Bruce Wayne's parents is a step too far for me away from the core origin story of Batman. It's because of this that the movie loses me towards the end. That being said, Batman legitimized comic book movies in a way that hadn't been seen in a while.
Matt: I know 1978's Superman was the first mainstream superhero movie, but it is this Tim Burton film about the Dark Knight that was the official beginning of superhero movies as we know them today! I can vividly remember seeing this film at least 10 times in the movie theater when it was first released, and I made sure it was the first new VHS tapes I owned. Burton tapped into what would become the "Dark Age" of comics, utilizing dark sets, costumes and lighting to bring about one of the most well-known characters ever created! Most people may argue that this film is dated and doesn't hold up very well but I would argue that. The only part of this film I don't care for is making the Joker the killer of Bruce Wayne's parents. Otherwise, writer Sam Hamm wonderfully captures the dark world of Gotham City and all of Joker's menacing qualities. And even though Nicholson gets top billing here, Keaton's performance of Bruce Wayne/Batman is significantly great -- not bad for an actor who, at the time, was mostly known for comedy roles and who people jeered when they discovered he would play the Caped Crusader! To this day, the dialogue is so damn quotable, the writing and feel of the film actually reflect Batman comics of that time, and the Batmobile here is my favorite so far!
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34. The Thing (1982)
Directed by John Carpenter
Starring Kurt Russell, Wilford Brimley, Keith David, and Richard Masur
Macready: "I know I'm human. And if you were all these things, then you'd just attack me now, so some of you are still human. This thing doesn't want to show itself, it wants to hide inside an imitation. It'll fight if it has to, but it's vulnerable out in the open. If it takes us over, then it has no more enemies, nobody left to kill it. And then it's won."
Jay: Here is the 2nd time John Carpenter appears on our list. The Thing is his best film (sorry Halloween fans, it is). The placement of it here at #34 is a travesty, but Matt didn't pick it at all for his list, which boggles my mind because I know he has affection for this Antarctic Alien like I do. It should be much higher, but here we are. The make-up and creature effects in The Thing are astounding. Rick Baker's work is legendary but the reason this movie reaches for the very top of the horror charts is the layers of paranoia it manages to lay out as each of these men, stranded at this frozen outpost, turn on each other out of fear that one of them could possibly be the alien, imitating everything about them. As they all fall prey to either the creature or each other, it becomes clear that in order to stop the Thing, all of the few remaining men might have to die to stop it from leaving the frozen continent. Kurt Russell again proves he is one of the best leading men to turn to. His Macready is a desperate man, who seems to understand earlier than everyone else that they are fighting a losing battle against an enemy that none of them can see. The Thing teaches us a very valuable lesson too - just because that dog is friendly and cute doesn't mean you don't burn it anyway when you see a couple of Norwegian's shooting at it from a helicopter.
Matt: I do love The Thing, based on the 1951 film The Thing From Another World (which was loosely based on the 1938 John W. Campbell Jr. novella Who Goes There?)! But the problem with this list is that there are SO many notable films, it's difficult to assign films a number. And when it comes to the other films on this list, The Thing is appropriately ranked; however, I understand Jay's disappointment. That being said, you won't find a much gorier '80s movie than this Carpenter classic! Jay's right -- Halloween may be somewhat iconic, but The Thing is Carpenter's best film! The story works on a person's paranoia of "how much do I really know anybody?", putting the ragtag crew of an American research station in Antarctica against a creature that can assimilate the appearance of any living thing. According to Carpenter, this film is the first in his Apocalypse Trilogy (the other two films being Prince of Darkness and In the Mouth of Madness). The performances are all well and good but it truly is Rick Baker's creature special effects and makeup that makes this film so memorable ... especially in a day and age before CGI. If you're looking for the perfect film to give you the heebie-jeebies, look no further!
33. The Natural (1984)
Directed by Barry Levinson
Starring Robert Redford, Robert Duvall, Glenn Close, Kim Basinger, Wilford Brimley, Richard Farnsworth, Robert Prosky, and Barbara Hershey
Roy Hobbs: "I guess some mistakes you never stop paying for."
Jay: When Roy Hobbs (Robert Redford) shows up out of nowhere to try out for a Major League Baseball team, he seems to have superhuman talent despite being middle-aged and well past what would normally be considered his prime. As everyone is trying to find out more about the mysterious Hobbs and his backstory, we learn more about his tragic past and the career that was stolen from him by a mysterious woman who shot him years ago. The Natural is one of the best sports films of the 80's. It owes a lot to the beautiful cinematography by Caleb Deschanel, and Randy Newman's uplifting score. When Hobbs swings that bat and the ball soars into the lights with Newman's score playing, you can't help but be moved.
Matt: This film, based on the 1952 Bernard Malamud novel of the same name, has got to be one of my favorite films of all time! The story is a mythological tale of a man, Roy Hobbs (Redford) who mirrors the character Sir Perceval (from Camelot and the Knights of the Round Table), and how he has a unique gift but it is soon taken away from him due to pride, self-doubt and the enticement of corruption. This is a classic morality tale set to baseball, with director Barry Levinson utilizing Newman's score and Deschanel's use of lighting and shade to craft a piece of art. Even Hobbs' famous bat, "Wonderboy," is a representation of King Arthur's sword "Excalibur!" I particularly love the scene when Hobbs is given a talking-to by the owner of the ball team he plays for, a man only referred to as The Judge (Robert Prosky), who enjoys the darkness and working from the shadows. This film also holds proof of my theory that there are three archetypes of women in Malamud's stories -- and in most films -- as represented by the film's three main women: Iris Lemon (Glenn Close), Memo Paris (Kim Basinger), and Harriet Byrd (Barbara Hershey). To see my thoughts and comparisons to some of these references -- and my overall gushing of the film -- check out my article by clicking here!
Matt: This film, based on the 1952 Bernard Malamud novel of the same name, has got to be one of my favorite films of all time! The story is a mythological tale of a man, Roy Hobbs (Redford) who mirrors the character Sir Perceval (from Camelot and the Knights of the Round Table), and how he has a unique gift but it is soon taken away from him due to pride, self-doubt and the enticement of corruption. This is a classic morality tale set to baseball, with director Barry Levinson utilizing Newman's score and Deschanel's use of lighting and shade to craft a piece of art. Even Hobbs' famous bat, "Wonderboy," is a representation of King Arthur's sword "Excalibur!" I particularly love the scene when Hobbs is given a talking-to by the owner of the ball team he plays for, a man only referred to as The Judge (Robert Prosky), who enjoys the darkness and working from the shadows. This film also holds proof of my theory that there are three archetypes of women in Malamud's stories -- and in most films -- as represented by the film's three main women: Iris Lemon (Glenn Close), Memo Paris (Kim Basinger), and Harriet Byrd (Barbara Hershey). To see my thoughts and comparisons to some of these references -- and my overall gushing of the film -- check out my article by clicking here!
32. Raging Bull (1980)
Directed by Martin Scorsese
Starring Robert De Niro, Cathy Moriarty, Joe Pesci, and Frank Vincent
Jake La Motta: "Don't give me that look, Joey. I gotta accept your answer, you know? But if I hear anything, I swear on our mother I'm gonna kill somebody. I'm gonna kill somebody, Joey."
Joey La Motta: [angrily] "Well go ahead and kill if you're a tough guy, go kill people! Kill Vicki, kill Salvy, kill Tommy Como, kill me while you're at it, what do I care? You kill yourself, the way you eat! Ya fat fuck, look at you!"
Jay: Robert De Niro lobbied Martin Scorsese heavily to make a movie based on the biography of boxing champion, Jake La Motta. The result ended up being one of Scorsese's best films and a 2nd acting Oscar for De Niro (Best Supporting Actor, The Godfather Part II). Raging Bull may not be the movie for you if you need to have a protagonist that you can connect with or even look up to. La Motta is a vile man. He abuses and mistreats everyone who either loves him or is close to him, especially his wife, Vicki (Cathy Moriarty), and his brother, Joey (Joe Pesci). He is an animal both in the ring and out of it. He is also a victim of his own jealousies and envy as, by the end of the film, when he has lost everything and everyone, he is forced to confront the monster he has been. De Niro's performance is the stuff of legends and he is remarkable. The scene where he is jailed for soliciting a minor and he erupts in a torrent of self-pity and self-destruction by punching the concrete wall of his cell repeatedly is brilliant. In this moment, La Motta has truly hit bottom and is only with himself and who he has become. Scoreses's choice to shoot the film in black & white is smart as it lends a bleakness and starkness to La Motta's world that contributes to overall darkness and dirtiness of the mind of the man himself. In the end, you never really feel sorry for this man, but you do see his humanity and it is a testament to the actor and the director that they were able to be true to his nature and his fractured soul.
Matt: Another collaboration between Scorsese and De Niro, and one of the most brutal. What is most memorable about Raging Bull is not so much the physical violence (although that does make a mark), but the verbal abuse coming from protagonist Jake La Motta (De Niro). Apparently, after watching the film, La Motta turned to his wife, Vicki, and asked her if he was that bad of a man as captured in De Niro's performance, to which Vicki answered, "You were worse." The film is not for the faint of heart, but it is a film that cannot be missed.
31. Brazil (1985)
Directed by Terry Gilliam
Starring Jonathan Pryce, Kim Greist, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, and Michael Palin
Arresting Officer: "This is your receipt for your husband . . . and this is my receipt for your receipt."
Jay: My love for Terry Gilliam's Brazil knows no bounds. Full disclosure: I had it at #3 on my personal list, and honestly it is interchangeable with what I picked for #1 and #2. Brazil speaks to the daydreamer in me, the kid and man who often finds himself lost in thought about some place he'd rather be. Like Sam Lowry (Jonathan Pryce), I find this fixation on imagined places, people and times is both a blessing and a curse. In Gilliam's dystopian world of class warfare, bureaucratic extremities and total law and order, there is no room for dreamers or heroes for that matter. Like Time Bandits, Brazil is a visually stunning film. It is also darkly funny and very much presented as a black comedy. It uses satire to confront us with the ridiculousness of the realities we accept as a society. In the end, Sam's unfortunate fate is probably best for him. Forced to live out his days trapped in his own fantasies, one can actually be happy that Sam no longer needs to live in this dark, cruel world. It was never going to be a place he could survive in anyway. The story of how Brazil made it the screen is equally fascinating. Unhappy with Gilliam's dark and cynical ending, the studio stepped in and changed it to a more happy one with Lowry and Jill (Kim Greist) escaping the forces aligned against them and spending the rest of their days in an idealistic cabin in a field somewhere. The director was incensed and went public with his rejection of the studio's interference and demanded his original ending be restored. The studio refused and Gilliam continued to get in front of cameras to rail against the studio head, Sydney Sheinberg. In the end, thanks to Gilliam's persistence and help from the film critic community (the Los Angeles Times named it "Best Picture of the Year" after Gilliam screened his cut, despite the studio's orders, for a USC film class 2 weeks before its official release), the higher ups relented making this one of the only times a filmmaker has won a battle like this with a studio over the cut of a film.
Matt: Probably one of the most unique films of the '80s, what I remember best about Gilliam's Brazil was the visuals, from the make-up effects to the special effects. Gilliam's style and art direction are unique and I like Gilliam's original ending compared to that of the studio's saccharine version. I don't have much else to say because I think Jay already said most of it, but it is my favorite original film by him (also worth checking out is The Adventures of Baron Munchausen).
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