list http://www.spout.com/ Recent community activity around Pretty in Pink on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Pretty_in_Pink/27309/default.aspx Title: Pretty in Pink
Year: 1986
Director: Howard Deutch
Plot: John Hughes crafts an exemplary '80s Brat Pack romance out of the standard Cinderella story in Pretty in Pink. Andie Walsh (Molly Ringwald) is a teenager who lives in the dingy part of town with her terminally underemployed dad (Harry Dean Stanton). She works at a record store with eccentric Ionia (Annie Potts) and is considered a misfit at her uppity high school, but somehow she rises above them all. Her oddball best friend, Duckie (Jon Cryer), is hopelessly in love with her, so he causes trouble for her romantic pursuits. When local rich kid Blaine (Andrew McCarthy) develops a fascination with her, they go out on a date together. Visiting the home bases of each social clique, they are basically ridiculed for their audacity to date one another. When Blaine eventually asks the delighted Andie to the prom, he is threatened by his rich friend Steff (James Spader). The romance versus high school social politics finally culminates at the big night of the prom. ~ Andrea LeVasseur, All Movie Guide
Times Tagged: 61
Number of Lists: 53
Number of blog posts: 9
Number of discussion threads: 3
SpoutRating: 3
]]>Tue, 18 Aug 2009 18:10:31 GMTPretty in Pink1986Howard Deutch<a href="/players/P____95115/default.aspx" style='text-decoration:underline'>John Hughes</a> crafts an exemplary '80s Brat Pack romance out of the standard Cinderella story in Pretty in Pink. Andie Walsh (<a href="/players/P____60327/default.aspx" style='text-decoration:underline'>Molly Ringwald</a>) is a teenager who lives in the dingy part of town with her terminally underemployed dad (<a href="/players/P____67626/default.aspx" style='text-decoration:underline'>Harry Dean Stanton</a>). She works at a record store with eccentric Ionia (<a href="/players/P____57472/default.aspx" style='text-decoration:underline'>Annie Potts</a>) and is considered a misfit at her uppity high school, but somehow she rises above them all. Her oddball best friend, Duckie (<a href="/players/P____16032/default.aspx" style='text-decoration:underline'>Jon Cryer</a>), is hopelessly in love with her, so he causes trouble for her romantic pursuits. When local rich kid Blaine (<a href="/players/P____46943/default.aspx" style='text-decoration:underline'>Andrew McCarthy</a>) develops a fascination with her, they go out on a date together. Visiting the home bases of each social clique, they are basically ridiculed for their audacity to date one another. When Blaine eventually asks the delighted Andie to the prom, he is threatened by his rich friend Steff (<a href="/players/P____67051/default.aspx" style='text-decoration:underline'>James Spader</a>). The romance versus high school social politics finally culminates at the big night of the prom. ~ Andrea LeVasseur, All Movie Guide61Tag Target (>10)53933http://www.spout.com/ProductImages/t87689a45xg.jpghttp://www.spout.com/films/Pretty_in_Pink/27309/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Which_of_these_movies_written_but_not_directed_by/657/43611/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 8/18/2009 2:10:31 PM
Body: Please reference this thread for the rules of this group. Part two of the John Hughes poll. Hughes sure liked his Christmas movies. He also wrote the screen play for the remake of Miracle on 34th Street which I didn't include here. Again thanks to laurabot for the suggestion of a John Hughes poll. Please vote only once in each poll. Movies referenced in this poll:Christmas VacationDutchThe Great OutdoorsHome AloneHome Alone 2: Lost in New YorkMr. MomPretty in PinkReach the RockSome Kind of WonderfulVacation
]]>Tue, 18 Aug 2009 18:10:31 GMTRisseladaMovie Polls8/18/2009 2:10:31 PMPlease reference this thread for the rules of this group. Part two of the John Hughes poll. Hughes sure liked his Christmas movies. He also wrote the screen play for the remake of Miracle on 34th Street which I didn't include here. Again thanks to laurabot for the suggestion of a John Hughes poll. Please vote only once in each poll. Movies referenced in this poll:Christmas VacationDutchThe Great OutdoorsHome AloneHome Alone 2: Lost in New YorkMr. MomPretty in PinkReach the RockSome Kind of WonderfulVacation http://www.spout.com/blogs/dibot/archive/2009/2/17/40508.aspx Post By: dibot
Post To: dibot Blog
Post Date: 2/17/2009 7:09:23 PM
Body: Underworld: Rise of the Lycans is just very average. I've actually already forgotten most of it. The story was told in the first Underworld movie and so there are no real surprises. Michael Sheen ("Frost/Nixon") reprises his role as the werewolf Lucian and Bill Nighy ("Valkyrie") is back as head vamp, Viktor. The action is okay. The effects are okay. It's just all okay. Sadly, until just a few days ago, I had never seen Pretty in Pink. But I caught up with it and loved it. Written by John Hughes ("Just Visiting") it features many of his 80s teen trademarks: Molly Ringwald ("Not Another Teen Movie"), the clash between rich and poor, and lots of angst. John Cryer ("Two and Half Men") does an excellent lip sync. This movie really is awesome. From director Danny Boyle ("Sunshine"), Slumdog Millionaire tells the story of a poor boy from Mumbai who is accused of cheating on India's version of "Who Wants to Be a Millionaire." As the police interrogate him, the film flashes back through his life to show the reasons he knows the answers to the questions. A love story hides amongst the tragedy and a lively soundtrack really makes the film pop. Definitely check this out. Unfortunately named though it may be, The Dark is really a tense little horror/thriller. Maria Bello ("The Mummy: Tomb of the Dragon Emperor") brings her daughter, Sarah, to Wales to visit husband Sean Bean ("Far North"). On the creepy seaside, Sarah appears to drown, but while her parents search for her, another girl appears claiming to have returned from the dead to take Sarah's place. Very creepy and atmospheric, but not frightening. I got quite caught up in it. Another 80's classic with which I finally caught up, Working Girl puts Melanie Griffith ("Have Mercy") in the dog-eat-dog corporate world as a secretary determined to rise to the top. When her bitchy boss, a nice turn by Sigourney Weaver ("The Tale of Despereaux") steals her idea, Griffith fights back by pretending to have her boss' job. Then she falls for Harrison Ford ("Indiana Jones and the Kingdom of the Crystal Skull") and then things go awry. Sometimes funny, sometimes frustrating, but ultimately inspiring, this is a really good watch.
]]>Wed, 18 Feb 2009 00:09:23 GMTdibotdibot Blog2/17/2009 7:09:23 PMUnderworld: Rise of the Lycans is just very average. I've actually already forgotten most of it. The story was told in the first Underworld movie and so there are no real surprises. Michael Sheen ("Frost/Nixon") reprises his role as the werewolf Lucian and Bill Nighy ("Valkyrie") is back as head vamp, Viktor. The action is okay. The effects are okay. It's just all okay. Sadly, until just a few days ago, I had never seen Pretty in Pink. But I caught up with it and loved it. Written by John Hughes ("Just Visiting") it features many of his 80s teen trademarks: Molly Ringwald ("Not Another Teen Movie"), the clash between rich and poor, and lots of angst. John Cryer ("Two and Half Men") does an excellent lip sync. This movie really is awesome. From director Danny Boyle ("Sunshine"), Slumdog Millionaire tells the story of a poor boy from Mumbai who is accused of cheating on India's version of "Who Wants to Be a Millionaire." As the police interrogate him, the film flashes back through his life to show the reasons he knows the answers to the questions. A love story hides amongst the tragedy and a lively soundtrack really makes the film pop. Definitely check this out. Unfortunately named though it may be, The Dark is really a tense little horror/thriller. Maria Bello ("The Mummy: Tomb of the Dragon Emperor") brings her daughter, Sarah, to Wales to visit husband Sean Bean ("Far North"). On the creepy seaside, Sarah appears to drown, but while her parents search for her, another girl appears claiming to have returned from the dead to take Sarah's place. Very creepy and atmospheric, but not frightening. I got quite caught up in it. Another 80's classic with which I finally caught up, Working Girl puts Melanie Griffith ("Have Mercy") in the dog-eat-dog corporate world as a secretary determined to rise to the top. When her bitchy boss, a nice turn by Sigourney Weaver ("The Tale of Despereaux") steals her idea, Griffith fights back by pretending to have her boss' job. Then she falls for Harrison Ford ("Indiana Jones and the Kingdom of the Crystal Skull") and then things go awry. Sometimes funny, sometimes frustrating, but ultimately inspiring, this is a really good watch. http://www.spout.com/blogs/karina/archive/2009/1/8/39245.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/8/2009 11:01:28 AM
Body: I’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 08 Jan 2009 16:01:28 GMTKarinaKarina on SpoutBlog1/8/2009 11:01:28 AMI’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/8/39244.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/8/2009 11:01:12 AM
Body: I’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog
]]>Thu, 08 Jan 2009 16:01:12 GMTSpoutBlogSpoutBlog on spout.com1/8/2009 11:01:12 AMI’ll never forget the first time I heard the Sinatra standard “My Way”, while sitting in the balcony of an art house in Denver, chain-smoking Benson & Hedges ultra-light menthols, staring nearly hypnotized by the sight of sexy Gary Oldman transforming himself into the swaggering embodiment of punk rock, tearing through both cover song and screen. Sid and Nancy (along with Howard Deutch’s Pretty In Pink which also came out in 1986, and Martha Coolidge’s 1983 Valley Girl) was nothing less than a revelation to this teenager with Aqua-netted hair, Doc Martins and ripped fishnets, because it actually portrayed “my people,” spoke to me in my own musical language. And my feeling of identification probably was not unlike that experienced by a certain segment of the movie-going public 31 years before Alex Cox paid tribute to the junkie romance of Sid Vicious and Nancy Spungen, who witnessed another tale of fucked-up love, possible homicide, and enduring heroin chic. Heartthrob Frank Sinatra would not sing “My Way” in Otto Preminger’s groundbreaking 1955 The Man With The Golden Arm, but he would play the fictional Frankie Machine, another lean and hungry musician of dubious talent weighed down by both a needy blonde and a monkey on his back. With a sizzling jazz score by Elmer Bernstein as perfectly wedded to image as Joe Strummer’s powerful sound is in Cox’s film, and with production design every bit as hyper-real as the addict’s hallucination style of Sid and Nancy, Preminger’s movie, like Cox’s, uses its sleek, feline, magnetic lead to shed light on a hapless guy unwittingly the helpless victim of his own charm, a plaything to both ruthless women and greedy men who take advantage of his naïve nature. Sinatra’s Frankie is a kindhearted, charismatic card dealer just out of rehab, trying to follow his dream of being a drummer, but he’s stuck with a scheming wife in a wheelchair (Eleanor Parker, who seems to be doing a camp version of a Tennessee Williams heroine) and a sometime employer/drug dealer (the appropriately slimy Darren McGavin) who uses heroin as an ace in the hole to control the fragile Frankie. Sid likewise was just a young, working class punk who suddenly found himself stuck with a scheming groupie/junkie/drug dealer (played by Chloe Webb who manages to make Nancy both annoying and endearing), a bass he could barely play, and a Machiavellian manager in the form of Malcolm McLaren who used all the Sex Pistols band members as his own personal puppets. Sid never wanted to be a nihilist icon any more than Frankie wants to deal cards; they’re just so damn alluring, so good at what they do, that others demand it! And pretty soon the lifestyle – including heroin – they’ve nodded into becomes all they know. Tellingly, the most sexually fraught scenes in The Man With The Golden Arm occur not between Frankie and his mistress Molly, played by va-va-voom Kim Novak, but between Frankie and his dealer Louie. It’s Louie who is forever massaging Frankie’s back when he’s tired, intimately cooing in his ear like a lover, taking him arm in arm back to his flat as Frankie swivels his head like a two-timing spouse, for he’s more nervous being seen alone with Louie than with Molly. In one scene a tired Louie begins to relax and get undressed, even takes off his shirt before shooting up that golden arm. Neither Molly nor Frankie’s wife Zosch ever show that much skin in front of Frankie! Indeed, towards the end of Sid and Nancy the bond between the couple isn’t sex, isn’t love, so much as a shared insatiable lust for the drug, the third party in their fatal ménage a trois. For the pursuit of the fix is sexual in itself. And yet the most painful truth in Sid and Nancy is laid bare in that one scene in which Sid destroys everything around him, slaughters that old Sinatra standard in a big ironic “fuck you.” For in a world where outside forces like sex, drugs and rock and roll can determine an individual’s fate there is no such thing as “My Way.” SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog http://www.spout.com/groups/Movie_Games/Re_Before_and_After/598/32161/1/ShowPost.aspx Post By: leeroy711
Post To: Movie Games
Post Date: 7/5/2008 5:48:47 PM
Body: [quote user="tadiv"] How about... "Molly Ringwald rides in style" [/quote] Pretty in Pink Caddilac Pretty in Pink (1986) Pink Cadillac (1989)
]]>Sat, 05 Jul 2008 21:48:47 GMTleeroy711Movie Games7/5/2008 5:48:47 PM[quote user="tadiv"] How about... "Molly Ringwald rides in style" [/quote] Pretty in Pink Caddilac Pretty in Pink (1986) Pink Cadillac (1989) http://www.spout.com/blogs/unclefestering/archive/2008/5/9/28427.aspx Post By: unclefestering
Post To: unclefestering Blog
Post Date: 5/9/2008 8:40:07 PM
Body: I never understood why John Hughes thought it was a good idea to remake Pretty in Pink (1986). Maybe he was just running out of ideas for high school comedies and was afraid to movie on to writing comedies about adults. Given his track record there, I can understand that fear. Whatever the reason, about a year after Pretty in Pink, out came SomeKind of Wonderful. Both Eric Stoltz and Lea Thompson are far too stiff in this movie. Mary Stuart Masterson is the only saving grace. She out Duckied Ducky. But then again, Jon Cryer is exactly the world's greatest actor. As for the plot see Pretty in Pink and just switch the genders. This movie is just OK . I wouldn't work too hard to see it.
]]>Sat, 10 May 2008 00:40:07 GMTunclefesteringunclefestering Blog5/9/2008 8:40:07 PMI never understood why John Hughes thought it was a good idea to remake Pretty in Pink (1986). Maybe he was just running out of ideas for high school comedies and was afraid to movie on to writing comedies about adults. Given his track record there, I can understand that fear. Whatever the reason, about a year after Pretty in Pink, out came SomeKind of Wonderful. Both Eric Stoltz and Lea Thompson are far too stiff in this movie. Mary Stuart Masterson is the only saving grace. She out Duckied Ducky. But then again, Jon Cryer is exactly the world's greatest actor. As for the plot see Pretty in Pink and just switch the genders. This movie is just OK . I wouldn't work too hard to see it. http://www.spout.com/blogs/usesoap/archive/2008/3/25/26587.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 3/25/2008 1:28:31 PM
Body: Perhaps it’s a certain soft spot for the navigator of my awkward adolescent journey, John Hughes; maybe it’s the affable charisma of lead Owen Wilson (who, even off his game as he is here, is just someone with whom you want to share a beer); or it could be the overall throwback tone of the film’s less-ironic, less-cynical high school setting.Whatever the reason, I quite enjoyed “Drillbit Taylor.Hughes, the arbiter of public school angst, originally scribbled the screenplay for the new comedy and allowed it to languish for the better part of two decades before it was dusted off by reigning comedic king Judd Apatow (“Knocked Up,” “40-Year-Old Virgin”) and his faithful scribes Seth Rogan (“Superbad”) and Kristofer Brown (TVs “Undeclared”). Hughes’ name is not found on any of the credits (acknowledgment is given to his frequent nom de plume of Edmond Dantes), but his style can be felt throughout. With great nerd love, Hughes always tapped into the anxieties, hopes, fears, and, dare it be dreamed, love of those squares living outside the popular circles in high school. He affected and defined a generation with six films in just four years. Think about that number. The list of his film could hyperventilate many a Gen-X –er prone to spouting off many a memorable movie line : “Sixteen Candles,” “The Breakfast Club,” “Weird Science,” “Pretty in Pink,” “Ferris Bueller’s Day Off,” and “Some Kind of Wonderful.And while “Drillbit Taylor” will not gain access to the coveted coliseum of memorable Hughes characters (Bueller, Duckie, Long Duk Dong, Farmer Ted, Chet, Cameron, etc.), it is a good-natured return to perhaps the most anxiety-prone places of repressed memory, and where some of Hughes’ richest comedies were set – high school.Wilson stars as a homeless Iraq vet genially slumming the California streets in search of spare change. Now this is hardly the stuff of comedy gold, and while the subtle social commentary is an awkward fit, Wilson’s laissez-faire demeanor pitches the proper balance between snickers and sympathy.Drillbit notices an online ad from a trio of geeks searching for protection from their psychotic high school harrier. The outcasts could easily be renamed “Superbad: The Early Years,” as they consist of the fat, sarcastic one (Tony Gentile), the skinny introspective one (Nate Harley), and the screeching uber-dork (David Dorfman). The actors themselves offer relatively little to the whole affair, but, then again, no one ever praised Andrew McCarthy for his range, Judd Nelson for his Method approach, or Molly Ringwald for her intensity.Drillbit sees the young suburbanites as three little ATM machines who can help finance his ticket to Canada to start life anew. He pilfers a few valuable knick-knacks from their homes while haphazardly helping them overcome their daily high school hell. Conscience gets the better of Drillbit, and soon he infiltrates the school as a substitute teacher to further aid the kids’ daily humiliations.At this point in the review, you may be thinking: “Hmm, faint praise, hackneyed plot… I think I’ll pass.” But “Taylor” works despite all these things. It works in all those “in-between” moments of the film. Throwaway lines delivered by former “Daily Show” correspondent Beth Littleford (someone please give this woman a smart lead role!), comedian Matt Walsh, and Danny McBride (soon to be seen in Apatow’s “Pineapple Express” and Ben Stiller’s “Tropic Thunder”).They, along with the leads, deliver casual, off-the-cuff zingers that validate “Taylor’s” existence, When training his young charges, Drillbit casually tosses off such lines as: “Now it isn’t all Oriental martial arts, Sometimes you give a little Mexican judo. As in you don’t know who you messin’ with, homes.” And at its core is an oversized Hugh-sian heart, one that was absent from the flick of Wilson’s frequent co-star Will Ferrell in “Semi-Pro.”It’s also an element that is sadly lacking in film designed for the high school crowd, which is more willing to highlight the misanthropic myopia and would-be sexual exploits than exalt in the more inconsequential aspects of freshman life, such as just existing without getting the snot clocked out of you. Perhaps his pen is a wee out of touch with today’s school experience, but his talent for mining the primal emotional dread is spot on.And if he decides to infrequently revisit that world every decade or so, I’ll slap on a pair of parachute pants, load up the Trapper Keeper, slip a cassette of Sigue Sigue Sputnik in the Walkman, and be first in line to watch.
]]>Tue, 25 Mar 2008 17:28:31 GMTusesoapusesoap Blog3/25/2008 1:28:31 PMPerhaps it&rsquo;s a certain soft spot for the navigator of my awkward adolescent journey, John Hughes; maybe it&rsquo;s the affable charisma of lead Owen Wilson (who, even off his game as he is here, is just someone with whom you want to share a beer); or it could be the overall throwback tone of the film&rsquo;s less-ironic, less-cynical high school setting.Whatever the reason, I quite enjoyed &ldquo;Drillbit Taylor.Hughes, the arbiter of public school angst, originally scribbled the screenplay for the new comedy and allowed it to languish for the better part of two decades before it was dusted off by reigning comedic king Judd Apatow (&ldquo;Knocked Up,&rdquo; &ldquo;40-Year-Old Virgin&rdquo;) and his faithful scribes Seth Rogan (&ldquo;Superbad&rdquo;) and Kristofer Brown (TVs &ldquo;Undeclared&rdquo;). Hughes&rsquo; name is not found on any of the credits (acknowledgment is given to his frequent nom de plume of Edmond Dantes), but his style can be felt throughout. With great nerd love, Hughes always tapped into the anxieties, hopes, fears, and, dare it be dreamed, love of those squares living outside the popular circles in high school. He affected and defined a generation with six films in just four years. Think about that number. The list of his film could hyperventilate many a Gen-X &ndash;er prone to spouting off many a memorable movie line : &ldquo;Sixteen Candles,&rdquo; &ldquo;The Breakfast Club,&rdquo; &ldquo;Weird Science,&rdquo; &ldquo;Pretty in Pink,&rdquo; &ldquo;Ferris Bueller&rsquo;s Day Off,&rdquo; and &ldquo;Some Kind of Wonderful.And while &ldquo;Drillbit Taylor&rdquo; will not gain access to the coveted coliseum of memorable Hughes characters (Bueller, Duckie, Long Duk Dong, Farmer Ted, Chet, Cameron, etc.), it is a good-natured return to perhaps the most anxiety-prone places of repressed memory, and where some of Hughes&rsquo; richest comedies were set &ndash; high school.Wilson stars as a homeless Iraq vet genially slumming the California streets in search of spare change. Now this is hardly the stuff of comedy gold, and while the subtle social commentary is an awkward fit, Wilson&rsquo;s laissez-faire demeanor pitches the proper balance between snickers and sympathy.Drillbit notices an online ad from a trio of geeks searching for protection from their psychotic high school harrier. The outcasts could easily be renamed &ldquo;Superbad: The Early Years,&rdquo; as they consist of the fat, sarcastic one (Tony Gentile), the skinny introspective one (Nate Harley), and the screeching uber-dork (David Dorfman). The actors themselves offer relatively little to the whole affair, but, then again, no one ever praised Andrew McCarthy for his range, Judd Nelson for his Method approach, or Molly Ringwald for her intensity.Drillbit sees the young suburbanites as three little ATM machines who can help finance his ticket to Canada to start life anew. He pilfers a few valuable knick-knacks from their homes while haphazardly helping them overcome their daily high school hell. Conscience gets the better of Drillbit, and soon he infiltrates the school as a substitute teacher to further aid the kids&rsquo; daily humiliations.At this point in the review, you may be thinking: &ldquo;Hmm, faint praise, hackneyed plot&hellip; I think I&rsquo;ll pass.&rdquo; But &ldquo;Taylor&rdquo; works despite all these things. It works in all those &ldquo;in-between&rdquo; moments of the film. Throwaway lines delivered by former &ldquo;Daily Show&rdquo; correspondent Beth Littleford (someone please give this woman a smart lead role!), comedian Matt Walsh, and Danny McBride (soon to be seen in Apatow&rsquo;s &ldquo;Pineapple Express&rdquo; and Ben Stiller&rsquo;s &ldquo;Tropic Thunder&rdquo;).They, along with the leads, deliver casual, off-the-cuff zingers that validate &ldquo;Taylor&rsquo;s&rdquo; existence, When training his young charges, Drillbit casually tosses off such lines as: &ldquo;Now it isn&rsquo;t all Oriental martial arts, Sometimes you give a little Mexican judo. As in you don&rsquo;t know who you messin&rsquo; with, homes.&rdquo; And at its core is an oversized Hugh-sian heart, one that was absent from the flick of Wilson&rsquo;s frequent co-star Will Ferrell in &ldquo;Semi-Pro.&rdquo;It&rsquo;s also an element that is sadly lacking in film designed for the high school crowd, which is more willing to highlight the misanthropic myopia and would-be sexual exploits than exalt in the more inconsequential aspects of freshman life, such as just existing without getting the snot clocked out of you. Perhaps his pen is a wee out of touch with today&rsquo;s school experience, but his talent for mining the primal emotional dread is spot on.And if he decides to infrequently revisit that world every decade or so, I&rsquo;ll slap on a pair of parachute pants, load up the Trapper Keeper, slip a cassette of Sigue Sigue Sputnik in the Walkman, and be first in line to watch. http://www.spout.com/blogs/marymcilwain/archive/2007/11/10/21590.aspx Post By: marymcilwain
Post To: Dollar Video Curator
Post Date: 11/10/2007 5:57:35 PM
Body: "If You Leave" by OMD - From: "Pretty in Pink""If you leave, don't leave now. Please don't take my heart away. Promise me, just one more night. Then we'll go our separate ways." What teenager can't imagine the heartbreaking, beautiful sadness of only being allowed one more night, for whatever cruel, cruel reason. Never mind the blatant contradiction of OMD, singing in one line that they won't let go of us at any price, and then quicker that you can exhale a deep, soft shuddery sigh of resignation to stay, they're stating they'll be running in the other direction the second our feet hit the pavement. Those New Wave British Synth-Pop groups are all the same. "Against All Odds" by Phil Collins - From "Against All Odds" There is something just absolutely irresistible about Phil Collins' sad-sack honesty in this song. "I wish I could just make you turn around, turn around and see me cry. There's so much I need to say to you, so many reasons why. You're the only one who really knew me at all." It's so weepily pathetic you just want to wrap him up in a blanket, share a cup of hot cocoa and have well deserved, long-needed cry with him. Misery loves company after all. But when Phil belts these last lines out, "Take a good look at me now, cos I'll still be standing here, and you coming back to me is against all odds, it's the chance I've gotta take," it's time to sit him down and explain the cold hard reality of the situation to him. Poor guy. "Glory of Love" by Peter Cetera - From: "The Karate Kid Part II" "Just like a knight in shining armor from a long time ago, just in time I will save the day, take you to my castle far away." Despite the terrifying image that this line creates, one of Peter Cetera racing toward us, feathered hair a-flying, on a grand white steed, whilst sheathed in heavy armor, this song really cuts right into your heart. And he so earnestly and intensely stares right into the camera here, nay, into your soul. And regardless of his being so creepily intense, you know that Peter just really and truly believes in the power of lyrics such as these: "You'll keep me standing tall. You'll help me through it all. I'm always strong when you're beside me. I have always needed you. I could never make it alone.?" And maybe the only reason he is sometimes off putting is just because you love him so much that you can genuinely imagine him whispering, "I am a man who will fight for your honor. I'll be the hero you're dreaming of. We'll live forever, knowing together that we did it all for the glory of love," in you ears while he makes to you sweet, sweet, creepy, love. "She's Like the Wind" by Patrick Swayze - From: "Dirty Dancing" Yet another candid, solemn set of deep feelings set to the power of the written and sung word. But these are so especially special, because they are both written and sung by our very favorite Video Curator hero, Mr. Patrick Swayze. Powerful and simple, yet cheesily artful, and of course set to the video of Dirty Dancing. The reason this song is so deeply loved, is in part, because of such bold statements, "I look in the mirror and all I see, is a young old man with only a dream. Am I just fooling myself that she'll stop the pain? Living without her, I'd go insane!" YES - you know you've been there. Patrick is a simple man, speaking simple words of truth, directed at your ear drum with the power and authority of cupid's brutal arrow. If you even attempt to claim you've never thought you'd go insane without a certain other's love and affection you will hence be banned from the soothing, healing light of all things touched by Patrick Swayze. "Almost Paradise" by Mike Reno & Anne Wilson - From: "Footloose" "And in your arms salvation's not so far away, it's getting closer, closer every day! Almost paradise, we're knocking on heavens door. Almost paradise, how could we ask for more"? How indeed. Well, what's missing? Why have they not reached paradise yet, we listeners may wonder? For these two we can only assume this song is referring to early-stage relationship, sexual encounters. You too, can relate. The elation and excitement of the first couple times, but maybe you are not quite comfortable enough to, how do you say, "Cross the threshold"? "I thought that dreams belonged to other men, cuz each time I got close they'd fall apart again," says Mike. And in response says Anne, "I faced the nights alone. Oh how could I have known, that all my life I only needed you"? To which they both reply in swelling synchronicity, "Oooh almost paradise we're knocking on heavens door. Almost paradise, how could we ask for more"? In short, a song of hope; of sexual honesty. We're rooting for you two kids. Take heart, and keep on trying. That orgasm will come. So to speak. Originally posted on:Dollar Video Curator
]]>Sat, 10 Nov 2007 22:57:35 GMTmarymcilwainDollar Video Curator11/10/2007 5:57:35 PM&quot;If You Leave&quot; by OMD - From: &quot;Pretty in Pink&quot;&quot;If you leave, don&#39;t leave now. Please don&#39;t take my heart away. Promise me, just one more night. Then we&#39;ll go our separate ways.&quot; What teenager can&#39;t imagine the heartbreaking, beautiful sadness of only being allowed one more night, for whatever cruel, cruel reason. Never mind the blatant contradiction of OMD, singing in one line that they won&#39;t let go of us at any price, and then quicker that you can exhale a deep, soft shuddery sigh of resignation to stay, they&#39;re stating they&#39;ll be running in the other direction the second our feet hit the pavement. Those New Wave British Synth-Pop groups are all the same. &quot;Against All Odds&quot; by Phil Collins - From &quot;Against All Odds&quot; There is something just absolutely irresistible about Phil Collins&#39; sad-sack honesty in this song. &quot;I wish I could just make you turn around, turn around and see me cry. There&#39;s so much I need to say to you, so many reasons why. You&#39;re the only one who really knew me at all.&quot; It&#39;s so weepily pathetic you just want to wrap him up in a blanket, share a cup of hot cocoa and have well deserved, long-needed cry with him. Misery loves company after all. But when Phil belts these last lines out, &quot;Take a good look at me now, cos I&#39;ll still be standing here, and you coming back to me is against all odds, it&#39;s the chance I&#39;ve gotta take,&quot; it&#39;s time to sit him down and explain the cold hard reality of the situation to him. Poor guy. &quot;Glory of Love&quot; by Peter Cetera - From: &quot;The Karate Kid Part II&quot; &quot;Just like a knight in shining armor from a long time ago, just in time I will save the day, take you to my castle far away.&quot; Despite the terrifying image that this line creates, one of Peter Cetera racing toward us, feathered hair a-flying, on a grand white steed, whilst sheathed in heavy armor, this song really cuts right into your heart. And he so earnestly and intensely stares right into the camera here, nay, into your soul. And regardless of his being so creepily intense, you know that Peter just really and truly believes in the power of lyrics such as these: &quot;You&#39;ll keep me standing tall. You&#39;ll help me through it all. I&#39;m always strong when you&#39;re beside me. I have always needed you. I could never make it alone.?&quot; And maybe the only reason he is sometimes off putting is just because you love him so much that you can genuinely imagine him whispering, &quot;I am a man who will fight for your honor. I&#39;ll be the hero you&#39;re dreaming of. We&#39;ll live forever, knowing together that we did it all for the glory of love,&quot; in you ears while he makes to you sweet, sweet, creepy, love. &quot;She&#39;s Like the Wind&quot; by Patrick Swayze - From: &quot;Dirty Dancing&quot; Yet another candid, solemn set of deep feelings set to the power of the written and sung word. But these are so especially special, because they are both written and sung by our very favorite Video Curator hero, Mr. Patrick Swayze. Powerful and simple, yet cheesily artful, and of course set to the video of Dirty Dancing. The reason this song is so deeply loved, is in part, because of such bold statements, &quot;I look in the mirror and all I see, is a young old man with only a dream. Am I just fooling myself that she&#39;ll stop the pain? Living without her, I&#39;d go insane!&quot; YES - you know you&#39;ve been there. Patrick is a simple man, speaking simple words of truth, directed at your ear drum with the power and authority of cupid&#39;s brutal arrow. If you even attempt to claim you&#39;ve never thought you&#39;d go insane without a certain other&#39;s love and affection you will hence be banned from the soothing, healing light of all things touched by Patrick Swayze. &quot;Almost Paradise&quot; by Mike Reno &amp; Anne Wilson - From: &quot;Footloose&quot; &quot;And in your arms salvation&#39;s not so far away, it&#39;s getting closer, closer every day! Almost paradise, we&#39;re knocking on heavens door. Almost paradise, how could we ask for more&quot;? How indeed. Well, what&#39;s missing? Why have they not reached paradise yet, we listeners may wonder? For these two we can only assume this song is referring to early-stage relationship, sexual encounters. You too, can relate. The elation and excitement of the first couple times, but maybe you are not quite comfortable enough to, how do you say, &quot;Cross the threshold&quot;? &quot;I thought that dreams belonged to other men, cuz each time I got close they&#39;d fall apart again,&quot; says Mike. And in response says Anne, &quot;I faced the nights alone. Oh how could I have known, that all my life I only needed you&quot;? To which they both reply in swelling synchronicity, &quot;Oooh almost paradise we&#39;re knocking on heavens door. Almost paradise, how could we ask for more&quot;? In short, a song of hope; of sexual honesty. We&#39;re rooting for you two kids. Take heart, and keep on trying. That orgasm will come. So to speak. Originally posted on:Dollar Video Curator http://www.spout.com/blogs/windbreaker/archive/2007/9/10/19649.aspx Post By: Windbreaker
Post To: Windbreaker!
Post Date: 9/10/2007 10:19:00 PM
Body: I recently discovered that a John Hughes flick somehow soared under my radar -- Some Kind of Wonderful. Ignoring the mountain of mediocre reviews, I watched it with wifey. Umm... I want to love it, really I do. It had a few fun scenes, but for the most part I just found myself wishing we were watching Pretty In Pink instead. You know from the DVD blurb how the movie will end. Too be fair, you know how many 80s dramas will end. But it's the road to the end that makes some of these cheeseball films so enjoyable years later. This one was a pretty boring ride.
]]>Tue, 11 Sep 2007 02:19:00 GMTWindbreakerWindbreaker!9/10/2007 10:19:00 PMI recently discovered that a John Hughes flick somehow soared under my radar -- Some Kind of Wonderful. Ignoring the mountain of mediocre reviews, I watched it with wifey. Umm... I want to love it, really I do. It had a few fun scenes, but for the most part I just found myself wishing we were watching Pretty In Pink instead. You know from the DVD blurb how the movie will end. Too be fair, you know how many 80s dramas will end. But it&#39;s the road to the end that makes some of these cheeseball films so enjoyable years later. This one was a pretty boring ride. http://www.spout.com/blogs/marymcilwain/archive/2007/7/13/13852.aspx Post By: marymcilwain
Post To: Dollar Video Curator
Post Date: 7/13/2007 4:00:22 PM
Body: Ah romance. Every good video watcher is acutely aware of the down-on-love, romantic teenage flicks that played out with so many star-struck Romeos and Juliets in the idealistic 80’s. We cheered for our plucky, beautiful, yet misunderstood Andie Walshes, Diane Courts, and Wattes in the face of so much love adversity, whether what they lacked was money, an understanding father, or girl’s underwear, and rested easy at the end when they got their men. But should we have? For every one of these “ideal” movie boyfriends, sure signs of loser-dom each display. Here’s just a few reasons why you should’ve run for the hills ladies! Ferris Bueller(Matthew Broderick) –He of the Day OffMajor Flaw: Too eager Yes, he’s charming, cute, fun-loving, inventive and obviously coveted by every other girl in your school, but sheesh. The dude’s talking marriage and he hasn’t even graduated from high school. Sloane, you are way too hot to hitch your star to that wagon. Advice: go to college first and get your M.R.S. from a proper institution.Blane McDonough (Andrew McCarthy) – Pretty In PinkMajor Flaw: Conformist Obviously he cares way too much about status, not too mention what his friends and parents think. He may be willing to make a grand display of devotion at prom, showing his independence when the cameras are rolling, but think about it. If he’s willing to trade-up so easily now when your body’s slammin’ and there is nary a wrinkle or sag, better think to the future. Or marry him fast before he learns the words “Pre-nup.” Keith Nelson (Eric Stoltz) –Some Kind of WonderfulMajor Flaw: SuperficialSecondary Flaw: Clueless You may think his ultra-nemesis Hardy Jenns is more worthy of distinction in this category, but we disagree whole-heartedly. Hardy is what he is. He makes no apology for being a complete dick-face, threatening social stigmata upon every girl who denies his advance, and is not afraid to buy adoration. Keith on the other hand, for all his hatred of Hardy, really is just doing the same thing: buy the prettiest girl in school using his college tuition to purchase a pair of diamond earrings. Not to mention the fact that he’s got a perfectly willing piece right in front of his face and is too stupid to notice. Danny LaRusso (Ralph Macchio) – The Karate KidMajor Flaw: Obsessed with violence Poor little Ali here is just bouncing from one bully to the next up-and-coming. Danny seems like he just may be trying to stick up for himself, but all he really wants is to learn some serious moves that will totally fuck your shit up. This relationship is only going to end in court. And likely the hospital.Terry Griffith (Joyce Hyser) –Just One of the GuysMajor Flaw: Gender confusion Sure everyone doubts their sexuality at one time or another, but Terry takes it to the extreme. Transferring schools to assume new identity as a male, followed by whole lot of wardrobe malfunctions, not to mention falling in love with another boy…well. Girls, you’re signing up for a life time of closet sharing. He may be sympathetic to what women want, but this one is just not worth the trouble. Han Solo (Harrison Ford) –The Empire Strikes BackMajor Flaw: Egotistical, cold and unfeeling Every girl’s greatest fear, finally getting up the nerve to utter that fateful “L” word, only to be answered with “I know.” Then afterwards he’s just so cold, emotionless, and unresponsive. Lloyd Dobler (John Cusack) –Say AnythingMajor Flaw: Too needy, border line stalker The film that single-handedly allowed teenagers everywhere to believe in the old “opposites attract” adage, forever tying one’s high school love affair memories to moody, mixed tapes starring Peter Gabriel songs. A hint ladies: when you break up with a guy to pursue your education and he stalks around your house at all hours of the day blasting music to get your attention, this is NOT a good thing. Anyone who is worthy of such adoration at 18 should note they can likely do better than a kick-boxing instructor. LT Pete "Maverick" Mitchell(Tom Cruise) -Top GunMajor Flaw: Gay Originally posted on:Dollar Video Curator
]]>Fri, 13 Jul 2007 20:00:22 GMTmarymcilwainDollar Video Curator7/13/2007 4:00:22 PMAh romance. Every good video watcher is acutely aware of the down-on-love, romantic teenage flicks that played out with so many star-struck Romeos and Juliets in the idealistic 80’s. We cheered for our plucky, beautiful, yet misunderstood Andie Walshes, Diane Courts, and Wattes in the face of so much love adversity, whether what they lacked was money, an understanding father, or girl’s underwear, and rested easy at the end when they got their men. But should we have? For every one of these “ideal” movie boyfriends, sure signs of loser-dom each display. Here’s just a few reasons why you should’ve run for the hills ladies! Ferris Bueller(Matthew Broderick) –He of the Day OffMajor Flaw: Too eager Yes, he’s charming, cute, fun-loving, inventive and obviously coveted by every other girl in your school, but sheesh. The dude’s talking marriage and he hasn’t even graduated from high school. Sloane, you are way too hot to hitch your star to that wagon. Advice: go to college first and get your M.R.S. from a proper institution.Blane McDonough (Andrew McCarthy) – Pretty In PinkMajor Flaw: Conformist Obviously he cares way too much about status, not too mention what his friends and parents think. He may be willing to make a grand display of devotion at prom, showing his independence when the cameras are rolling, but think about it. If he’s willing to trade-up so easily now when your body’s slammin’ and there is nary a wrinkle or sag, better think to the future. Or marry him fast before he learns the words “Pre-nup.” Keith Nelson (Eric Stoltz) –Some Kind of WonderfulMajor Flaw: SuperficialSecondary Flaw: Clueless You may think his ultra-nemesis Hardy Jenns is more worthy of distinction in this category, but we disagree whole-heartedly. Hardy is what he is. He makes no apology for being a complete dick-face, threatening social stigmata upon every girl who denies his advance, and is not afraid to buy adoration. Keith on the other hand, for all his hatred of Hardy, really is just doing the same thing: buy the prettiest girl in school using his college tuition to purchase a pair of diamond earrings. Not to mention the fact that he’s got a perfectly willing piece right in front of his face and is too stupid to notice. Danny LaRusso (Ralph Macchio) – The Karate KidMajor Flaw: Obsessed with violence Poor little Ali here is just bouncing from one bully to the next up-and-coming. Danny seems like he just may be trying to stick up for himself, but all he really wants is to learn some serious moves that will totally fuck your shit up. This relationship is only going to end in court. And likely the hospital.Terry Griffith (Joyce Hyser) –Just One of the GuysMajor Flaw: Gender confusion Sure everyone doubts their sexuality at one time or another, but Terry takes it to the extreme. Transferring schools to assume new identity as a male, followed by whole lot of wardrobe malfunctions, not to mention falling in love with another boy…well. Girls, you’re signing up for a life time of closet sharing. He may be sympathetic to what women want, but this one is just not worth the trouble. Han Solo (Harrison Ford) –The Empire Strikes BackMajor Flaw: Egotistical, cold and unfeeling Every girl’s greatest fear, finally getting up the nerve to utter that fateful “L” word, only to be answered with “I know.” Then afterwards he’s just so cold, emotionless, and unresponsive. Lloyd Dobler (John Cusack) –Say AnythingMajor Flaw: Too needy, border line stalker The film that single-handedly allowed teenagers everywhere to believe in the old “opposites attract” adage, forever tying one’s high school love affair memories to moody, mixed tapes starring Peter Gabriel songs. A hint ladies: when you break up with a guy to pursue your education and he stalks around your house at all hours of the day blasting music to get your attention, this is NOT a good thing. Anyone who is worthy of such adoration at 18 should note they can likely do better than a kick-boxing instructor. LT Pete "Maverick" Mitchell(Tom Cruise) -Top GunMajor Flaw: Gay Originally posted on:Dollar Video Curator http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
Number of films tagged: 609

Number of people who tagged: 316

Number of times used: 942

]]>Wed, 16 Dec 2009 21:10:58 GMT609316942Tag http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
Number of films tagged: 509

Number of people who tagged: 179

Number of times used: 921

]]>Tue, 03 Nov 2009 17:56:35 GMT509179921Tag http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
Number of films tagged: 6791

Number of people who tagged: 154

Number of times used: 980

]]>Mon, 14 Dec 2009 22:42:20 GMT6791154980Tag http://www.spout.com/members/0/tags/beautiful/MemberTagFilms.aspxbeautiful
Number of films tagged: 260

Number of people who tagged: 150

Number of times used: 417

]]>Fri, 18 Dec 2009 22:43:48 GMT260150417Tag http://www.spout.com/members/0/tags/teenagers/MemberTagFilms.aspxteenagers
Number of films tagged: 3025

Number of people who tagged: 97

Number of times used: 399

]]>Mon, 14 Dec 2009 22:42:10 GMT302597399Tag http://www.spout.com/members/0/tags/80s/MemberTagFilms.aspx80s
Number of films tagged: 87

Number of people who tagged: 90

Number of times used: 162

]]>Fri, 04 Dec 2009 00:50:41 GMT8790162Tag http://www.spout.com/members/0/tags/highschool/MemberTagFilms.aspxhighschool
Number of films tagged: 864

Number of people who tagged: 81

Number of times used: 291

]]>Sun, 15 Nov 2009 12:23:33 GMT86481291Tag http://www.spout.com/members/0/tags/personal-classic/MemberTagFilms.aspxpersonal-classic
Number of films tagged: 180

Number of people who tagged: 64

Number of times used: 274

]]>Thu, 09 Jul 2009 11:21:00 GMT18064274Tag http://www.spout.com/members/0/tags/father/MemberTagFilms.aspxfather
Number of films tagged: 3580

Number of people who tagged: 51

Number of times used: 213

]]>Wed, 11 Nov 2009 20:51:56 GMT358051213Tag http://www.spout.com/members/0/tags/80s-classic/MemberTagFilms.aspx80s-classic
Number of films tagged: 44

Number of people who tagged: 34

Number of times used: 108

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]]>Wed, 15 Jul 2009 13:04:09 GMT1991932Tag http://www.spout.com/members/0/tags/painful/MemberTagFilms.aspxpainful
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]]>Thu, 18 Jun 2009 22:16:39 GMT321243Tag