Peven wrote:have to respectfully disagree with Hughes making movies that were realistic about teen life. he created fairy tales of teen life that teens liked to believe in but were not born out in reality, imo. one, the idea that even the most obnoxious asshole has some sort of sweet redeeming side. wrong. the assholes in high school were assholes. period. the big popular jock was not hiding some sensitive side for a 10th grade girl to bring out, in reality he was nailing 10th grade chicks and tossing them aside as fast as he could. the real sweet nice guys didn't end up winning in the end, they got screwed over. the snotty rich girl was just that in reality, a snotty rich girl, not someone who had been repressed by trying to live up to her clique and really wanted to be nice. but teens going through the real shit of high school loved to think that the fairy tales of a Hughes movie could happen to them, why wouldn't they, and that is why they were so popular. they were slices of teen escapism with soundtracks that propped them up where they needed it.
caruso_stalker217 wrote:I thought THE BREAKFAST CLUB was alright. The scene where they dance for no reason and Emilio breaks the glass with... with the yelling. That could've been cut.
FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
caruso_stalker217 wrote:I thought THE BREAKFAST CLUB was alright. The scene where they dance for no reason and Emilio breaks the glass with... with the yelling. That could've been cut.
FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
caruso_stalker217 wrote:FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
Fievel wrote:Peven wrote:have to respectfully disagree with Hughes making movies that were realistic about teen life. he created fairy tales of teen life that teens liked to believe in but were not born out in reality, imo. one, the idea that even the most obnoxious asshole has some sort of sweet redeeming side. wrong. the assholes in high school were assholes. period. the big popular jock was not hiding some sensitive side for a 10th grade girl to bring out, in reality he was nailing 10th grade chicks and tossing them aside as fast as he could. the real sweet nice guys didn't end up winning in the end, they got screwed over. the snotty rich girl was just that in reality, a snotty rich girl, not someone who had been repressed by trying to live up to her clique and really wanted to be nice. but teens going through the real shit of high school loved to think that the fairy tales of a Hughes movie could happen to them, why wouldn't they, and that is why they were so popular. they were slices of teen escapism with soundtracks that propped them up where they needed it.
But the jocks really did dance that bad.
Made band geeks look like Tony Manero.
I absolutely love The Breakfast Club, though.
To me it seemed to have blended the perfect amount of "No Fucking WAY That Would/Could Happen!!!" with extremely plausible situations.
And the music rocked.
instant_karma wrote:caruso_stalker217 wrote:FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
Thank you! I've been telling people this for ages. I think they should do a sequel with Matthew Broderick playing a grown up Ferris who has basically become a cross between Patrick Bateman and Keyser Söze.
TonyWilson wrote:instant_karma wrote:caruso_stalker217 wrote:FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
Thank you! I've been telling people this for ages. I think they should do a sequel with Matthew Broderick playing a grown up Ferris who has basically become a cross between Patrick Bateman and Keyser Söze.
Sure Ferris was kind of an asshole but sociopathic? Nah, he loves Cameron dearly and the whole day is about creating better memories for the future.
DaleTremont wrote:Fievel wrote:Peven wrote:have to respectfully disagree with Hughes making movies that were realistic about teen life. he created fairy tales of teen life that teens liked to believe in but were not born out in reality, imo. one, the idea that even the most obnoxious asshole has some sort of sweet redeeming side. wrong. the assholes in high school were assholes. period. the big popular jock was not hiding some sensitive side for a 10th grade girl to bring out, in reality he was nailing 10th grade chicks and tossing them aside as fast as he could. the real sweet nice guys didn't end up winning in the end, they got screwed over. the snotty rich girl was just that in reality, a snotty rich girl, not someone who had been repressed by trying to live up to her clique and really wanted to be nice. but teens going through the real shit of high school loved to think that the fairy tales of a Hughes movie could happen to them, why wouldn't they, and that is why they were so popular. they were slices of teen escapism with soundtracks that propped them up where they needed it.
But the jocks really did dance that bad.
Made band geeks look like Tony Manero.
I absolutely love The Breakfast Club, though.
To me it seemed to have blended the perfect amount of "No Fucking WAY That Would/Could Happen!!!" with extremely plausible situations.
And the music rocked.
Plus I thought it was very incisive. Bender totally called that Molly Ringwald would knock out a couple kids and get studly.
TonyWilson wrote:instant_karma wrote:caruso_stalker217 wrote:FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
Thank you! I've been telling people this for ages. I think they should do a sequel with Matthew Broderick playing a grown up Ferris who has basically become a cross between Patrick Bateman and Keyser Söze.
Sure Ferris was kind of an asshole but sociopathic? Nah, he loves Cameron dearly and the whole day is about creating better memories for the future.
tapehead wrote:Peven wrote:have to respectfully disagree with Hughes making movies that were realistic about teen life.
Cool, but who said they were realistic?
caruso_stalker217 wrote:Then at the end when Ferris and Sloan walk away from the abortion clinic and Ferris turns to the camera and his eyes are glowing and the screen freezes. Classic stuff.
instant_karma wrote:caruso_stalker217 wrote:FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
Thank you! I've been telling people this for ages. I think they should do a sequel with Matthew Broderick playing a grown up Ferris who has basically become a cross between Patrick Bateman and Keyser Söze.
papalazeru wrote:
I'm gonna go for Teenwitch, which has nothing to do with John Hughes but equally brilliant.
Fried Gold wrote:What's the reason for him not having directed since 1991?
tapehead wrote:Fried Gold wrote:What's the reason for him not having directed since 1991?
Curly Sue.
papalazeru wrote:tapehead wrote:Fried Gold wrote:What's the reason for him not having directed since 1991?
Curly Sue.
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TheBaxter wrote:outside of the teen 80s genre, the only really worthwhile things he's done are vacation and planes, trains, and automobiles.
TheBaxter wrote:instant_karma wrote:caruso_stalker217 wrote:FERRIS BUELLER is more my territory. I can rant for an hour about how Ferris is a manipulative sociopath piece of shit.
Thank you! I've been telling people this for ages. I think they should do a sequel with Matthew Broderick playing a grown up Ferris who has basically become a cross between Patrick Bateman and Keyser Söze.
i think ferris bueller (the movie) is ok, overrated certainly. didn't like the character at all, but i couldn't decide if it was the character or matthew broderick i hated. broderick is just naturally smarmy and infects every character he plays with his smarminess. at least i can console myself with the thought that he got what he deserved and is now living in a hell that no man should have to endure (i.e., married to sarah jessica parker)
Peter Sciretta wrote:Over on Metatalk, Cool Papa Bell has created something I’m calling the Ferris Bueller Fight Club Theory:
My favorite thought-piece about Ferris Bueller is the “Fight Club” theory, in which Ferris Bueller, the person, is just a figment of Cameron’s imagination, like Tyler Durden, and Sloane is the girl Cameron secretly loves.
One day while he’s lying sick in bed, Cameron lets “Ferris” steal his father’s car and take the day off, and as Cameron wanders around the city, all of his interactions with Ferris and Sloane, and all the impossible hijinks, are all just played out in his head. This is part of the reason why the “three” characters can see so much of Chicago in less than one day — Cameron is alone, just imagining it all.
It isn’t until he destroys the front of the car in a fugue state does he finally get a grip and decide to confront his father, after which he imagines a final, impossible escape for Ferris and a storybook happy ending for Sloane (”He’s gonna marry me!”), the girl that Cameron knows he can never have.
What do you think?
steinwald wrote:Seeking list of crimes committed by Ferris Bueller during his Day off.
I would like a comprehensive list of each offense Ferris and his friends commit during the movie "Ferris Bueller's Day Off". Ideally, please list the offense (criminal trespass to vehicle, battery, etc.) and the category of crime if it was committed by an adult (eg, felony, Class A Misdemeanor, etc.) Illinois jurisdiction. Thank you very much.
TheButcher wrote:From /film:Peter Sciretta wrote:Over on Metatalk, Cool Papa Bell has created something I’m calling the Ferris Bueller Fight Club Theory:
My favorite thought-piece about Ferris Bueller is the “Fight Club” theory, in which Ferris Bueller, the person, is just a figment of Cameron’s imagination, like Tyler Durden, and Sloane is the girl Cameron secretly loves.
One day while he’s lying sick in bed, Cameron lets “Ferris” steal his father’s car and take the day off, and as Cameron wanders around the city, all of his interactions with Ferris and Sloane, and all the impossible hijinks, are all just played out in his head. This is part of the reason why the “three” characters can see so much of Chicago in less than one day — Cameron is alone, just imagining it all.
It isn’t until he destroys the front of the car in a fugue state does he finally get a grip and decide to confront his father, after which he imagines a final, impossible escape for Ferris and a storybook happy ending for Sloane (”He’s gonna marry me!”), the girl that Cameron knows he can never have.
What do you think?
JANET MASLIN wrote:THE circuitous journey that is embarked upon in John Hughes's ''Planes, Trains and Automobiles'' is supposed to range from New York to Chicago, but its final destination is surprising. The two traveling companions, Neal Page (Steve Martin) and Del Griffith (John Candy), do indeed make it to the Windy City, but they also reach the place where confidences are voiced, insecurities are expressed and friendships are formed.
One need not be a student of Mr. Hughes's teen-oriented films (among them ''Sixteen Candles'' and ''Some Kind of Wonderful'') to sense that these are not usually the concerns of middle-aged traveling businessmen. However, Mr. Hughes conceives of this film's adult characters as lost adolescents, and seems to regard their mature status as a terrible burden that they will, with luck, be able to shed. So Mr. Martin, in the film's earlier sections, is the epitome of corporate stiffness, doing most of his acting with his cheek muscles and bristling murderously when someone steals a taxi from him at rush hour. The film is no more comfortable with this exaggerated version of grown-up reserve than it is with the misplaced, confessional pieties that color its conclusion.
The real trouble with ''Planes, Trains and Automobiles,'' which opens today at Loew's Astor Plaza and other theaters, is simpler: there wasn't much of an idea here to begin with, and when Mr. Hughes works with non-teen-age characters he has smaller reserves of colloquial humor upon which to draw. It's harder to have one man complain that traveling with the other is ''like going on a date with a Chatty Cathy doll'' than it would be to have a teen-ager deliver that line. None of Mr. Hughes's earlier films have revolved around anything more complicated than prom dates and parent troubles and getting along with schoolmates, but they had a texture and authenticity that ''Planes, Trains and Automobiles'' lacks.
Mr. Martin and Mr. Candy are an easy twosome to watch even with marginal material, though, and the film is never worse than slow. In fact, it's even promising at first, with the bound-for-trouble promise of a quick trip home for Neal Page, who phones his wife to tell her he'll be there by 10. As a blow-by-blow anatomy of a horrid traveling experience, replete with flight cancellations, snowstorms and unscheduled detours, ''Planes, Trains and Automobiles'' has great potential, but it begins to meander once Neal and Del become a reluctant duo. Neal detests the loud, tirelessly jolly Del on sight. But Fate forces them to share a plane ride, a hair-raising taxi trip and even a bed.
The great, embarrassed flurry of man-talk (''helluva game, helluva game!'') with which these two leap out of bed the next morning is indeed funny, and the film does have its scattered moments. But too often, the audience has as much reason as Del and Neal do to wonder where, if anywhere, they are going. Easy Riders PLANES, TRAINS AND AUTOMOBILES, directed by John Hughes; written by Mr. Hughes; director of photography, Don Peterman; edited by Paul Hirsch; music by Ira Newborn; produced by Mr. Hughes; released by Paramount Pictures. At Loews Astor Plaza, Broadway at 44th Street; Loews Orpheum Twin, 86th Street at Third Avenue; Gemini Twin, Second Avenue at 64th Street, and other theaters.
Running time: 90 minutes. This film is rated R. Neal Page...Steve Martin Del Griffith...John Candy Chairman...William Windom John Dole...Lyman Ward Car rental clerk...Edie McClurg Sue Page...Laila Robins Martin Page...George O. Petrie Joy Page...Carol Bruce Walt...Richard Herd Peg...Diana Douglas
so sorry wrote:huh?
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