The Breakfast Club (1985)

The famous John Hughes teen drama is another one from the “wanted to see what all the fuss was about” list. 

Five high school kids spend a Saturday together in detention. Initially wary of each other, they begin to bond as they start to understand what they have in common. 

Emilio Estevez, Anthony Michael Hall, Judd Nelson, Molly Ringwald and Ally Sheedy star as the strangers who become friends. It’s made for teenagers and it might seem excruciating if you are any older than that yourself, but the film works because each of the characters is fairly well drawn. Also, the dialogue and settings are like those of a play: it’s essentially composed of people talking in a room – albeit with a few “pop video” sequences.

The only real criticism is that the teacher (Paul Gleason) is a one-dimensional representation of “authority” and “adulthood”. He could have been a far more nuanced character, but – unsurprisingly, given the target audience – the film prefers to build a simplistic us-and-them opposition. Adults are not cool because they don’t care and they don’t understand. That point aside, it’s an engaging 97 minutes. 

The big theme song is Simple Minds’ “Don’t You (Forget About Me)”, which features prominently and which became a number one single in the USA.

Pretty in Pink (1986)

John Hughes teen drama. The plot is simple: poor girl dates rich boy while social prejudice threatens to tear them apart. Molly Ringwald acts with her lower lip and is a curious mixture of mature and immature. She has three interesting relationships – with her depressed father (Harry Dean Stanton), with her supportive colleague at the Tracks record shop (Annie Potts) and with her nerdy friend “Duckie” who’s in love with her (Jon Cryer). The big flaw is that her central relationship – with preppy, well-off Blane (Andrew McCarthy) – just doesn’t convince. It’s not clear what, if anything, they have in common and this forms a vacuum at the centre of the film. And when they do finally end up together, the film seems to betray its own instincts. Weren’t we supposed to be rooting for Duckie, with his goofy underdog charm? In fact, the ending we see was reshot because the “truer” ending – in which she did wind up with the far more appealing Duckie – wasn’t popular with audiences. That commercial decision was the wrong choice aesthetically and means that the plot and motivations fail to ring true.

The soundtrack is omnipresent and brilliantly of its time (The Smiths, New Order, Psychedelic Furs), but that’s not enough to save the film. Having heard this raved about as a cult classic, I was very disappointed to finally see it.