Showing posts with label 80s comedies. Show all posts
Showing posts with label 80s comedies. Show all posts

Directed by: Chris Columbus

Written by: David Simkins

Starring: Elisabeth Shue, Keith Coogan, Anthony Rapp, Penelope Ann Miller

Release Date: July 3, 1987

⭐️⭐️⭐️½ (3.5 out of 5)

Revisit Adventures in Babysitting (1987), Chris Columbus’s charming directorial debut starring Elisabeth Shue. This 80s cult favorite blends teen comedy, suburban satire, and pure heart for an unforgettable night out in Chicago. A Lovable Relic of 80s Teen Comedy

 

When Adventures in Babysitting hit theaters in 1987, few could have guessed that this modest teen comedy would become such a beloved 80s relic. Directed by Chris Columbus in his feature debut and starring the effortlessly appealing Elisabeth Shue, the film captures both the reckless fun and innocent sweetness of a bygone era of studio comedies.


Now nearly four decades later, the movie remains a charming time capsule — a story about a young woman thrust into chaos, navigating danger, city lights, and clueless boys with the poise of a true hero. It’s not perfect, but it’s bursting with personality, humor, and a big, silly heart.


Elisabeth Shue Shines as the Ultimate Babysitter


Elisabeth Shue plays Chris Parker, a suburban teen whose fancy date night gets canceled by her no-good boyfriend (a smarmy Bradley Whitford). With nothing better to do, she agrees to babysit the Anderson kids — Sara (Maia Brewton), an imaginative little girl obsessed with Thor, and her older brother Brad (Keith Coogan), who secretly adores Chris.


When Chris’s best friend Brenda (Penelope Ann Miller) calls in a panic from a Chicago bus station, Chris does what any self-respecting babysitter shouldn’t: she loads the kids into her mom’s station wagon and heads downtown to rescue her friend. Along for the ride is Brad’s wisecracking buddy Daryl (Anthony Rapp), who blackmails his way into the adventure.


A Night in the City — and One Misadventure After Another


From a flat tire on the expressway to a run-in with car thieves, mobsters, and blues musicians, Adventures in Babysittingunfolds as a whirlwind of absurd urban escapades. The tone is pure slapstick adventure, but what makes the movie sing is how earnestly it commits to the fun.


There’s even an unforgettable scene in a blues club where the gang is forced to perform a song about — you guessed it — babysitting. It’s utterly ridiculous, yet somehow delightful, especially with legendary bluesman Albert Collins on guitar.


Chris Columbus’s direction is rough around the edges, but that scrappiness gives the film its charm. The Chicago streets are grimy and chaotic, yet Columbus’s camera treats them with affection and humor. You can already sense the filmmaker who would go on to craft Home Alone and Mrs. Doubtfire, using suburban order clashing against urban chaos as the source of comedy.


A Sweet and Surprisingly Sincere Coming-of-Age Story


What elevates Adventures in Babysitting beyond its genre peers is its sense of sincerity. Beneath the gags and goofy peril lies a story about responsibility, growing up, and self-belief.


The standout emotional moment comes late in the film, when young Sara meets a mechanic who looks just like her hero Thor (played by a pre-Law & Order Vincent D’Onofrio). When he snaps at her, Sara insists he’s only acting that way because he doesn’t have his magic helmet — and then offers him hers. It’s a simple, touching gesture that captures the film’s earnest belief in the magic of kindness and imagination.


Columbus has always been gifted at moments like these — small, sincere beats in the middle of chaos — and this scene remains one of the sweetest of his career.


How It Holds Up Today


It’s true that Adventures in Babysitting contains a few outdated moments, particularly in its racial and gender politics, a common issue with many 80s comedies. But the film’s missteps feel more naïve than malicious. At its core, this is a movie about decency — about a young woman trying to do the right thing in an impossible situation.


Judged by the standards of its day, it’s a delightfully silly, often hilarious teen comedy that never forgets its heart. The performances are loose and joyful, the pacing brisk, and the city feels like a wild playground where danger and laughter exist side by side.


Final Thoughts


Adventures in Babysitting may not have the layered wit of Ferris Bueller’s Day Off or the rebellious edge of The Breakfast Club, but it doesn’t need to. Chris Columbus set out to make a fun, fast-paced urban adventure, and he succeeded.


Nearly 40 years later, it’s still an endlessly rewatchable crowd-pleaser — a film that reminds us that being a “babysitter” can be as heroic as being a superhero, especially when you’re played by Elisabeth Shue.

Why I Don't Love Roxanne Anymore: Revisiting Steve Martin's 1987 Romantic Comedy

Roxanne 

Directed by Fred Schepisi 

Written by Steve Martin 

Starring Steve Martin, Darryl Hannah, Rick Rossovich, Shelley Duvall

Release Date June 19th, 1987

Revisiting Steve Martin’s Roxanne (1987), a comedy once beloved now showing its flaws. A look at its dated humor, “Pratfall-A-Rama” gags, and missed potential as a great romantic comedy.



A Beloved Memory That Didn’t Hold Up

When I was ten years old, Roxanne was a laugh riot. Steve Martin’s slapstick antics, his trademark arrow-through-the-head wackiness, and the sweet romantic comedy veneer all made me adore it. But rewatching Roxanne today, on its 30th anniversary, left me only mildly amused at best, and deeply disappointed at worst.

The same thing happened when I revisited Martin’s 1980 stand-up special In Honor of Steve. My younger self delighted in the silliness, while the adult me recognized a kind of proto–anti-comedy peeking through the pratfalls. But somewhere between those two perspectives, I no longer found myself laughing.

It’s not that Steve Martin isn’t funny. He’s a comic genius. But as an adult viewer, Roxanne doesn’t land the way I remembered. Too much of the film is built on unnecessary physical comedy that distracts from the smarter, sharper humor Martin is capable of.

The Problem of “Pratfall-A-Rama”

A pair of critics I admire, Allison Pregler and Brad Jones of Midnight Screenings, use the phrase Line-o-Rama to describe comedies that string together jokes without serving the story. Watching Roxanne, I coined my own variation: Pratfall-A-Rama.

The movie is filled with extraneous gags that stop the story cold. Take the opening scene: C.D. Bales (Martin), the fire chief of a small California town, gets into a cartoonish fight with two drunks armed with ski poles, while he wields a tennis racket. It’s mildly amusing, but awkward, and adds nothing to the story.

Later, after the pivotal love-letter scene where C.D. pours his heart out on behalf of his handsome but dim friend Chris (Rick Rossovich), the movie pauses for a bizarre sequence in which Martin pretends aliens want to abduct old ladies for sex. As a kid, I laughed. As an adult, it’s cringe-inducing. Worse, it undermines the emotional weight of the scene it follows.

Even the firefighters, a group of bumbling side characters, feel like padding. Their antics rarely serve the central romance and mostly provide more slapstick filler. Watching them pretend to struggle to hold a fire hose goes on for about an eternity. While we wait and wait to get back to the love story, the bumbling firefighters stood in the way like roadblocks to actual comedy. 

Where the Wit Shines Through

Yet buried inside Roxanne are glimpses of the great romantic comedy it could have been. Steve Martin has undeniable chemistry with Daryl Hannah, who plays the title character with an earnest sweetness. Their first meeting—Hannah locked outside naked after chasing her cat, Martin handling the situation with witty charm—is delightful. Martin’s “This door doesn’t take Mastercard” punchline remains one of the movie’s genuine highlights.

Had Martin leaned more on this sharp wit and less on pratfalls, Roxanne might have stood tall alongside the best romantic comedies of the 1980s. Instead, its reliance on physical gags undercuts the heartfelt Cyrano de Bergerac-inspired story at its core.

A Flawed but Fascinating Relic

I don’t hate Roxanne. There’s charm here, and Martin’s talent is undeniable. But watching it now, I can’t ignore the film’s flaws—or its uncomfortable elements, like the deception at the heart of the romance that plays very differently through modern eyes.

What’s left is a movie that’s occasionally funny, sometimes sweet, often awkward, and ultimately disappointing. Roxanne could have been a sophisticated, witty classic. Instead, it remains a relic of its time: a comedy stuck between slapstick silliness and romantic sincerity, never fully committing to either.

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