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Greatest Films of the 1980s




Greatest Films of the 1980s
1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989



1985

Academy Awards for 1985 Films

> Title Screen Film Genre(s), Title, Year, (Country), Length, Director,
> Description
> 
> 
> 
> Back to the Future (1985), 116 minutes, D: Robert Zemeckis
> See series: Back to the Future (1985-1990).
> Director Robert Zemeckis' witty, blockbuster science fiction adventure
> comedy/fantasy film was about a time-traveling teenager who had the
> opportunity to re-create and transform his parents - it was the
> highest-grossing film of its year. In the small town (fictional) of Hill
> Valley, CA, clean-cut, skateboarding teen "Marty" Seamus McFly (Michael J.
> Fox), who aspired to play guitar in a R& R band, lived with his hapless
> middle-class parents: nerdy, cowardly, unhappy and weak-willed George McFly
> (Crispin Glover) who was bullied and tormented at work by his boss Bill Tannen
> (Thomas F. Wilson), and his alcoholic, apathetic and depressed mother Lorraine
> Baines/McFly Lea Thompson). Marty's surrogate father figure, the
> madly-eccentric, wild-eyed, crackpot scientist Dr. Emmett "Doc" Brown
> (Christopher Lloyd), conducted his first testing of his modified time-travel
> car at Twin Pines Mall in the early morning hours of October 26, 1985, with a
> travel destination dated November 5, 1955. The frizzy-haired Doc unveiled his
> time machine invention to Marty - it was a silver DeLorean car (with a "flux
> capacitor"), powered up to 1.21 gigawatts of electricity with an energy source
> of plutonium (that had been stolen from Libyan terrorists). The two witnessed
> Doc's dog Einstein's short one-minute time-travel trip into the future
> ("temporal displacement") in the parking lot (at 88 mph), with Doc's ecstatic
> reaction. When the angry Libyan terrorists approached in a van, they shot and
> lethally-wounded Doc, but Marty was able to escape in the DeLorean - arriving
> 30 years earlier in 1955. In a mid-50s diner, Marty witnessed loutish bully
> Biff and his gang harrassing his future father, George; later, Marty tripped
> Biff and punched him in the face in the diner - and then fled. He created a
> makeshift skateboard ("It's a board with wheels") - not yet invented - from a
> little boy's scooter and evaded the group chasing him on foot and in their car
> by hanging onto the back of a pickup truck. His actions had unintended
> consequences - his future mother, teenaged Lorraine Baines, was falling in
> love with him ("He's an absolute dream"). Without plutonium to return to the
> future, Marty met with a younger version of Doc, who advised him that the only
> available powerful energy source would be a bolt of lightning; Marty showed
> Doc a flyer from the future that reported an upcoming lightning strike that
> shattered the town's courthouse clock-tower. Still stuck in the year 1955,
> Marty attended his teenaged parents' 1955 "Enchantment Under the Sea" prom
> night dance, where he attempted to encourage a romance between his future
> father and mother George and Lorraine (otherwise he would cease to exist in
> the 1980s). Marty played lead guitar and sang the 1950's rock 'n' roll song
> Johnny B. Goode [originally recorded by Chuck Berry in 1958] when the lead
> musician was put out of commission. To help Marty return "back to the future"
> of 1985, the film's conclusion converged at the courthouse-town hall's tower
> (with a clock face). "Doc" Brown dangled from the clock face while attempting
> to reconnect the wires so that a bolt of electricity from a lightning strike
> would flow into the flux capacitor of the speedy DeLorean (that had to be
> traveling 80 mph to make the time leap) occupied by Marty. Marty successfully
> returned to 1985 (ten minutes before his earlier departure), and "Doc" was
> saved from death in the Libyan terrorist attack by taking Marty's future
> advice by wearing a precautionary bullet-proof vest to protect him. After
> Marty was returned home, "Doc" took off to the future year of 2015, thirty
> years into the future. Marty realized that the present year of 1985 had now
> been drastically altered and transformed - Marty's parents (and his siblings)
> were now happy, physically in great shape and productively employed, and Biff
> had been demoted and served as George's valet. In the twist ending, "Doc"
> Brown suddenly returned to 1985 Hill Valley from the future year of 2015 in
> his silver DeLorean time machine vehicle, shouting: "Marty! You've gotta come
> back with me!...Back to the future!" Marty and his pretty girlfriend Jennifer
> Parker (Claudia Wells) got into the car, when "Doc" told them of his worries
> about their future children: "No, no, no, no, no, Marty. Both you and Jennifer
> turn out fine. It's your kids, Marty! Something has gotta be done about your
> kids!" As "Doc" squealed out of the driveway to take off, Marty noted: "Hey,
> Doc. We better back up. We don't have enough road to get up to 88." Doc smugly
> replied with a famous line: "Roads? Where we're going, we don't need roads!"
> The DeLorean unexpectedly levitated into the air, then zoomed down the street,
> turned, and flew directly into the camera.
> 
> 
> 
> Brazil (1985, UK), 131 minutes, D: Terry Gilliam
> Director Terry Gilliam's eccentric, offbeat, satirical ultra-dark comedy was a
> hybrid work, combining science-fiction, despairing ultra-black comedy and
> fantasy. It told about an oppressive and repressive, polluted, decaying future
> dystopian world of conformity, bureaucracy and Big Brother totalitarianism in
> a terrorist-threatened Londonesque metropolis. There were many
> visually-imaginative references to Kafka's The Trial (and Orson Welles' The
> Trial (1962)), Orwell's 1949 novel 1984 (and Michael Radford's 1984 (1984)),
> and Anthony Burgess' 1962 A Clockwork Orange (and Stanley Kubrick's A
> Clockwork Orange (1971)). It had other similarities to Fritz Lang's mechanized
> society in Metropolis (1927), Kubrick's Dr. Strangelove: (1964), and the
> 'book-burning' of Fahrenheit 451 (1966). Mild-mannered and meek bureaucratic
> statistician Sam Lowry (Jonathan Pryce), a low-ranking civil servant Everyman,
> worked in the regulatory Ministry of Information (MOI), jammed with paperwork
> and filled with endless pneumatic tubes and ill-functioning equipment. When a
> literal beetle was squashed in an office teletype printer and caused a
> typographical error that altered an arrest record, it unjustly identified an
> innocent citizen Mr. Archibald Buttle as suspected terrorist Archibald "Harry"
> Tuttle (Robert DeNiro). When Lowry investigated the case of mistaken identity
> (and the wrongful arrest and death of Buttle) and attempted to unravel it, he
> imagined himself as a lone heroic, silver-winged warrior knight-savior
> combating evil (ultimately embodied in the technological threats of the
> Machine Age). He would fly in the clouds toward a blonde fantasy-dream girl
> (Kim Griest), a doppelganger (a truck driver in the real world named Jill
> Layton (also Griest)) to rescue her and win her love. Jill's desire to help
> Mrs. Buttle sort out the error and find the real Mr. Buttle caused her to
> become regarded as a suspected terrorist and political dissident. Meanwhile,
> the self-deluded Sam became the subject of study by the totalitarian regime.
> His vain efforts to clear Jill's name ended when he was wrongly aligned with
> the rebellion, and his friend-turned-sinister MOI official Jack Lint (Michael
> Palin) arrested him for treason. He was detained in a large cylindrical room
> to be persecuted and tortured. A surrealistic fantasy ultimately saved him
> when he imagined himself escaping with the help of Tuttle and other resistance
> members, and leaving the city with Jill - in a happy ending - to an illusory
> idyllic paradise that was free of societal restrictions. However, it was all a
> delusional dream while he was strapped to a torture chair - and he died (as he
> hummed the film's theme song - Ary Barroso's "Aquarela do Brasil" or
> "Brazil").
> 
> 
> 
> The Breakfast Club (1985), 92 minutes, D: John Hughes
> 
> 
> 
> Cocoon (1985), 117 minutes, D: Ron Howard
> 
> 
> 
> The Color Purple (1985), 152 minutes, D: Steven Spielberg
> This masterful, sentimental and moving period drama, based on the Pulitzer
> Prize-winning novel by Alice Walker, marked a major change from Spielberg's
> previous spate of escapist summer blockbusters. It garnered eleven Oscar
> nominations, although it suffered a record shut-out. It followed the survival
> story of an African-American woman in the early 1900s, Celie Harris (Whoopi
> Goldberg), against the forces of loneliness, poverty, and physical and
> emotional abuse. She was transformed into a life of courage and
> self-realization through the love, friendship, and guidance of two other
> females, her brutal husband's mistress Shug Avery (Margaret Avery) and
> outspoken Sofia (Oprah Winfrey).
> 
> 
> 
> Day of the Dead (1985), 103/96 minutes, D. George A. Romero
> Part 3 of Romero's original zombie trilogy. This third film was regarded as
> the most dialogue rich and the goriest in the original trilogy. The film
> cleverly set the genre on its head again, showing how the living dead were
> misunderstood and oppressed. With the character of semi-intelligent, humanized
> zombie "Bub" (Sherman Howard). Although not well received originally - and the
> lowest-grossing film of the three - it has since become a cult classic after
> revisionist thinking. In this sci-fi disaster film, 'undead' flesh-eating
> zombies had taken over the world (at a ratio of 400K to 1). Human survivors,
> including two competing groups: mad scientists (experimenting on hostile,
> specimen zombies) and the military (trigger-happy soldiers), were trapped
> inside a claustrophobic, underground missile silo installation, located in
> Florida. Fascistic, megalomaniac Captain Rhodes (Joseph Pilato) was in charge.
> In an era of Reaganite militaristic politics obsessed with science, this
> claustrophobic tale told of sadistic experiments performed on zombies in a
> subterranean bunker. Dr. Matthew Logan (Richard Liberty), known as
> "Frankenstein," was experimenting with the domestication of zombies, while
> scientist Dr. Sarah Bowman (Lori Cardille) was struggling to find a cure for
> the apocalyptic plague and epidemic of undead swarming throughout the country.
> Its climax was non-stop dismemberment, disembowelment, and beheadings, as the
> zombies took over the complex. Rhodes was ripped apart at the waist by the
> undead creatures. He defiantly yelled out with his intestines exposed: "Choke
> on 'em!"
> 
> 
> 
> The Emerald Forest (1985, UK/US), 113 minutes, D: John Boorman
> 
> 
> 
> The Goonies (1985), 114 minutes, D: Richard Donner
> 
> 
> 
> Jagged Edge (1985), 108 minutes, D: Richard Marquand
> This early Joe Eszterhas-penned courtroom thriller and mystery 'who-dun-it'
> contained a number of unpredictable surprises and twists. In the film's
> opening, set during a thunderstorm in San Francisco at a remote beach house,
> wealthy socialite/heiress Mrs. Paige Forrester (Maria Mayenzet) was murdered
> by a hooded, unidentified attacker (with a ski mask and black leather
> clothing) who wielded a jagged-edged knife blade and slit her throat. The word
> "Bitch" was scrawled in blood on the bedroom wall. A maid was also killed
> (off-screen), and her husband Jack Forrester (Jeff Bridges) also suffered a
> head wound. However, Jack became a prime suspect and was arrested on charges
> of double homicide after prosecutor Thomas Krasny (Peter Coyote) learned that
> he was to inherit his wife's entire SF Times publishing empire fortune.
> Forrester was also suspected when a jagged hunting knife was seen in his
> country club gym locker (# 122) by janitor Fabrizi (Louis Giambalvo).
> Ex-prosecutor and civil rights litigator with a high success rate, Teddy
> Barnes (Glenn Close), a divorced mother with two children, agreed to defend
> Forrester when a lie detector test proved positive. Things became much more
> complicated when Teddy began a passionate affair with her handsome client.
> During the case preparations, Krasny suspected that Jack's head wound was
> self-inflicted. Barnes' office began to receive anonymous typewritten notes
> (from a 1942 Corona typewriter), including clues about the case, and
> statements that Forrester was innocent. The judge in the case was Judge
> Carrigan (John Dehner). Prosecutor Krasny revealed that if Paige had divorced
> Jack, which was her intention (since they were both unfaithful to each other),
> Jack wouldn't have received the fortune. Pretty Virginia Howell (Leigh
> Taylor-Young) admitted that she had tried to have sex with Jack, but was
> jilted. Tennis pro Bobby Slade (Marshall Colt) testified that he had slept
> with Mrs. Forrester, and used the word "Bitch" to describe her. Another tennis
> club member admitted to having a jagged knife in his locker (# 222). Surprise
> defense witness Julie Jensen (Karen Austin), referred to one of the typed
> clue-notes, testified that 18 months earlier, she was attacked in the same
> manner as Paige Forrester - to prove that the defendant committed the
> similarly charged crime. However, Forrester was found not guilty. Soon after,
> Barnes found an incriminating typewriter (with a unique typeface including
> elevated 't's', that were found in all of the anonymous letters) in
> Forrester's closet, and confronted him with the information. In the
> nail-biting conclusion, a ski-masked figure entered her bedroom late at night
> with the murder weapon - a jagged-edged knife. She was ready for him - she
> shot him a number of times with a concealed gun. When he was unmasked by
> detective Sam Ransom (Robert Loggia), it was revealed that it was Jack who was
> the attacker (Ransom: "F--k him, he was trash").
> 
> 
> 
> Kiss of the Spider Woman (1985, Braz./US/Arg.), 119 minutes, D: Hector Babenco
> Argentinian-born director Hector Babenco's Brazilian/American co-produced
> melodramatic R-rated film, was a small independent film based upon Manuel
> Puig's 1976 novel. It was historically important as one of the first (if not
> first) gay films that was heralded by the mainstream media. Its major themes
> were gender roles, toleration of differences, escapism from reality through
> fantasy, oppression, political idealism, and betrayal. Two major cellmates -
> both 2nd class citizens living in a repressive political dictatorship,
> developed a deep friendship while they were incarcerated in the 1970s in a
> South American (Brazilian) prison (Pavilhao IV). They were Luis Molina
> (William Hurt with a Best Actor-winning performance) - a flamboyant,
> effeminate, tall, 41 year-old homosexual sex offender accused and convicted of
> "corrupting a minor" and sentenced to an 8-year prison term. He was a long,
> red tinted-haired drag queen and a great story-teller, and a former department
> store window-dresser. The second man was Valentin Arregui (Raul Julia) - a
> bearded, 34 year-old cynical political prisoner, leftist journalist and
> radical Marxist revolutionary who was jailed for inciting political unrest
> against the repressive government and became a martyr for the movement. Molina
> often entertained the two of them by fancifully escaping their predicament in
> prison and passing the time through story-telling. Molina continued to
> describe his fond memories of an old noirish B-film - a 1940s, anti-Semitic
> Nazi propaganda film. The remembered film - framed as a "film-within-a-film" -
> was shown as interspersed, sepia-toned "clips." It was a romantic thriller in
> which Leni Lamaison (Sonia Braga), during the Vichy-era French Resistance,
> fell in love with dashing and blonde Aryan officer Werner (Herson Capri) -
> Chief of Counter-Intelligence in France and an enemy Nazi SS soldier. Leni was
> portrayed as a femme fatale Spider-Woman - "the most ravishing woman in the
> world." Other characters included patriot leader Clubfoot (Antônio Petrin),
> and nightclub cigarette girl Michele (Denise Dummont). In Molina's film tale,
> Michele lost her life when she was deliberately run over by Clubfoot for
> engaging in a love affair with German lieutenant Hanschen. After Michele's
> death, Leni was reluctantly pressured by the rebels to acquire a secret map to
> the German arsenal from her lover Werner. She was romanced by Werner in his
> luxurious chateau, and fell in love with him, but realized she must betray him
> since he was in charge of executing Resistance patriots. At the end of the
> Nazi film, Leni was about to betray him in the dark castle of a Resistance
> leader (Nildo Parente) by turning over the secret map. In a surprise twist,
> when the sex-hungry Resistance leader assaulted her, she stabbed him in the
> back with a steak knife. She fled and rushed into Werner's embrace and kissed
> him, but then was shot by another dying patriot named Flunky (Wilson Grey) and
> perished in Werner's arms. During Molina's interspersed film scene
> descriptions, Valentin was disgusted and repelled by both Molina's self-hating
> homosexuality ("You damn faggot!") and his trivial romanticization of Nazi
> fascist propaganda. The film's plot twist was that in prison as he befriended
> Valentin, Molina was actually working undercover with the prison's corrupt
> Warden (José Lewgoy) and abusive, homophobic secret police officer Pedro
> (Milton Gonçalves). Molina's objective was to cautiously gather vital
> information from Valentin to help identify other traitors, accomplices, and
> anti-government groups. In exchange for betraying Valentin ("The quicker he
> talks, the quicker you get out"), he bargained for food and for early parole.
> Just before being paroled, Molina imagined and spun a new film tale (with a
> bluish-purple tint) of tropical romance on a desert island - an allegorical
> tale about the two of them. The central character was a masked "strange woman"
> (again Sonia Braga) with a black gown, who "was caught in a giant spider web
> that grew from her own body." One night when a shipwrecked man (portrayed by
> Raul Julia) drifted onto the beach, she cared for him, "nourished him with
> love," and brought him back to life. Gradually, the two prisoners had also
> become unlikely compatriots who ultimately developed compassion for each
> other. Molina was increasingly feeling conflicted about his deal to betray
> Valentin after falling in love with this "real man." When Molina suggested
> that they make love on his last night in prison, Valentin complied, and they
> came together in the dark (off-screen). The film concluded with Molina's
> release (and a farewell kiss from Valentin). Molina was melancholy after his
> return to society and to his mother (Míriam Pires), as he often sat silent at
> a bay window looking out at the city. He was unaware that he was under
> surveillance by agents who wanted him to lead them to the cadre of Valentin
> Arregui. Finally, he mustered the courage to make contact with the rebels
> (with a secret message from Valentin). He phoned from a subway pay-phone, and
> then withdrew wads of cash from his bank account to provide for his mother's
> care. After bidding goodbye to his mother, he wore a tell-tale red scarf to
> signal his identification to the rebels. In the city streets and the busy town
> square, Molina was pursued by Pedro and other agents, as he made contact with
> Valentin's girlfriend Lidia (Ana Maria Braga) in a taxi. Gunfire erupted when
> the agents charged forward. Lidia's taxi took off as Molina fled from the
> agents. The taxi reappeared, and Lidia - who suspected he was an informant,
> shot and mortally-wounded Molina in the chest before racing away. His death
> mirrored the death of his heroine Leni in the Nazi propaganda film. He was
> thrust into a car at gunpoint by Pedro and while he was dying, Molina
> self-sacrificially and heroically refused to divulge the phone number. Once
> his body went limp, he was dumped onto a pile of trash in a shanty-town. The
> authorities spread a false story about how he had collaborated with the
> extremist revolutionaries and was shot dead by them. The same fate also
> arrived for Valentin back in prison - where he had been tortured mercilessly
> with electricity. A prison intern-medic in the infirmary decided to inject him
> with a potent overdose of a pain-killer (morphine), to release him into the
> escapist world of film (into a romantic paradise). His death was a replay of
> the short 'Spider Woman' film described earlier by Molina. As he appeared to
> possibly die in a fanciful delirium, Valentin's former lover Marta (Sonia
> Braja) came to him, happily ran with him hand-in-hand out of the prison, and
> brought him - as the Spider Woman - to the idyllic desert island setting where
> he was miraculously healed and she assured him after kissing: "This dream is
> short, but this dream is happy."
> 
> 
> 
> Lost in America (1985), 91 minutes, D: Albert Brooks
> 
> 
> 
> My Beautiful Laundrette (1985, UK), 97 minutes, D: Stephen Frears
> 
> 
> 
> My Life as a Dog (1985, Swe.) (aka Mitt Liv Som Hund), 101 minutes, D: Lasse
> Hallstrom
> 
> 
> 
> The Official Story (1985, Argentina) (aka La Historia Oficial), 112 minutes,
> D: Luis Puenzo
> 
> 
> 
> Out of Africa (1985), 162 minutes, D: Sydney Pollack
> Sydney Pollack's grandly-spectacular, handsome biopic romance, a Best Picture
> winner with Oscar-winning John Barry's marvelous score, harkened back to the
> old-style, sweeping epics of the 50s and 60s. The extravagant
> travelogue-romance was based by Kurt Luedtke on the life, works, and memoirs
> of Karen Blixen (a Danish writer who published under the pen-name Isak
> Dinesen). Spanning two decades in the early 20th century, the love pairing
> between its two major stars was very much embellished and put at the center of
> the story. The love story in the romantic biopic, similar in scope to David
> Lean's sprawling epics, was easily eclipsed by the more compelling,
> Oscar-winning, visually-poetic cinematography of exotic locations from
> beginning to end - an awesome, wonderful feast for the eyes. Meryl Streep
> portrayed the Danish Baroness who married and settled on a British East Africa
> coffee plantation with her disinterested philandering husband Bror Blixen
> (Klaus Maria Brandauer) who infected her with syphilis before leaving.
> Interlaced with gorgeous, lyrically-beautiful scenes on location in Kenya,
> Karen spent idyllic romantic days during a brief passionate affair with white
> game-hunter Denys Finch Hatton (Robert Redford) (modified to be American
> instead of British) - holding hands with him in a biplane, and having her hair
> shampooed by him during a safari. The highlight of the film was the safari,
> with many majestic views of the African plains with streaming herds of
> wildlife - photographed both from ground level and from a biplane. Although
> their relationship heated up, his demands for personal freedom doomed full
> commitment. The film came full circle as just before Karen was planning to
> return home, she attended Denys' funeral when he lost his life in a tragic
> plane crash.
> 
> 
> 
> Pale Rider (1985), 120 minutes, D: Clint Eastwood
> 
> 
> 
> Pee-Wee's Big Adventure (1985), 90 minutes, D: Tim Burton
> 
> 
> 
> Prizzi's Honor (1985), 130 minutes, D: John Huston
> In the black comedy 'sleeper' hit about questionable loyalties, Jack Nicholson
> took the convincing role of Charley Partanna, a dedicated, proud and
> unquestioning hit-man for the powerful Prizzi boss 'family.' The dim-witted
> Charley was fatally-hooked and love-struck by sultry, Los Angeles-bred blonde
> Irene Walker (Kathleen Turner), a rival paid 'contractor' or hired assassin.
> After he asked, "Do I ice her? Do I marry her?" a bi-coastal,
> opposites-attract romantic courtship led to marriage. Unfortunately, their
> Mafia-associated love and work didn't mix well together, and they were both
> tasked with taking each other out. In the film's double-crossing
> confrontational bedroom scene, the two lovers armed themselves with a gun and
> knife to eliminate each other.
> 
> 
> 
> The Purple Rose of Cairo (1985), 84 minutes, D: Woody Allen
> 
> 
> 
> Ran (1985, Jp./Fr.), 160 minutes, D: Akira Kurosawa
> 
> 
> 
> Re-Animator (1985), 86/95/104 minutes, D. Stuart Gordon
> A low-budget, horror comedy, and cult film favorite, similar to the
> Frankenstein tale. An adaptation of H.P. Lovecraft's early 1920s serial
> novella Herbert West: Re-Animator. After controversial medical experiments in
> Switzerland, corpse-reviving, nerdy medical student Herbert West (Jeffrey
> Combs) enrolled in Miskatonic University. He resumed his obsessive experiments
> with bringing corpses (and body parts) to life, with the help of Dan Cain
> (Bruce Abbott), a fellow co-worker/student and apartment roommate. West had
> developed a glowing green serum or reagent to regenerate life, first
> successfully demonstrated on Dan's dead cat Rufus. Dan reported Herbert to Dr.
> Alan Halsey (Robert Sampson), the Head or Dean of the medical school, and
> promptly had his student grant suspended and was barred from the school. Now
> under cover, Dan joined Herbert to prove the formula worked, using bodies from
> the school morgue. However, the reanimated corpses became violent, frenzied
> and blood-thirsty zombies. And one of them savagely attacked and killed Dean
> Halsey. Now that Halsey was a zombie, West's jealous and blackmailing superior
> and rival, brain surgeon Dr. Carl Hill (David Gale), operated on the Dean's
> zombie corpse, to attempt to steal West's work. In the climactic ending, Dr.
> Hill was decapitated by West, but then after reanimating - Hill sexually
> forced his headless self upon Dan's kidnapped fiancee, Megan Halsey (scream
> queen Barbara Crampton), daughter of the Dean, who was strapped nude to an
> operating table. In the amazing scene, the decapitated Dr. Carl Hill (carrying
> his own disembodied head) had oral sex ("head") with Megan. A free-for-all
> battle of reanimated, mind-controlled, beserk zombies led to the death of
> Megan (who was injected with the reagent and brought back to life).
> 
> 
> 
> The Return of the Living Dead (1985), 91 minutes, D. Dan O'Bannon
> An enjoyable, original parody or black-humor satire (O'Bannon's directorial
> debut film) on the zombie subgenre, based loosely on George Romero's Night of
> the Living Dead (1968), about ghouls rising from the dead. With a heavy-metal
> punkish soundtrack. Created variations or new "rules" for Romero's zombies -
> the creatures could talk, walk at normal speeds, and they were more
> indestructible. The film began with the premise, told by Uneeda Medical Supply
> warehouse foreman Frank (James Karen) to new teen employee Freddy (Thom
> Matthews) that George Romero's cultish 1968 hit was based on a real-life
> incident. Frank described a chemical spill at a VA hospital that leaked into a
> morgue and reanimated all of the dead bodies. He then told how there was a
> military cover-up, and the reanimated bodies were shipped off for storage, and
> because of various blunders, the bodies accidentally came to their warehouse.
> When showing Freddy an old Army military drum of deadly toxic gas (that caused
> the dead to rise up) in the basement, Frank accidentally ruptured it - and
> released a deadly toxic gas, and animated a frozen cadaver in the facility.
> Boss Burt Wilson (Clu Gulager) recommended that they kill the cadaver, when
> Frank asked about the inherent difficulty in killing something already dead.
> Frank responded: "It's not a bad question, Burt." When they cremated the
> attacking, carnivorous, brain-hungry zombie (now in dismembered parts) at the
> nearby Resurrection Funeral Home, ashes from the fire caused acid rain that
> fell on an adjoining cemetery - unleashing more hordes of zombies onto the
> unsuspecting town, and upon the punkish teens who were partying in the
> graveyard.
> 
> 
> 
> A Room With a View (1985, UK), 117 minutes, D: James Ivory
> A delightful comedy of errors tale of repressed Victorian romance and British
> conceit, adapted from E.M. Forster's novel. A proper Edwardian young girl
> (Helena Bonham Carter) with her elderly, guilt-ridden spinster
> chaperone/cousin (Maggie Smith) take a tourist holiday in Italy. There, she
> meets a free-spirited suitor (Julian Sands), but is whisked back to Surrey,
> England when romance develops. Back home, she is engaged to a prissy,
> dispassionate, self-possessed, intellectual gentleman (Daniel Day-Lewis). When
> she is reunited with the charming young man from Florence, she must make a
> defiant decision regarding her marital plans.
> 
> 
> 
> The Trip to Bountiful (1985), 105 minutes, D: Peter Masterson
> 
> 
> 
> Witness (1985), 112 minutes, D: Peter Weir

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