Amadeus (1984)

Amadeus (1984)

[10]

Straight biographies rarely make great film, but by filtering the subject through another man’s envy, director Milos Forman (One Flew Over the Cuckoo’s Nest) delivers one of the best bio-films I’ve ever seen. This isn’t a film about a composer and his music (how boring would that be?) — it’s a film about an insanely jealous contemporary named Salieri. Salieri, played brilliantly by F. Murray Abraham, turns Mozart’s life and accomplishments into his own personal battle with God. Just watch Abraham pretend to be Mozart’s best friend, all while plotting to destroy him, and you quickly appreciate why the man won an Oscar for his performance.

E.T. The Extra-Terrestrial (1982)

E.T. The Extra-Terrestrial (1982)

[10] In Steven Spielberg's blockbuster classic, a young boy named Elliot (Henry Thomas) takes care of a stranded alien, helping him send a message into space for the mother ship to return and rescue him.  E.T. is about loneliness and…
Poltergeist (1982)

Poltergeist (1982)

[10]

A suburban family seeks the help of paranormal investigators after their youngest daughter is kidnapped by malevolent spirits inside their own home. Poltergeist, written and produced by Steven Spielberg and directed by Tobe Hooper (The Texas Chainsaw Massacre), is an emotional and visceral thrill ride that I have cherished since childhood. The story’s family, the Frelings, are quirky but entirely believable. You get invested in them before the supernatural shit hits the fan, and this gives weight to all the scares and spectacle that follows.

Blade Runner (1982)

Blade Runner (1982)

[10]

Blade Runner tackles one of science fiction’s biggest questions:  what makes us human? The story by Philip K. Dick is a sci-fi allegory for soldiers returning home with post-traumatic stress, wrapped in the veneer of a neo-noir detective story — all in all, a beguiling blend of genres and content. Harrison Ford plays the detective, Dekkard, a world-weary loner hired to hunt androids (here called replicants) in need of ‘retirement’. The notion is that the replicants were created for war, and once they’re done fighting, they can’t possibly reintegrate back into society. But where real-life soldiers risk losing part of their humanity through warfare, the replicants allege to have discovered theirs — if not through battle, through the things they’ve seen and experienced across the universe.

The Thing (1982)

The Thing (1982)

[10]

This movie does two things extraordinarily well. It transports me and it terrifies me. Before anything scary even happens, director John Carpenter succeeds in creating an atmosphere of mystery and suspense that locks me into the film and chills me to the bone. The story features a group of men holed up in an Antarctic research station who discover an alien (the outer space kind) buried in the ice. They carve the creature out of its entombment and bring it back for study, and that’s when all hell breaks loose. While it certainly services those who just want an amazing creature feature, it also operates as a nail-biting mystery. Since the alien can take any shape or form, the characters never know who to trust. They begin suspecting each other and the horror, which had already been pushing in on them from the outside, is suddenly among them. That’s when things get really good. 

The Dark Crystal (1982)

The Dark Crystal (1982)

[10] Jen and Kira, the last of their kind, must restore a missing shard to a magical crystal in order to unite two warring races and bring peace to their fractured world.  The story may be too dark and dreary…
An American Werewolf in London (1981)

An American Werewolf in London (1981)

[10] With the success of Animal House and The Blues Brothers behind him, director John Landis was able to take a chance on a horror-comedy about two American college students who have a close encounter of the hirsute kind while backpacking through the English…
Raiders of the Lost Ark (1981)

Raiders of the Lost Ark (1981)

[10]

Steven Spielberg wanted to make a James Bond movie until his buddy George Lucas said, ‘I have a better idea.’ And he did. Lucas created Indiana Jones, a globe-trotting archaeologist who sought treasure for fortune and glory while encountering a variety of adversaries in his travels, starting with the Nazis in Raiders of the Lost Ark. Indiana Jones would become the new name of film adventure in the 1980s, paying homage to the cliffhanger serials of yesteryear while simultaneously elevating them with a bigger budget and more attention to craft and character. Lawrence Kasdan’s screenplay for Raiders of the Lost Ark is a well-oiled machine that never falters or skips a beat, balancing the thrills with a healthy dose of humor and the spectacle with likeable characters with whom you’re more than happy to go the distance.

The Empire Strikes Back (1980)

The Empire Strikes Back (1980)

[10] After deciding directing wasn't his favorite thing to do, George Lucas enticed his former professor Irvin Kershner (Eyes of Laura Mars, Return of a Man Called Horse) to helm the dark second act of the famous trilogy. The Empire…
Ordinary People (1980)

Ordinary People (1980)

[10]

Robert Redford directs this adaptation of Judith Guest’s novel, about a family reeling from the accidental death of the eldest child. Unlike so many dramas, it’s what you don’t see and what isn’t said that makes Ordinary People such a gut-wrenching, powerfully moving film.

Timothy Hutton, Donald Sutherland, and Mary Tyler Moore give superb performances as family members struggling to reconnect with one another after the tragedy. Hutton won the Best Supporting Actor Oscar for his raw, riveting portrayal of young Conrad Jarrett.  Moore plays his mother, an emotionally unavailable woman barricading herself from further distress by ignoring her family’s problems, even after Conrad tries to take his own life. Sutherland plays the father, the mediator between mother and son, desperately trying to hold his family together. Judd Hirsch appears as Conrad’s therapist, a savior shrink who forces Conrad to confront his guilt and fear.