Flight of the Navigator is from the a golden era when kids could disappear into the woods, come back eight years later, and everyone just shrugged and said, “Yeah, seems legit.” Enter Flight of the Navigator (1986), a sci-fi adventure so drenched in retro charm it practically smells like a microwaved Hot Pocket and hairspray.

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12-year-old David Freeman takes a casual stroll through the forest in 1978, falls into a ravine (as one does), and wakes up in 1986. But plot twist—he hasn’t aged a day. Not a wrinkle. Not a puberty pimple. Meanwhile, the rest of the world’s been busy inventing MTV, the Rubik’s Cube, and at least three different versions of Coke.

David is immediately scooped up by NASA, because when an unaged child reappears after eight years  the government gets real interested. They lock him in a room, poke around his subconscious. He’s got  interstellar coordinates stuffed in his brain like sci-fi trail mix. All this stress activates his direct mental link to a mysterious spacecraft that’s crash-landed nearby.

That’s when things get shiny.

Enter Max: a sleek, chrome-domed, talking spaceship who sounds like your smart-ass older cousin after a sugar binge. Max is sarcastic, bossy, and weirdly endearing. The two team up for a high-speed escape.  They cruise through the skies like rebels on the run, dodge helicopters, authority figures, and mid-’80s CGI that, frankly, still holds up better than most TikTok trends.

Talk about themes

This thing actually has a heart beneath all the chrome and ‘80s synth music. Flight of the Navigator explores identity, displacement, and the deep, squishy core of what it means to belong. David isn’t just out of time; he’s out of place, stuck between the childhood he remembers and a future he didn’t ask for. And somehow, between flying through fireworks and learning how to communicate with a snarky alien ship, he finds a way home.

Check out the original Star Wars

Is it cheesy? Absolutely. Is it dated? Like a rotary phone in a Tesla. But Flight of the Navigator still hits that perfect mix of wonder, weirdness, and wide-eyed “what the heck is happening” that made ‘80s sci-fi so magical.

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Scarface is one of the most gloriously unhinged, over-the-top movie you’ll ever see.  Which, if you’ve been to Boston family barbecue, you know that’s saying something

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Scarface ain’t exactly a trip to the grocery store.  What it does is slap you in the face with its own brand of life in a hood with bullets zinging past your head way.  When this movie was released in 1983,  it was like someone got the biggest ghetto blaster available and then cranked up the volume past 11.  The for good measure they dumped a mountain of coke on your kitchen table, and screamed, “Say hello to my little friend!” And no, my friends, we’re not talking about someone’s one eyed trouser snake.

So here’s the sitch: Tony Montana, played by Al Pacino (he of the smoky voice and intense eyeballs), is a Cuban refugee who rolls into Miami with nothing but a hunger for power and money. And hungry is an understatement, he’s ready to eat someone’s face off for 10 bucks.  He’s a lunatic who goes full psycho within five minutes.

Scarface is brutal, sure but it’s also a nuclear bomb of ambition, excess, and tragedy. Kinda like a mascara-streaked love song with machine guns.  The only people giving him a shot are drug dealers and corrupt government weirdos. So he takes that opportunity and builds an empire.  Eventually he buys a mansion so gawdy that  it looks like it was stolen from a mall in the 1980s.

This flick screams 1980s !   Miami looks like Billy Idol married a pink flamingo and hired Ralph Macchio to make the wedding decorations.   It’s neon, pastels and palm trees with a synth beat.  As for Tony, he looks like he mugged Disco Stu for his wardrobe. He’s wearing silk suits and shirts open down to his navel.

However this movie is actually a tragedy. Like most of us, Tony wants the American Dream.  Only he finds out that it’s a bunch of false promises with only the elite making it to the top.  Capitalism isn’t much better than communism so he tries to buy it with bullets.   There’s one scene where he’s sitting in a huge chair, covered in money and drugs. But yet, he looks so miserable and empty.

And can we just give a shoutout to Michelle Pfeiffer as Elvira? Girlfriend is ice-cold fabulous. She struts through the movie in those slinky dresses like she’s got Blondie playing in her head 24/7. But even she gets swallowed up by the madness. Scarface isn’t kind to the ladies, lemme tell ya. Not a lotta girl power going on in that world—but it makes you think. Power without compassion? It’ll chew you up, spit you out, and leave your glitter on the floor.

Michelle Pfeiffer is in this movie too.

She plays Elvira, his girlfriend and she’s ice cold fantastic.  She’s got the  “I hate everyone” attitude and yet always incredible while being a bitch.  In a weird way, you almost feel bad for her but then it hits you that all the characters in this movie are a psychological mess. The closest you get to a decent human being is a guy who gets out early and starts a sandwich shop.

Scarface isn’t a family friendly movie but that’s what makes it unforgettable. There’s actually a moral to the story about getting everything you wanted but losing everything that matters.  It’s OK to chase your dreams but don’t lose your heart in the process.

For something different try RoboCop

#Scarface #TonyMontana #SayHelloToMyLittleFriend #80sMovies #CrimeDrama #AlPacino #ClassicCinema

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48 hrs is all they’ve got to catch 2 killers.  Unfortunately, they can’t stand each other. One’s a cop with a temper and bad fashion sense, the other’s a con with a mouth and in need of sex.  Together these two  are pure chaos.

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48 Hrs.” — A Wild Ride Through Crime, Comedy, and Chaos

OK ladies and gentlemen, boys and girls, trans men and trans women, plus the non-binary option.  You need to hold onto your heads and keep your man bun hair clip handy, ’cause we’re rollercoastering into the 1982 buddy-cop blockbuster before “buddy-cop” was even a genre.   It’s the movie, 48 Hrs.! Set in San Francisco before human poop lined all the streets, it still managed to avoid being a typical Sunday afternoon stroll.   No… No…  No..  This is two days of madness, mayhem, and machine guns with extra hot sauce.

Directed by Walter Hill.  For this movie, he was the guy who took a film camera and asked the studio executives, “What if we made Clint Eastwood run a marathon of testosterone?”  A movie legend was made that day and 48 Hrs. is what you get when stick a cop and a criminal in a blender and hit “frappe.”  This is Eddie Murphy in his silver screen debut, and oh baby, the man does not just dip his toe in the water.  It’s his big chance and he cannonballs into the Hollywood pool wearing a prison clothes and singing The Police.

Nick Nolte is Jack Cates.

He’s a gruff, gravel-throated detective who looks like he eats broken glass for breakfast and washes it down with Jack Daniels. He’s a walking hangover with a badge, and he’s trying to catch a pair of psycho criminals who make Charles Manson look a Care Bear.  Normally he’s the man to get the job done but this time he needs help from a slick-talking criminal named Reggie Hammond.  Eddie Murphy enters the stage left with a laugh, a presence that has you forget that you’re watching a cop movie and think you’re watching stand-up at the Apollo.

There’s just one problem, they’ve only got 48 hours to catch the bad guys.  Yup, two days…. Just one weekend. That’s almost less time than it takes for Trump to destroy the stock market and these guys are chasing murderers, dodging bullets, and learning to love each other.

It’s a classic toxic masculinity bromance !

48 hrs is all about grit, balls, and glorious one-liners.  It’s so hardcore ‘80s that you can still smell the Aqua Net and hear the synthesizers. And Eddie Murphy is the cherry on top.  He’s the Cindy Lauper in the Madonna martini bar. He didn’t just steal the scenes but instead mugged the entire movie and rode off on a laugh.

But beneath the wisecracks and gunfights, 48 Hrs. kicked off a whole genre.  It’s the original mismatched duo, forced to work together, each one rubbing off on the other like sandpaper. There would probably never have been a Lethal Weapon, Rush Hour, or Bad Boys franchise, without Cates and Hammond trail blazing the way.

So if you haven’t 48 hrs,  grab some popcorn and take a ride in a beat-up car with a lunatic at the wheel with a con man riding shotgun. 48 Hrs. isn’t just a movie. Is early-’80s madness and baby, it’s fucking awesome

Here’s some late ’80s Robocop insanity

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The Nude Bomb is funny surprise, much finding a tuna sandwich in the glovebox of your car.  Before watching I advise that you strap in and zip up or maybe don’t zip up to truly be in the spirit of the movie. This is cinematic acid trip which deserves a review with all the chaotic energy of a triple espresso shot with an overdoes of Viagra

So what is “The Nude Bomb”? Well, you can start by imagining James Bond and Inspector Gadget had a baby, and then left it at a daycare run by Roger Rabbit.  It’s a spy comedy starring Don Adams, reprising his legendary role as Maxwell Smart — a man so clueless, he makes a Joe Bidon look like Sherlock Holmes. He’s got the trench coat, the shoe phone  and enough dry one-liners to desiccate an Egyptian mummy. But this time, he’s not fighting KAOS with bullets or brains — no sir — he’s going after a villain who wants to explode everyone’s clothes off. That’s right. It’s not a metaphor. It’s a literal bomb that nukes your underpants!

The villain is a baddie named Nudo — very subtle and very Bond-esque.   He’s built the ultimate weapon of mass undress destruction. This guy is like if Dr. No watched too many Hustler porn movies and said, “Yes, this is my origin story.” However, instead of taking over the world with lasers or robots, he’s decided, “Let’s get rid of clothes! BOOM! Now you’re naked!” You gotta admire the boldness of the plot. Or maybe call Dr Susan Block for therapy. Possibly both.

The storytelling darts around like a gerbil on LSD. Maxwell Smart bumbles from one locale to another: ski resorts, fashion shows, underground lairs that look like IKEA on roids. He’s surrounded by an ensemble of agents and models and there’s even a talking typewriter at one point. The movie runs on logic on cartoon logic written by an infantile version of 80s toxic masculinity. .

Now this movie is damn funny but only you’re someone who enjoys a nostalgic high on disco fumes and wearing polyester pants.  But if you’re watching it now, stone-cold sober, you might feel like you’re being slowly attacked by dad jokes wielding banana peels. The humor is dated and from today’s perspective, it’s like being told that the Care Bares are teaming up with Dead Pool in the next sequel.

BUT! Don Adams sells it with his unforgettable his nasal delivery and eternal optimism, He’s like the weird uncle at Thanksgiving who tells the same joke every year, and dang it, you still laugh. There’s a charm, a weird nostalgic magic, like watching a roller disco ballet while blindfolded.

The Nude Bomb is a glorious, glittering missile with a happy face painted on it. It’s ridiculous. It’s nonsense. It’s got less plot than a Tiktok video. But it knows it’s ridiculous but that’s the point.   In a world of self-serious action flicks, sometimes you just need a naked bomb and a man with a shoe phone to remind you how weird things can get.

Need a laugh?  Then watch Up In Smoke

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RoboCop !   Ladies and gentlemen, boys and girls, and anyone who’s ever wondered, ” What if Dirty Harry was rebuilt by RadioShack?”

Set in a Detroit’s Dystopian future, where crime is so bad the criminals are looking for safe spaces.  Enter Omni Consumer Products (OCP), a corporation so evil they make Walmart look like a lemonade stand run by nuns. These guys have a plan: privatize the police force and replace them with RoboCop s. Because nothing says “justice” like a walking vending machine with a badge.

But wait! Before you get your ED-209 (that’s the corporate killer robot that looks like a Decepticon on stilts), there’s a human element; the RoboCop. Enter Officer Alex Murphy, who’s so wholesome he probably tucks his gun into bed at night. Murphy gets ambushed by a gang of psychopaths led by Clarence Boddicker. They blow Murphy up to the point where he’s more Swiss cheese than human.

OCP takes what’s left of Murphy—basically a spleen and a good attitude—and turn him into RoboCop, the ultimate law enforcement machine. He’s part man, part machine, and all cop. He’s like the love child of a Ford Pinto and a Terminator, with a voice that sounds like he’s been chain-smoking since the John F. Kennedy assassination.

RoboCop has got everything: satire, action, and more blood than a ketchup factory explosion. It’s like *Blade Runner* and *Die Hard* were surrogate donors for a baby raised by *Mad Max*. The violence is so over-the-top it’s almost cartoonish. People get shot, exploded, and melted in toxic waste. Begging the question, *Is this a movie or a PSA for gun control?*

The movie also takes some sharp jabs at corporate greed, media sensationalism, and the militarization of the police. Clarence Boddicker is the kind of villian who kicks puppies for fun and then bills you for it. And Dick Jones, the corporate sleazebag, is so slimy he probably sweats anal-ese. You love to hate them, and you cheer when RoboCop finally takes them down in the most spectacularly violent ways possible.

RoboCop isn’t just a shoot-’em-up.  Underneath all that chrome and circuitry, Murphy is still in there, trying to remember who he was. He’s like the Tin Man from The Wizard of Oz, except he’s got a gun that pops out of his leg. It’s the kind of movie that makes you gasp, and maybe even shed a tear—though that might just be from the sheer amount of shrapnel flying at the screen.

See the video Alien

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Dragonslayer emerged as a breath of smoky, fire-breathing air in a year which was filled with space operas and high-octane action flicks.

This dark fantasy epic from 1981 stunned audiences with its groundbreaking special effects, and medieval grit. Dragonslayer is a refreshingly original take on a timeless tale of heroism. A film that dares to ask: what if the dragon wasn’t just a monster, but a force of nature?

The main attraction: Vermithrax Pejorative, a classic antagonist with more than an impressive moniker. Created by Industrial Light & Magic (who gave us *Star Wars*), this dragon is a masterpiece of practical effects. Vermithrax is a creature of both beauty and terror, from its leathery wings to its glowing eyes. The beast has terrorized the land for decades, demanding virgin sacrifices to sate its hunger.

Set in the mythical kingdom with a corrupt King, the story follows young Galen (Peter MacNicol), an apprentice sorcerer. He has the task of Dragonslayer thrust upon him when his Master dies.   The inexperienced apprentice must rise to the occasion, armed with little more than a magical amulet and a lot of determination. He teams up with Valerian (Caitlin Clarke), a brave and resourceful young woman who challenges the era’s gender norms, and Tyrian (John Hallam), a skeptical knight.

What sets Dragonslayer apart from other fantasy films of its time is its commitment to realism—yes, even in a world with dragons. The film’s medieval setting feels authentic, from the muddy villages to the crumbling castles. The characters are flawed and human, and the stakes are palpable. Galen isn’t your typical swashbuckling hero; he’s awkward, unsure, and often out of his depth. This makes his journey all the more compelling, as we watch him grow into the role of a true dragonslayer.

The film’s climactic battle between Galen and the dragon is a visual feast, blending stop-motion animation, puppetry, and live-action footage in a way that feels seamless and utterly immersive. It’s no wonder Dragonslayer was nominated for an Academy Award for Best Visual Effects—it’s a technical marvel that pushes the boundaries of what’s possible on screen.  At its core, Dragonslayer is a story about courage, sacrifice, and the struggle against tyranny—both human and monstrous.

Watch The Lord of the Rings

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Escape from New York was directed by John Carpenter and released in 1981. Set in a future where Manhattan has been turned into a maximum-security prison, the film follows the anti-hero Snake Plissken, played by Kurt Russell. Despite being made over four decades ago, the film’s themes of government control, societal decay, and individual rebellion resonate strongly in today’s socio-political climate.

The captivating premise of Escape from New York is set in a dystopian near-future, where crime has reached unprecedented levels.  Manhattan Island gets converted into an enormous maximum-security prison. The whole island then becomes a lawless, chaotic environment where inmates rule and the authorities abandon any attempt at maintaining control. The protagonist, Snake Plissken, is a former soldier disenfranchised with the government. When the President of the US crash lands on the island, Snake is coerced into rescuing him in exchange for his own life and freedom.  Snake is a lone renegade working against the clock to complete this perilous mission, or face certain death through the implantation of explosives in his body.

The bleak and gritty tone of Escape from New York is significantly achieved by the portrayal of Manhattan as a decaying urban wasteland. Snake with his rugged demeanor, cold exterior, and cynical worldview matches this vision of a future where crime and corruption have consumed the very fabric of society. The film’s low-budget production design emphasizes this dystopian atmosphere, with the island’s streets cluttered with remnants of past civilization and overrun by dangerous criminals.

While Escape from New York is largely known for its action-packed sequences and suspenseful narrative, it also presents a sharp critique of political systems. The idea of a government abandoning a major city and leaving its citizens to fend for themselves can be seen as a metaphor for the disconnect between the political elite and the everyday people they govern. The film suggests that in times of crisis, the government may prioritize control and manipulation over the welfare of its citizens.

In conclusion, Escape from New York is more than just a post-apocalyptic action movie. It is a tense, thought-provoking exploration of individualism, government control, and societal collapse. Through the character of Snake Plissken, John Carpenter crafts a narrative that resonates with audiences even today, offering a cautionary tale about the dangers of unchecked power and the price of freedom.

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Repo Man, directed by Alex Cox and released in 1984, is a film that defies easy categorization. Blending elements of science fiction, punk rock culture, and satire, it has secured a place as a cult classic in American cinema. The film’s unique combination of genres, its offbeat narrative style, and its sharp social commentary make it a standout work of the 1980s.

The story follows Otto Maddox, played by Emilio Estevez, a disaffected young punk in Los Angeles. Otto after being fired from his job at a supermarket, reluctantly enters the world of repossessing cars. A bizarre subplot involving a 1964 Chevrolet Malibu, with a weapon in it’s trunk that becomes the object of pursuit for various factions, including government agents, UFO enthusiasts, and rival repo men.

The film’s punk identity is highlighed in it’s soundtrack. Featuring bands like Iggy Pop, Black Flag, and Suicidal Tendencies, is a critical component in reinforcing the film’s rebellious spirit. The title track, performed by Iggy Pop, captures the anarchic energy of the punk scene and the film’s overall vibe.

Beyond its punk rock surface, “Repo Man” offers a sharp critique of various aspects of 1980s American society. The film satirizes consumer culture, particularly with it’s generic white label products showcased throughout the film. Symbolizing the homogenization of consumer goods and the emptiness of consumer culture.

“Repo Man” influenced a generation of independent filmmakers with its low-budget aesthetic and genre-blending approach. The anti-establishment, punk theme seem at odds with sci-fi, but not when you consider conspiracy theories. So the film mocks a growing paranoia around government surveillance and cover-ups.

Those looking for something different from Hollywood’s main offerings, gave this movie a cult like following. “Repo Man” was not a major box office success upon its initial release. Its success demonstrated that films outside the Hollywood mainstream could find an audience and achieve lasting cultural significance.  The spirit of rebellion disillusionment of the 1980s is captured in Repo Man. Its blend of punk rock sensibility, science fiction intrigue, and social satire offers a unique cinematic experience.

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*The Toxic Avenger* is a 1985 American superhero dark comedy film directed by Michael Herz and Lloyd Kaufman (credited as Samuel Weil). Produced by Troma Entertainment, known for low-budget, campy films produced a gory cult classic with “The Toxic Avenger*. The film starts with the immature antics of two couples hell bent on doing whatever they please; drunk driving and severe bullying. The film is over-the-top in it’s violence, and absurd humor, making it a significant piece of 1980s B-movie culture. (The violence is VERY GORY, and the special effects are pretty well done, NOT for children – Said to be worse than Hellraiser).

The film is set in the fictional town of Tromaville, New Jersey, known as the “Toxic Waste Dumping Capital of the World.” The subplot is against the evils of a corrupt capitalist society, where politicians and industrialist scheme, unbeknownst to the public who accept their fate because the powers that be “know better.”  Unlike the preachy Woke movies of today, the scenes are so campy that the film comes off as fun. The towns-people even get inspired by their vigilante monster superhero, and decide to stand up to the corruption with him.

Melvin Ferd is a young, nerdy janitor at a local health club. He is constantly bullied by the gym’s customers (I know a few woke gyms who believe that this is REAL gym culture). A mean prank gone wrong, leads Melvin to fall into a vat of toxic waste. Inspired by the superhero genre of the Hulk, instead of killing him, the chemicals mutate Melvin into a grotesque, superhuman creature. His transformation gives him incredible strength and a distorted appearance, including bubbling skin and a monstrous physique.

Taking on the mantle of the “Toxic Avenger,” or “Toxie,” Melvin begins a quest against to protect the citizens of Tromaville. His new powers, give him the ability to recognize anyone who poses a threat to the innocent and he becomes a vigilante, brutally punishing criminals,and corrupt officials. Despite his violent methods, the people of Tromaville see him as a hero. The film follows Toxie as he cleans up, most gruesomely, the crime-ridden town.

The film’s use of hyperbolic violence and absurd humor pushes the boundaries of taste and decency to make a point. This over-the-top approach not only makes the film memorable, but also serves to critique the very elements it portrays. The grotesque transformation of Melvin into Toxie can be seen as a metaphor for the effects of environmental degradation and societal neglect. The film has spawned sequels, a stage musical, an animated children’s TV series (*Toxic Crusaders*), and even a yet to be released big-budget remake. Its character, Toxie, became an unlikely mascot for Troma Entertainment, symbolizing the independent spirit of low-budget filmmaking.

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Mommie Dearest is directed by Frank Perry and adapted from the memoir of the same name by Christina Crawford. The memoir was the first of it’s kind to show the dark family secrets of a Hollywood personality from the child’s perspective. The movie stars Faye Dunaway as Joan Crawford, a Hollywood icon whose reputation for elegance and glamour belies a deeply troubled personal life. The film, which explores Joan Crawford’s complex and abusive relationship with her adopted children, has been both criticized and celebrated for its portrayal of Crawford’s life.

Although the book was written from the child’s perspective, the movie focuses on the Hollywood icon. The film begins with Joan Crawford’s rise to fame, showcasing her successful career and the glamorous facade she maintained. As the story progresses, it delves into her turbulent relationship with her daughter, Christina Crawford, revealing the dark side of her personal life. The narrative demonstrates how the children were used and trained to be publicity tools. How their public image was of the upmost importance, because it reflected on how the star was perceived.

Mommie Dearest depicts Joan Crawford as a control freak with an OCD need for extreme cleanliness. The film shows several infamous episodes from Christina’s childhood, including the notorious wire-hanger scene, where Crawford violently reacts to finding wire hangers in her daughter’s closet. This scene, meant to highlight the extent of Crawford’s rage, was often mocked in theaters, with a Rocky Horror type of following.  Throughout the film, Crawford is shown as increasingly erratic and abusive, falling into alcoholism as her career waned, but always maintaining a stark contrast between her with her public persona and her private behavior. The film ends with Joan Crawford’s death and Christina’s struggle to come to terms with her past.

Many argue that Christina Crawford’s memoir, Mommie Dearest, was meant as revenge against being overlooked in her mother’s will, as the youngest children contested it’s veracity. But anyone who comes from abusive household’s will be quick to note that the youngest children rarely experience the same treatment as the oldest. Furthermore, the trauma experienced was and is real enough for Christina.  She herself never had children and admits to have difficulty in trusting people in general.  In her book, Christina detailing her experiences of physical and emotional abuse at the hands of her mother, described Crawford as a domineering and emotionally unstable figure who inflicted severe punishment and psychological torment on her children.

Despite the controversy, “Mommie Dearest” remains a significant film for its portrayal of a troubled Hollywood icon and its impact on discussions about abuse and celebrity culture. Whether viewed as a dramatic exaggeration or a necessary critique, Mommie Dearest stands as a reminder that, “picture perfect” rarely is. They say that a picture is worth a thousand words, but a thousand words never tell the whole story. So be careful who you think to idolize or emulate, because you probably don’t know them at all.

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