|Movie Title/Year and Brief Description, Including Great Quotes and Scenes|
Conan the Barbarian (1982)
Director John Milius' action-adventure, swords-and-sorcery fantasy film featured muscle-bound Arnold Schwarzenegger (in a star-making role after he had reigned as Mr. Universe and starred in Pumping Iron (1975)) as the vengeful and bitter title character Conan, in a tale filled with blood, sex, violence, and sword-fighting choreography.
He sought revenge for the slaying of his parents when he was young by charismatic snake-cult leader Thulsa Doom (James Earl Jones). On his journey, the orphaned Conan became a slave to the Wheel of Pain (a gigantic mill-grinder), a pit fighter gladiator, a thief, and ultimately a swordsman-for-hire.
In the carnage-filled film, the bloodthirsty, brawny warrior joined forces with cunning thief/archer Subotai (Gerry Lopez) and pretty Amazonian warrioress-lover Valeria (Sandahl Bergman), Queen of the Thieves, to combat Doom's snake cult of Set and avenge his parents' death.
- "What is best in life?"
"Grant me one request. Grant me revenge! And if you do not listen, then to Hell with you!"
The opening scene of the destruction of the Cimmerian village including the death of Conan's father (William Smith) by armored and trained rottweilers and the slow-motion death of Conan's mother by beheading, and the death scene of Thulsa Doom by severing his head from his body and holding it out.
Writer/director Barry Levinson's debut film was a bitter-sweet, nostalgic, rites-of-passage tale of six male buddies in their twenties growing up in late 50s Baltimore and hanging out in the local diner at Fells Point - with many fast-paced, late night, often mindless guy-talk discussions (with overlapping dialogue, both scripted and improvisational).
The ensemble comedy's tagline expressed the film's theme: "What they wanted most wasn't on the menu."
The six actors who appeared in the many scenes at the diner over a long weekend in this character study were many up-and-coming stars: Steve Guttenberg (as nervous fiancee Eddie Simmons), Mickey Rourke (as gambler and ladies man "Boogie" Sheftell), Kevin Bacon (as the irresponsible, troubled, rebellious and drunken rich kid Timothy Fenwick, Jr.), Timothy Daly (as Billy Howard on a break from college, with an unmarrying pregnant girlfriend), Daniel Stern (as the only married one, "Shrevie" Schreiber), and Paul Reiser (as annoying, wisecracking Modell).
An approaching marriage for Eddie brought the chauvinistic group together one last time at the diner to eat/drink, and to talk about sex, sports, and 45 rpm records (and argue about who was the best singer for making out, Johnny Mathis or Frank Sinatra).
Their confusion was captured in this line by Fenwick: "Do you ever get the feeling that there's something going on that we don't know about?"
"Do you wanna bet that she goes for my pecker on a first date?"
"Every one of my records means something! The label, the producer, the year it was made ... When I listen to my records they take me back to certain points in my life, OK? Just don't touch my records, ever! ... "
"I'll hit you so hard, I'll kill your whole family."
The scene of a pre-nuptial 140 question trivia test (65 was passing) about the Baltimore Colts pro football team required by virginal momma's boy Eddie (Steve Guttenberg) for his off-screen fiancee Elyse just before the wedding.
The scene between a married couple - neglected and under-appreciated Beth (Ellen Barkin in her screen debut) and exasperated music-obsessed 'Shrevie' when he complained about her improper alphabetical-categorical filing of his treasured record collection.
And the popcorn date scene in which "Boogie" fooled his blonde date Carol Heathrow (Colette Blonigan) into touching his "pecker" when she reached for a handful of popcorn.
Fast Times at Ridgemont High (1982)
Female director Amy Heckerling's energetic, candid and unassumingly real high-school film, her directorial debut feature film, was the quintessential teen film of the 1980s. It included a number of stereotyped but realistic roles derived from screenwriter Cameron Crowe's (a former Rolling Stone writer) undercover study-exposé of L.A. high school life during 1982 at a San Diego HS:
"All I need are some tasty waves, a cool buzz, and I'm fine."
"When it comes down to making out, whenever possible put on side one of Led Zeppelin IV."
"Surfing's not a sport, it's a way of life. No hobby. It's a way of looking at that wave and saying, 'Hey bud, let's party! Ha, ha, ha.'"
The slow-motion sequence of the emergence of red-bikinied Linda (Phoebe Cates) from an outdoor swimming pool and the slow opening and shedding of her bathing suit top from the middle (a fantasy mental disrobing by self-pleasuring Brad (Judge Reinhold)) - often rated by males as the best nudity scene in any film.
First Blood (1982) (aka Rambo: First Blood)
Also, the other Rambo films, including Rambo: First Blood Part II (1985) and its sequel Rambo 3 (1988) and twenty years later Rambo (2008). [The 1980s Reagan era helped to provide the perfect backdrop for the Rambo films, in which the title character refought the disastrous Vietnam War.]
Sylvester Stallone starred in a series of testosterone-filled, jingoistic, war-oriented films, including this one as surviving ex-Vietnam Green Beret John Rambo. The Rambo character was a misfit, cartoonish, long-haired, self-righteous super-hero - a revenge-seeking, buffed up, brooding ex-Green Beret Vietnam veteran (of Special Operations Command) who went on a one-man killing spree.
The traumatized war veteran went berserk using his guerrilla training after being mistreated and unfairly arrested in a small town in the Pacific Northwest by the small-town sheriff Will Teasle (Brian Dennehy).
He 'refought' the Vietnam War as a 'one-man army,' using VC bushwhacking techniques during his battle against a variety of enemies, including the sheriff, a posse, and hundreds of National Guardsmen.
"For me, civilian life is nothing! In the field, we had a code of honor: You watch my back, I watch yours. Back here, there's nothin'!...Back there, I could fly a gunship, I could drive a tank, I was in charge of million dollar equipment. Back here, I can't even hold a job parking cars!"
Ex-Green Beret Vietnam vet John Rambo's final impassioned, preachy speech to Green Beret Col. Samuel Trautman (Richard Crenna), his former commander, about his hostile, unjust reception as a returning Vietnam War Vet.
48 Hrs. (1982) (aka 48 Hours)
And Another 48 Hrs. (1990)
Director Walter Hill's profanity-filled action-comedy was one of the first buddy-cop films, years before Lethal Weapon (1987) and Rush Hour (2000).
In this male-bonding film, Nick Nolte and Eddie Murphy (21 years old and in his feature film screen debut while still a cast member of TV's Saturday Night Live) were paired as two bickering, 'odd-couple' buddy-cops: temperamental, hard-nosed, hard-drinking detective Jack Cates in his '64 Cadillac convertible and smooth-talking con Reggie Hammond. Both disliked each other immensely, with racial overtones, and ended up in a fistfight with each other in an alleyway.
Their insults were hostile: ("Now get this. We ain't partners, we ain't brothers, and we ain't friends" and "You're just a crook on a weekend pass! You're not even a goddamn name anymore! You're just a spearchucker with a number stenciled on the back of his prison fatigues! And I'm through f--kin' around. You tell me the truth or you're gonna get the living s--t beat outta you").
The film's title referred to the amount of time that Reggie had been released from prison in Jack's custody to track down cop killers named Albert Ganz and Billy Bear (James Remar and Sonny Landham), Reggie's former gang members - leading to a bloody finale.
"I'm your worst f--kin' nightmare, man: I'm a nigger with a badge - which means I got permission to kick your f--kin' ass whenever I feel like it!"
"...instead of bein' where I oughta be, home in bed with my gal givin' her the high hard one, I'm out here doin' this s--t: roamin' around the streets with an overdressed, charcoal-colored loser like you."
"I've been in prison for three years. My dick gets hard if the wind blows."
"I was great. Should have my dick bronzed."
The scenes of continual bickering between the couple, and the scene of Reggie entering a redneck bar and interrogating patrons with blustering attitude by pretending to be a cop: "I don't like white people... I hate rednecks. You people are rednecks, which means I’m enjoying this s--t!"
Also Porky's II: The Next Day (1983), and Porky's Revenge (1985) (aka Porky's 3)
By the early ’80s, producers knew that a little nudity could go a long way in attracting young audiences. This crude, slapstick comedy and sexploitation film helped to launch the teen sex film, with scatological scenes and lots of gross-out, body-oriented jokes. Suddenly, theatrical films originally made for "dirty old men" were being targeted at teenagers. Porky’s ushered in a flood of similar teen-oriented material, some of it superb (Fast Times at Ridgemont High (1982) and The Last American Virgin (1982)). The film was the ultimate precursor to American Pie (1999) almost two decades later.
The vulgar and distasteful coming-of-age sex comedy, attracting mostly male audiences worried about their virility or the size of their manhood, by writer/director Bob Clark told about several Florida high school (Angel Beach) boys in the 1950s, especially aptly-named Pee Wee Morris (Dan Monahan), who all sought to lose their virginity.
All of the females in this infantile film were objectified as sex objects or props for this comedy, to be spied upon or fantasized about from afar. In one of the scenes, horny gym teacher Ms. Honeywell (Kim Cattrall in an early role) was nicknamed "Lassie" because of her orgasmic howling during intercourse.
Porky Wallace (Chuck Mitchell) was the name of the mean-spirited, redneck, good ol' boy corpulent owner of a popular biker/bar-brothel just across the county line, who tempted the underage boys and then scammed them.
- "Jesus Christ. It's the Mother Lode!"
"Is Mike Hunt here? Has anybody seen Mike Hunt?"
"What do you use for a jock strap, kid? A peanut shell and a rubber band?"
The "Peeping Tom" scene in the girl's shower-locker room, during which time Tommy (Wyatt Knight) placed his member through the spyhole, and gym coach Ms. Beulah Balbricker (Nancy Parsons) charged forward to make a painful two-handed grab. Also, the scene of sex-starved Pee Wee being stranded outdoors naked, and being confronted by the cops.
National Lampoon's Vacation (1983)
And other films in the series: European Vacation (1985), Christmas Vacation (1989), and Vegas Vacation (1997)
In this comedic road film, the always-clumsy and dim-brained husband Clark Griswold (Chevy Chase) took his family cross-country in a gigantic pea-green "Wagon Queen Family Truckster" station-wagon with a broken-down engine, bound for California's theme park Wally World (unbeknownst to them, closed for repairs) - with all of their arduous misadventures:
After arriving in California, they raced to the entrance of Wally World (to the tune of "Chariots of Fire") only to be told by a Moose character that the park was closed, although they took security guard Lasky (John Candy) as hostage.
- "How do you like yours, Clark?"
"I think you're all f--ked in the head. We're ten hours from the f--kin' fun park and you want to bail out! Well, I'll tell you somethin'. This is no longer a vacation. It's a quest. It's a quest for fun. I'm gonna have fun and you're gonna have fun. We're all gonna have so much f--kin' fun we'll need plastic surgery to remove our god-damn smiles. You'll be whistling 'Zip-A-Dee Doo-Dah' out of your assholes! I gotta be crazy! I'm on a pilgrimage to see a moose. Praise Marty Moose! Holy S--t!"
"You want me to strap her to the hood?...She'll be fine. It's not as if it's going to rain or something."
The vibrating bed scene.
Director Brian De Palma's X-rated (then revised to R) crime film (with a script by Oliver Stone) starred "Godfather" actor Al Pacino as Tony Montana. It was a violent update of Howard Hawks' gangster classic Scarface: The Shame of a Nation (1932), soaked with blood and cocaine powder in a story of "Scarface's" rise from Cuban emigre-dishwasher to early 80s Miami drug lord - and his subsequent fall.
Along the way, he acquired icy and slinky blonde cokehead trophy wife Elvira Hancock (Michelle Pfeiffer), who first appeared in a tight backless dress as she descended in a glass elevator.
The film's tagline was: "He loved the American Dream. With a Vengeance," and much of the film's imagery and language has been co-opted by gangster rap. Pacino's over-the-top, unrestrained and operatic portrayal of the monstrous crime lord in this morality tale included profanity-strewn dialogue, an incestuous liking for his sister Gina (Mary Elizabeth Mastrantonio), and an excessive addiction to snorting mounds of white powdery cocaine.
The film concluded with the bullet-ridden and coke-convulsed body of one-man army Tony Montana in a bloody standoff at his mansion with an M16, and his death by a point-blank shotgun blast in the back, sending him crashing down thirty feet to his indoor fountain below.
"In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the woman."
"I never f--ked anybody over in my life didn't have it comin' to 'em. You got that? All I have in this world is my balls and my word and I don't break 'em for no one. Do you understand?"
- "Anything beats lying around all day waiting for me to f--k you, I'll tell ya that."
"F--k 'em all! I bury those cock-a-roaches!"
"Can't you stop saying f--k all the time?"
"Say hello to my little friend."
The intense and controversial dismemberment scene during a bad drug deal in which Tony's friend Angel Fernandez (Pepe Serna) was chain-sawed to death (off-screen with bloody splattering and spray) while hanging by his wrists in a motel bathroom shower.
(chronological, by film title)
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