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1. Aliens (James Cameron)
Few other 80's movies combine all the best elements of the decade like Aliens does; Sci-fi, horror, androids, creatures, cartoonishly macho characters, action, violence, atmosphere, corporate villains, memorable lines, amazing practical effects and it even taps into the 'Nam war movie trend of that decade. It's
the 80's movie. Extended cut is mandatory.
"Look into my eye."
2. Dead Man's Letters (Konstantin Lopushansky)
One of the bleakest post-apocalyptic dramas you'll ever see. A Soviet-era Russian film about a group of people living in a bunker in the basement of a museum. Lopushansky worked on Stalker and it's easy to see how working for Tarkovsky rubbed off on him, like for example his use of monochrome colouring gives the whole film a disturbing orange atmosphere. A relentless philosophical gauntlet. If you're feeling doom and gloom throw this on and go even lower.
3. Vigil (Vincent Ward)
Considered a 1984 movie because it played Cannes and some US festivals, but it didn't air until 1986. Easily one of the (if not
the) best Kiwi films ever made, and the director spent 5 years working on it. Filmed on an isolated farm in Northern Taranaki, the location looks like something out of a surreal fairytale. It's steeped in a childlike Ghibli-esque wonder but is slowly invaded by a growing tension in a way that really sticks with me. What goes on in this valley doesn't even seem part of the outside world. Is it post-apocalyptic or just very rural? Who the fuck knows.
4. The Fly (David Cronenberg)
Always found it ironic that in many ways this is Cronenberg's most conventional film, but that's what makes it so effective. It feels like you've seen this story play out a hundred times already. It might be the most visually repulsive film that doesn't exclusively appeal to men. Of course the effects are front and centre but beneath the regurgitated bile is one of the most tragically human tales of all time; what happens when you no longer recognise the person you love?
5. Down by Law (Jim Jarmusch)
Such a bizarre movie. Don't think I've ever seen a deadpan movie that simultaneously simmers with slapstick energy. I agree with you Wainds; he's one of the best to utilize black & white, and it helps that the whole ordeal feels like a junkyard sculpture made from old jailhouse and gangster flicks. As far as movies about buddies going through hell in search of a good breakfast go, I'll take this over Harold & Kumar. At least in this one the immigrant actually gets the woman.
6. Platoon (Oliver Stone)
The first Hollywood film about 'Nam to be directed by an actual veteran of the conflict. The cast is more stacked than Angela White, with career defining performances from Dafoe, Berenger and even Sheen. Stone wrote the script as an antithesis to The Green Berets and it's about as subtle as a village massacre. Completely unflattering to the war itself and steeped in an ever-devolving morality primarily represented in Charlie Sheen's character, who goes from a naïve volunteer to ice cold and unhinged by the end. I'm not the hugest fan of Oliver Stone but I like his 'Nam trilogy a lot.
7. Blue Velvet (David Lynch)
A severed human ear lying in a vacant lot. It's one of the most Lynchian visuals ever. An invitation to go beneath square society. I also think it's a little
too Lynch without ever truly spilling over into the insanity of what his name conjures. The entire premise was born in the director's own voyeuristic fantasies (watching a woman bed down from her closet) and in many ways Blue Velvet feels like the proto-Twin Peaks. It's fundamentally a family drama. But all that aside he obviously excels at crafting mysteries and throwing naïve and curious 1950's protagonists into them with little remorse.
8. Cobra (George P. Cosmatos)
I've watched this one a retarded amount of times. Might actually be my most repeat-watched Stallone movie ever. Everything about Cobra oozes with style, from the music to the outfits to the colours and the lighting. The bizarre Manson Family-esque serial killing cult lead by Brian Thompson, one of the strangest looking motherfuckers in cult movie history. It's so fucking 80's. Just a shame the original uncut R-18 version is lost forever. In one scene Stallone eats a frozen pizza and cuts it up with a pair of scissors.
9. Manhunter (Michael Mann)
Visually stunning even by Mann's already high (and very blue) standards. Ironic that Lynch turned down the chance to direct it, calling it violent and completely degenerate, and then made Blue Velvet. Personally I think the film works best when it's playing with the procedural elements like forensic science and FBI profiling. It all has a very cold reality to it that subsequent Thomas Harris adaptions are kinda missing. Under-using Cox's Lecktor was a genius move, although in hindsight I wish there was more since he'd never do the role again. Also an amazing soundtrack.
10. Henry: Portrait of a Serial Killer (John McNaughton)
Mindblowing that this filthy and utterly hostile crime horror was Michael Rooker's debut. What a fucking career path. From a lead role in an X-rated horror with a budget of $110k to doing multiple Marvel movies. Anyways this is one of the seediest American serial killer films ever made with any competence. There's also a sliver of a running theme in 1986 regarding voyeurism (Blue Velvet, Manhunter, Henry) and in particular the dark side of home videos. Perfect ending too.
