Many of John Hughes' '80s movies are considered classics, but how do they stack up against each other? Starting in 1982 with National Lampoon's Class Reunion, the decade saw many of Hughes' scripts come to life, some directed by him and some by others. Hughes soon proved a bankable screenwriter whose particular voice was recognizable, relatable, tender, and funny. He churned out some of the most popular films of the 1980s.
Hughes dropped out of college and started selling jokes to popular comedians like Joan Rivers and Rodney Dangerfield. He found work as an advertising copywriter and his campaigns eventually got him noticed by the National Lampoon magazine. He was brought on as a regular contributor for the satire publication and, as P.J. O'Rourke said in an interview with The Daily Beast, Hughes was such a talented and efficient writer that "it was hard for a monthly magazine to keep up with him." Hughes came up with a story inspired by family trips which became the basis for National Lampoon's Vacation, and the rest is history.
He was still on staff at the magazine when he penned his first feature-length screenplay, and his legacy, even after his death in 2009, still remains. The 1980s were graced with films of his that told of teen drama, family dynamics, the oddness of human behavior, and the absurdity of existence through the body of work of this talented writer and director.
16. Nate and Hayes
This 1983 film suffers most egregiously from an identity crisis: is it a comedy or an adventure? It seems to be straddling an uncomfortable niche wherein it doesn't quite fit with either genre. The swashbuckling pirate movie about an ethical pirate (Tommy Lee Jones) takes place in the 1800s, but anachronistic dialogue suggests that it's aiming for a modern, edgy feel. A loud and messy plot crowds the screen in an almost uncomfortable array of unhinged nonsense, and unfortunately, none of it is even appealing enough to be entertaining.
15. National Lampoon's Class Reunion
Class Reunion was Hughes' first screenplay, and it shows. It is not very sure of its feet, making tentative jokes that don't always land. The approach to comedy doesn't quite work, and the rare one-liners stick out like a sore thumb. The script combines a "dead teenager movie" formula — i.e. Weekend at Bernie's — with the "teen sex movie" format, like American Pie, in an odd and clumsy way, leaning on the comic possibilities of goofy characters and wacky situations to carry it along. The comedy latches on to stock characters rather than growing organically out of them, something that Hughes would eventually learn to do in spades.
14. Some Kind of Wonderful
Eric Stoltz), ends up falling for his best friend after becoming aware of her hidden feelings. The gender reversal works a bit better, and the script has its moments, despite being a transparent amendment; however, Some Kind of Wonderful also feels overly familiar, and would have benefitted from being more distinct. Stoltz is paired well with a sympathetic Mary Stuart Masterson and a sweet, unattainable Lea Thompson, both of whom are perfect examples of how deftly Hughes wrote about people, particularly teens, struggling to figure out who they are.
13. European Vacation
Clark Griswold (Sound of Music parody, Ellen's inadvertent porn star status, and lederhosen-laden polka dancing.
12. She's Having a Baby
She's Having A Baby stars Kevin Bacon and Elizabeth McGovern, who warm things up in a genuine script tripped up by shenanigans and shtick. The story about a young man having to face the realities of partnership after a romantic courtship is a more hefty tale than Hughes' usual fare, and the mature story manages to land — despite a bit of silliness here and there. There are moments that don't feel like a typical Hughes movie, like the fantasy sequences that, while entertaining, are somewhat baffling and distracting. The film, like many of Hughes' most memorable selections, is at its best when it is honest. In a climactic sequence when Bacon witnesses McGovern undergoing a difficult and frightening labor to the sounds of Kate Bush's plaintive "This Woman's Work," the story makes its mark.
11. Weird Science
This teen fantasy film may seem the mere reflection of an adolescent boy's every dream dusted with bits from The Breakfast Club and Sixteen Candles, and has reached status as a cult classic. There is a surprising amount of sensitivity and thoughtfulness despite the premise, and a lot of it is due to how LeBrock executes her part, more as an advisor than lover, a gentle teacher, and a friend.
10. Mr. Mom
The 1980s began to see an influx of women entering the workforce, leading to a somewhat new cultural phenomenon: stay-at-home-dads. In 1983 Hughes explored this phenomenon with a bankable and likable star, Michael Keaton, at the forefront, and, though the film at times feels like the pilot of a sitcom, it has something interesting to say. What it has to say is certainly dated by today's standards, but, as with She's Having a Baby, a solid leading man carries the premise into an inviting and whimsical territory. There are certainly moments wherein the movie doesn't quite rise out of being a concept instead of a story, but the entertainment value is there in Keaton's frenetic energy and affable charm.
9. Christmas Vacation
There is no denying Christmas Vacation is widely considered a holiday classic, showing up on viewers' favorite Christmas movie lists the world over. The sweet and ineffectual Clark Griswold returns with some holiday hijinks and extended family foibles, this time remaining at home instead of traversing far and wide. Clark desperately wants everyone to have a nice Christmas, but inevitably chaos and misfortune ensue. As with most movies in the Vacation series, the film is memorable in its sequences, showcasing heightened comedic blunders, each more hair-raising than the last. Although nothing in Christmas Vacation is particularly deep or thought-provoking, the story is touched with sweetness, offering some well-earned holiday cheer amidst the punch-drunk pandemonium.
8. The Great Outdoors
In another story about a father just trying to show his family a good time, the comedic talents of the actors are once again the highlight. John Candy and Dan Aykroyd are in top form as the hapless dads who at first don't get along, but end up coming to an understanding. Some charming practices in absurdism pepper the script, transforming the comedy into a beloved cult film. Candy and Akroyd handle the material like two vaudevillians in a stand-up act, punching up one-liners for irresistible laughs and quintessential '80s goodies. The film is simply there to have fun and it very handily succeeds with light, goofy gags and an abundance of fizzy energy.
7. Sixteen Candles
lighthearted take on what it's like to be a teenage girl. Setting aside the points at which the film fails, it is an honest, relatable look at adolescence — particularly for the time period. The audience is immediately on Sam's (Molly Ringwald) side, cringing as her grandmother coos, "Look! She's finally got her boobies," and balking as it becomes more apparent that every single person in her family has forgotten her birthday. The acting and story are presented as fresh and buoyant, showcasing the very thing that makes a Hughes film special, in that he doesn't aim for exploitation but understanding. In this universe, teenagers are listened to and sympathized with, and the comedy emerges from an organic place. As a special bonus, an otherwise throw-away performance from a mostly mute Joan Cusack is deeply hilarious.
