The 80s-est

We’re opening the Red Dawn Region, and as always the first matchup is one of the most lopsided, on paper, at least.

In one corner we have Red Dawn, the 1984 John Milius film that made history as the first movie ever released with a PG-13 rating, launched the careers of Patrick Swayze, Charlie Sheen, Lea Thompson, C. Thomas Howell, and Jennifer Grey, and gave American teenagers the battle cry ‘WOLVERINES!’

In the other corner we have The Last American Virgin, the kinda disgusting 1982 Boaz Davidson teen comedy/schizophrenic drama(?) with a surprisingly incredible new wave soundtrack, but also with an ending so brutal, it leaves you wondering if the second half of the film ever saw the first half!

One film is nearly a consensus pick. The other is a genuine dark horse. Neither is an average 80s movie. And this decision may not be quite as easy as we thought!

Which one is MORE 80s? Vote below!

The Fast Times Region is closing out its first round, and this one’s a genuine odd couple.

In one corner: Revenge of the Nerds, the 1984 comedy that became a cultural institution. Joe and Keith both ranked it #13, which might be the most agreement they’ve had all season. But they do agree it is the most problematic film of the first 32!

In the other corner: Poltergeist, the 1982 haunted-house film (produced and co-written by Spielberg) that earned three Oscar nominations (losing all of them to E.T.), with a directing credit dispute that was never officially resolved.

Two very different kinds of 80s. Which one is MORE 80s? Vote below!

Which of these classic films is more 80s?

The Fast Times Region moves to its near conclusion! In one corner: Breakin’ 2: Electric Boogaloo, the 1984 sequel that gave the English language a permanent shorthand for unnecessary follow-ups. The film contains a scene where Turbo literally dances on the ceiling, no explanation, and the film just does it anyway.

In the other corner: The Cannonball Run, Hal Needham’s 1981 all-star road-race comedy that Siskel called “unbelievably bad," while audiences made it the #3 film of 1981.

Both are categorically terrible films. Which one is MORE 80s? Vote below!

The Fast Times Region has something special for us this week! To kick off our third year of The 80s-est, we welcome Alejandro Saya back to the show! We would also like to promote Alejandro & Marco’s show, “Lo más ochenta,” in which Keith appears this week:

Anyway, back to the matchup! In one corner: E.T. the Extra-Terrestrial, Steven Spielberg’s 1982 mega-hit that became the highest-grossing film of all time, won four Oscars, and, according to Ebert is, “a reminder of what movies are for.” It’s a phenomenon.

In the other corner: Xanadu, the 1980 Olivia Newton-John roller-disco fantasy that was so spectacularly terrible it directly inspired the creation of the Golden Raspberry Awards. John Wilson saw Xanadu, was furious, and invented the Razzies.

One of these is a masterpiece. One of these changed awards history in a very different direction. Which one is MORE 80s? Vote below!

The Fast Times Region serves up one of its most fascinating/lopsided matchups yet.

In one corner: Purple Rain, the 1984 Prince film that won the last Academy Award for Best Original Song Score ever given — then the category was retired. The soundtrack was OTHERWORLDLY. But there’s really not much of a movie there.

In the other corner: The Thing, John Carpenter’s 1982 paranoid sci-fi horror masterpiece that audiences and critics rejected completely on release…more details on that in the show. It has no real soundtrack, and not much of a look to it, but is a great film.

One is a masterpiece soundtrack that was recognized immediately, and has a look like no other. The other is a great film that took decades to be understood. Which one is MORE 80s? Vote below!

Purple Rain (1984) — Trailer

The Thing (1982) — Trailer

The Fast Times Region delivers a matchup that covers a lot of 80s ground. In one corner: Risky Business, Paul Brickman’s 1983 coming-of-age classic where Tom Cruise slides across a living room in his socks, accidentally turns his parents’ house into a brothel, and somehow comes out ahead. It made Tom Cruise a superstar and gave the decade one of its defining images. In the other: An American Werewolf in London, John Landis’ 1981 horror-“comedy” that won the first-ever Academy Award for Best Makeup — because Rick Baker’s werewolf transformation scene was so unprecedented the Academy created the category just to honor it. One made a star. One made movie history. Which one is MORE 80s? Vote!

Guys, we were recording, and I didn’t have a clock, time got away from us on this one! You do have a week to listen, so…enjoy?

This may be the Fast Times Region’s biggest matchup yet. In one corner: Beverly Hills Cop, the 1984 Eddie Murphy machine that became the #1 film of the year. Axel Foley drove into Beverly Hills in a beat-up car, and the whole decade basically stopped to watch.

In the other corner: Tron, Disney’s 1982 visual quantum leap, was a film so unprecedented that the Academy disqualified it from Oscar consideration for Best Visual Effects because they decided that using computers to make images was “cheating.” One is the biggest crowd-pleaser in the bracket. One is the most technically audacious. Both are difficult to imagine in any decade but the 80s. Which one is MORE 80s? Vote below!

Beverly Hills Cop (1984) — Trailer

Tron (1982) — Trailer

Please check out friend of the podcast, Alejandro Saya, and his show here: Lo mas ochenta Linktree

The Fast Times Region doesn’t slow down! This week it’s a matchup of two very different flavors of 80s comedy, and maybe the most lopsided box office stories in the bracket. In one corner: Class, the 1983 prep-school drama-comedy where Andrew McCarthy accidentally sleeps with his roommate’s mother, a film that quietly launched a generation of Brat Pack careers. In the other corner: Police Academy, the 1984 comedy that earned Ebert’s notorious zero-star review and then proceeded to gross $81 million and spawn six sequels anyway.

One is a sleeper. One is a phenomenon. Both are deeply, unmistakably 80s. So which one is MORE 80s? You decide! Vote below!

Class (1983) — Trailer

Police Academy (1984) — Trailer

Welcome to the Fast Times Region! And what a way to kick things off! In one corner: Fast Times at Ridgemont High, Amy Heckerling’s sun-drenched 1982 snapshot of teenage California life, packed with a killer soundtrack, an iconic cast of future stars, and one Jeff Spicoli who just wanted to surf. In the other: Friday the 13th, the 1980 micro-budget slasher that terrified a generation, launched a franchise, and made Gene Siskel so furious he literally spoiled the ending in his review to keep people away (it didn’t work). One is the defining teen comedy of the early 80s. The other is the defining horror film of the early 80s, but which one IS more 80s? That’s not for us to say. It’s for YOU. VOTE!

Here’s the link to Alejandro’s “Lo más ochenta” on Spotify, please go like, follow, listen:

It’s 1984 vs. 1982, and the SIXTEEN CANDLES Region is throwing down! In one corner: Footloose, the movie that made Kevin Bacon a household name and convinced America that dancing could start a revolution! In the other: 48 Hrs., the buddy-cop thriller that launched Eddie Murphy into the stratosphere and taught us all that you can get a lot done in two days if you’re mad enough about it. One has a legendary soundtrack, the other has a bar scene people are still talking about. Both are quintessential 80s. So which one is MORE 80s? There is a time for all things under the sun, and now, there is a time to vote: NOW!