The Lost Boys (1987)

 "Read the TV guide, you don't need a TV!"

I know: where have I been all these years, ten years old in 1987 yet the first time I saw The Lost Boys was last night. At least I've seen it now,

As a story... the film is good. I wouldn't use a stronger word than "good": this is a fairly bog standard Hollywood blockbuster plot, but it's done well enough. And, given the youth of much of the cast, it's well performed. Dianne Wiest particularly excels as the sweet, overstressed Lucy, a character who feels very real, And Barnard Hughes is superb as Grandpa, Greek chorus and by far the coolest character in spite of all the very cool youth culture stuff.

And there's a lot of the latter. The main theme song is a banger in its own right: yes, Marilyn Manson's cover is better- his covers invariably are- but we don't talk about him nowadays. We get Echo and the Bunnymen covering People Are Strange. The vampires live in an abandoned underground hotel with a massive poster of Jim Morrison on the wall. All this stuff has a lot to do with why this film became such a cult classic, I feel.

And yet, I think, despite the rather satisfying resolution, the film is raised above its good-but-not-great script by its visuals. It has a very late '80s goth aesthetic. The vampires and the scenes surrounding them look great. And you can never go wrong with showing amusement rides at night to evoke a sense of the eerie.

A film with a merely decent script, then, but one elevated above that by visuals and coolness. And this is also a fascinating glimpse of vampires in pop culture in the '80s- a possible influence on both Anne Rice and Joss Whedon?

Tron (1982)

"I took a wrong turn somewhere..."

This is a strange film to see for the first time in 2018. It’s groundbreaking. It’s unique. It’s triumphantly of its time. And it’s utter pants.

Oh, it looks great. Unreservedly so; it captures the aesthetics of 1982 vintage computer graphics with perfection but is also, importantly, good to look at and of utility foretelling the story- although characters can be hard to tell apart in cyberspace. Then there’s Jeff Bridges’ rakish charm and David Warner’s desperate baddie.

There’s ever a surprisingly metaphysical side, as the baddies dismiss programs who have faith in “users” as religious fanatics. This line of thought may not be taken very far, but it’s indisputably there. I also don’t mind the total lack of realism in showing 1982 vintage computer programming in this almost proto-cyberspace way. Realism is boring, and this is a fascinating bit of the zeitgeist two years before William Gibson writes Neuromancer.

Unfortunately, though, the script, plot and characterisation are poor, and not even a generally high standard of performance can save them. Yes, the visuals are amazing and the look of the film is justly Famous. But I’m the end what we have is a turd which has been polished to a legendary standard. No wonder the visuals are all that ever gets talked about.