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
Some Kind of Wonderful was Hughes' apology for Pretty in Pink. It is evident by the script that he was disappointed that he didn't get to go through with his original plan for Andie to wind up with her best friend Ducky, as pushy and obsessive as the young man could be. Instead, he wrote a gender-flipped story where a young man (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 (Chevy Chase) and his family win a trip to Europe in this entry of the National Lampoon's Vacation series. European stereotypes about and retreads of old jokes abound, but the loose, easy delivery of humor keeps the film afloat. Clark makes for an endearingly winning "ugly American" trope, keeping the locals entertained even as he bumbles his way through several awkward tourist entanglements. The provincialism of the Griswolds is presented with a less heavy hand than the film could have gone for, and it works to its advantage. While the movie is perhaps the least-beloved of the Vacation franchise, it features memorable bits such as a Sisyphean roundabout, a 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 Mary Shelley's Frankenstein, but Weird Science has something odd, goofy, and wonderfully silly to offer. Rather than conjuring up a witless sex object, the heroes (Anthony Michael Hall and Ilan Mitchell-Smith), are introduced to a woman (Kelly LeBrock) determined to teach them some life lessons about growing up and discovering the varied facets of masculinity. In a premise that could easily have fallen into borderline-misogynistic territory, Hughes subverts expectations. The movie was the third success in a row for Hughes after 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 that 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
Sixteen Candles is one of several Hughes films that hasn't aged well: unfortunate humor regarding race, rape culture, and sexism distract from the zany, 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.
6. National Lampoon's Vacation
Armed with some electric, effective satire and easy, throwaway wit, National Lampoon's Vacation remains one of the most quotable screwball comedies of the 1980s. Despite the brassy style with which it presents, the movie contains a sly, steady wit that keeps the story on a smooth and forward-moving track. Some of the gags are hokey and the jokes on-brand for the raunchy magazine from whence the original story sprang (a joke a teenaged Jane Krakowski cracks about making out with her dad leaves a big "oof" in its wake), but the greatest gift to the movie is Hughes' ability to infuse something wonderfully human into the insanity. The colorful depiction of forced family togetherness is steadily pleasing, and laugh after laugh lands with joyful exuberance.
5. Pretty in Pink
Once again in Pretty in Pink, Hughes nails what it is to be sixteen, to swim in a mire of insecurities, passions, worries, and introspection. Ringwald's Andie is a recognizable everywoman, balancing the trials of school and romance with a kind but dysfunctional father who leans a little too heavily on her for emotional labor. The story is a basic one, but how the characters move through it leaves an indelible mark. Ringwald projects poignancy into the role of Andie, transforming the basic poor girl from the wrong side of the tracks cliché into something instantly familiar to any young woman who has been in love with an unattainable boy, felt ashamed of her background, or had to deal with the persistent attentions of a boy who just couldn't take a hint.
4. Uncle Buck
Hughes brought his special take on trying to raise teens with a firm yet eccentric hand in the colorful film Uncle Buck. Buck (Candy) is certainly not the perfect guardian, but his mistakes and blunders lead him stumbling down a relatable road. The character's earnestness mixed with his unconventional methods make for an odd yet amiable brand of parenthood. Candy is in his element as the brash yet lovable Buck, and he is joined by the dynamic talents of Macaulay Culkin, who has no business being as good as he is at nine years old, and Jean Louisa Kelly, whose sharp edges help drive home the main thrust of the movie, which is the point at which the uncle and niece come to understand and respect one another. A sequence in which Buck comes to rescue his niece with a power drill could read as boorish male behavior geared at policing burgeoning female sexuality, but it leads to a genuinely sweet moment between the two where both learn something about honoring the personal growth of the other.
3. Planes, Trains, and Automobiles
At first glance, Planes, Trains, and Automobiles is a broad comedy in the style of The Odd Couple — but with much more cursing. The story about two mismatched men (Candy and Steve Martin) trying to journey across the Midwestern United States in time for Thanksgiving is ripe for misunderstandings, tension, and merry squabbles, and the two actors are perfectly cast against one another. Martin brings a coiffed, self-assured, overly pleased with himself snob to Candy's people-pleasing, extroverted slob. As they spar against one another, they grow close enough to reveal simple human truths that unfold beautifully and naturally, leading to a conclusion so tender and warm that it tugs at the heartstrings more profoundly than can be expected from what the zany hijinks would let on. The balance of Del's perfect empathy against Neal's unrelenting self-reliance becomes the perfect catalyst for true understanding. Not only is the heart of this movie perfectly balanced with the comedy, but the entertainment value sparkles with the always funny catchphrase, "those aren't pillows!" and a sequence wherein Martin releases a barrage of f-words at the cherub-voiced receptionist at the car rental facility after he listens to her warbling on the phone about the teeny tiny marshmallows in her Ambrosia salad.
2. The Breakfast Club
There are few movies that nail a concept with more strength and directness than Hughes' story about five teens in Saturday detention. The film utilizes the deceptively simple dramatic standby of putting disparate types in a small space and letting them have it out, but does so with such humor and honesty that the execution is far from average. This is a movie that doesn't need any groundbreaking turns to be revealing, doesn't need unpredictability to be revolutionary. The energy of each actor pushes against that of the other. The audience can see their own experiences brought forth with raw and authentic fervor that speaks not only of the experience of puberty, but also of how many adults still bear the scars of adolescence. The impact of The Breakfast Club remains palpable over 30 years after it debuted in 1985, its special pantheon of emotions ringing true with audiences the world over.
1. Ferris Bueller's Day Off
While not as poignant or raw as some other entries, Ferris Bueller's Day Off is just plain fun, rollicking in unbridled joyfulness and wonderful absurdity that circles around to some surprising philosophy delivered with a lighthearted yet steady hand. Ferris (Matthew Broderick) makes for a modern-day teenage philosopher with his memorable take on the things that are important in life, and audiences are served a dose of doctrine along with an abundance of laughs. The film also presents the perfect character foil of Cameron Fry (Alan Ruck), someone who Ferris must cajole, manipulate, and push into learning to let go and face what holds him back in life: his relationship with his father. In the film's most genuine sequence, a car is destroyed and a young man is healed. The outrageous delight of the film dances with dense and captivating artistry, running with the alacrity of a farce and grinning in the face of axiom. Ferris remains one of the most beloved and entertaining movies of the 1980s thanks to the storytelling talent of John Hughes.