It isn’t easy, of course, to reduce an entire decade to convenient encapsulations.  But it is possible to put our finger on its corporeal pulse.  The 1980s did not have the grim, disillusioned, bitter flavor of the 1970s; nor did the decade have the self-satisfied triumphalism of the 1990s.  In some ways the 1980s was a period of recovery, hopeful interlude, and buoyant optimism.  I think the movies of the decade reflect these generally positive sentiments.  There was a collective feeling that the future would be bright, and that if a man rolled up his sleeves and took a deep breath, he could accomplish almost anything.  Yet when speaking about an entire decade, things are never quite so simple.  We find that, behind the optimistic façade of the 80s, there lurked more than a little foreboding and dread. The tension between these competing cultural emotions was responsible for some of the decade’s greatest cinematic art.    

The movies I’ve selected and listed alphabetically below are to me the greatest of the decade.  By “greatest” I mean a combination of production quality, story, cultural influence, and importance.  In a collection like this there will always be disagreements and outrage over omissions.  As we draw closer to the present year, we find our interests and memories more actively engaged than with the films of the 1970s; hence this list is larger than the list of the greatest 1970s movies.     

Aliens (1986).  When this was first released in theaters, I saw it every day for a week after getting off work (I had a summer job).  A marvelous blend of science fiction, action, and horror, Alien remains unsurpassed in its depiction of a feminine hero (Sigourney Weaver) who manages to be both vulnerable and assertive at the same time.  The characters are unforgettable, too:  Bill Paxton (“Game over, man!”) and Paul Reiser (“Why don’t we build a fire, and sing some songs!”) will forever be remembered for their roles.

After Hours (1985).  I’m not sure what Martin Scorsese’s goal was in making this movie about New York’s weird 1980s underbelly, but it’s become a cult classic.  You just have to see it.    

Angel Heart (1987).  Alan Parker’s supernatural horror masterpiece is not often talked about today, but was considered controversial when first released, solely due to a scene in which he took some—how shall we say it?—excessive artistic flourishes.  But the essential story and pacing are masterful, as well as the brilliant cinematography.  Mickey Rourke at his 1980s finest. 

Back To The Future (1985).  One of those movies that just seems to encapsulate the optimism and manic energy of the era.  Of course it’s absurd—but who’s complaining?  Has any more entertaining spectacle ever been put into comedic form?  Crispin Glover, Michael J. Fox, and Christopher Lloyd made true movie magic with this picture.    

Beverly Hills Cop (1984).  It may not be a profound movie, but it was a smash hit, due to Eddie Murphy’s irrepressible charm paired off with his straight-laced buddies in the Beverly Hills Police Department.  A 1980s period classic. 

Blade Runner (1982).  It was considered a failure when first released.  Audiences were not ready for the slow pace, the voice-overs, or the bleak vision of a dystopian Los Angeles.  But time has more than vindicated this brooding, rainy masterpiece of science-fiction noir.  Make sure you see the director’s cut.

Blue Velvet (1986).  David Lynch’s bizarre masterpiece shocked audiences when it was first released.  But it remains his most “linear” movie, and should be seen as a parable about the perverse, seething underbelly of contemporary middle-class life.  Dennis Hopper, of course, steals the show.   

Body Heat (1981).  This unexpectedly erotic neo-noir thriller helped pump new life into the genre, at a time when good noir movies were hard to come by.  And Kathleen Turner’s voice…    

Breaker Morant (1980).  Imagine a courtroom drama, a war picture, and a striking character study all portrayed in one movie.  This Australian film ranks among the very greatest movies of all time because it manages to produce a timeless parable from an obscure Boer War episode.  Flawlessly edited and wonderfully acted, this is a film that is not to be missed.

The Breakfast Club (1985).  I’ve always had a soft spot for this quintessential John Hughes, Gen X classic.  But it’s messages about acceptance, friendship, and unity are more desperately needed than ever in 2024.     

Crimes And Misdemeanors (1989).  Woody Allen’s greatest film, and a profound meditation on the consequences of moral corruption.  If you see no other Woody Allen film, see this one.

Das Boot (1981). Certainly the greatest movie about submarine combat ever made, this film was also a remarkable technical achievement. It reproduced exactly what life was like for a German U-boat crew of the Second World War. But Das Boot is greater still, in that it is, at its core, a harrowing, tragic human tale of leadership under the direst adversity.

Die Hard (1988).  Packed with action, memorable scenes and dialogue, engaging comic-book characters, and a brilliant sense of humor, Die Hard ranks as one of the great action dramas of any era. 

Diner (1982).  It’s a shame that this haunting, complex drama has been somewhat forgotten today.  But Barry Levinson’s masterpiece remains one of the very best “coming of age” movies ever made. Friendships last as long as we want them to last.  

The Emerald Forest (1985). Beautifully filmed story about the son of an American businessman who is abducted by an Amazonian tribe and raised as one of their own. Thought-provoking and lush, this is a high point of 1980s cinematic entertainment. Another gem by British director John Boorman.

Evil Dead II:  Dead By Dawn (1987).  I know, I know.  You’re thinking, “how could he include this B-grade horror movie in his list?”  Once you see it, you’ll understand why.  More of a remake than a sequel to Evil Dead, this imaginative movie combines horror and comedy in a way that has never been surpassed.

Excalibur (1981). John Boorman’s labor of live inspires the viewer with its grandeur, nobility of sentiment, and narrative power. Combining various Arthurian legends, Excalibur succeeded in evoking a world of myth and wonder that has never been equaled. 

Ferris Bueller’s Day Off (1986).  That refreshing 80s optimism rears its head again in this hilarious tale of a high school student who decides to take a day off.  They just don’t make movies like this any more.  There is no point, no lecture, and no messages—just innocent, youthful fun. Remember when that was possible? 

First Blood (1982).  Sylvester Stallone’s finest work outside of Rocky.  This grim tale of a Vietnam veteran pushed over the edge by a vindictive sheriff in the Pacific Northwest is about as raw and angry as it gets, and for that reason it always appears on lists of the classic movies of the 1980s.  It has lost none of its power since 1982.  Stallone somewhat softened the literary version of First Blood, but John Rambo still has become an archetype of the righteous avenger.

The Fog (1980).  Director John Carpenter really found his stride in the 1980s.  I’ve always loved this underappreciated maritime horror gem, with its somber atmospherics and brutal message of vengeance from beyond the grave.  Savor John Houseman’s eerie cameo in the opening scene.

Ghostbusters (1984).  I don’t think many people realize how difficult it is to make a big-budget, grand-scale comedy that is actually funny.  But Ghostbusters pulled off a true miracle in that it is a big-budget comedy that never goes off the rails. Clever, witty, and centered on a brilliant premise, Ghostbusters brought together Bill Murry, Dan Ackroyd, and the unforgettable Rick Moranis, and kept them harmoniously together.  The result is comedic gold. 

Highlander (1986).  It may not be for every taste, but this highly original blend of fantasy, action, and swordplay works so well that it spawned a legion of sequels and imitators. 

House Of Games (1986).  David Mamet’s first film also remains his most memorable.  Enhanced by Ricky Jay’s vast knowledge of magician lore and con games, this movie crafts a world in which illusion and reality can shift on a dime. Mamet’s preoccupation is, as in many of his movies, the fine line between what truly exists, and what we wish to see.   

Manhunter (1986). FBI profiler Will Graham pursues a sadistic serial killer nicknamed “The Tooth Fairy.” This early Michael Mann masterpiece has all the hallmarks of his particular genius: moody soundtrack, shimmering lighting with bright pastel colors, and bold visuals. Brian Cox’s understated portrayal of Hannibal Lecter is far more sinister than Anthony Hopkins’s comic-book portrait in 1991’s Silence of the Lambs. A visionary piece of cinematic art.  

Matewan (1987).  An underappreciated drama about West Virginia coal miners who stand up for their rights against ruthless corporate oppression.  And it’s all based on true events. The gunfight scene at the end is epic.

Midnight Run (1988).  How I love this movie.  It proved Robert DeNiro could do comedy, and is carried by excellent editing and supporting performances by the entire cast.  Dennis Farina somehow manages to be funny and scary at the same time. 

The Mosquito Coast (1986). Harrison Ford’s darkest role seems to have forgotten over the years. This is unfortunate, because The Mosquito Coast is a profound tale of the catastrophic effects of hubris and mania. The plot: an idealistic, obsessed inventor uproots his family and moves to a primitive Central American jungle to create his own version of civilization. But there he finds only a hell of his own making. The screenplay was written by Paul Schrader and Paul Theroux, and Peter Weir’s direction ensures that the story delivers a powerful message.

My Bodyguard (1980).  It feels more like a 70s movie than an 80s movie.  What seemed like a routine after-school TV movie in 1980 now seems like a dose of eternal wisdom about friendship and self-esteem.  When you are getting picked on or pushed around, you have to fight back—physically.  It’s a lesson that far more young people need to hear today.  Watch it with your son or daughter, and discuss it with them.  A great film, full of love and heart.  Look for a very young Joan Cusack in a few scenes.

My Dinner With Andre (1981).  I like movies that take chances.  This entire film is just a dinner conversation between two friends, shot with no frills or artifice.  Yet it’s an engrossing experience that conveys a timeless message of direct experience, friendship, and the passage of time. 

Planes, Trains, And Automobiles (1987).  John Hughes’s hilarious comedy has become something of a Thanksgiving ritual.  Steve Martin and John Candy accidentally team up for a bumbling cross-country trip that teaches them both something about friendship and forbearance. 

Platoon (1986).  Not only the greatest war film ever made, but one of the best films of any genre ever made.  

Predator (1987). When audiences first heard the plot of this movie, they were skeptical. ”A military force encounters a kill-crazy extraterrestrial creature in a South American jungle.” Indeed, it sounded derivative and absurd. But when audiences sat down to watch this movie, they found themselves carried along by a highly original, pulse-pounding tale of hunter and hunted. Predator set a whole new standard for the action genre, and may indeed be the greatest, most testosterone-laced action movie of all time. Judge for yourself.

Raiders of the Lost Ark (1981).  It really is a thrilling adventure in the old style, isn’t it?

Raging Bull (1980).  A truly Shakespearean character study.  Martin Scorsese’s legendary picture derives its power not just from the strength of the performances, but also from the incredible editing.  The rapid cutting, the visionary shots, the strange camera play—this is the Citizen Kane of the 1980s. 

Raising Arizona (1987).  Ethan Coen’s comedy masterpiece has just the right amount of eccentricity and heart to provide viewers with a memorable cinematic experience.  This movie is peak Nicolas Cage. 

Repo Man (1984).  I don’t know.  I can’t give you a reason. There is just something about this movie.

Revenge Of The Nerds (1984).  One of my theories is that the nerds of the 1980s were a far better class of nerd than we find today.  1980s nerds at least tried to stand up for themselves, to socialize, to meet girls, and to deal with the world.  Modern nerds, by comparison, seem to have given up entirely and thrown in the proverbial towel.  The message here is that everyone has something to offer, and you have to stake a claim for yourself in life.  What message could be better?     

The Right Stuff (1984). This absorbing three-hour drama about the first years of America’s space program in the 1960s is wrapped in an aura of heroism and sacrifice.   

Risky Business (1983).  I saw it again recently.  It seemed cynical and dark—not at all the amusing story that it appeared to be in the early 1980s.  Maybe the movie presaged the greed and excess of the 80s in a way that could not be appreciated at the time.  You decide.  For good or bad, there’s no denying the film’s influence as a cultural marker. 

River’s Edge (1986).  This dark and uncompromising film is the grimmest tale of wayward youth ever made in America.  Its bleak vision is far ahead of its time, and foreshadows many of the social problems of the 1990s and 2000s.  The problem was that in 1986, few people were listening.  Director Tim Hunter had the courage to sound the alarm bells when no one else would—and his movie looks more relevant today than it ever has.  See it.   

The Road Warrior (1981).  Australian director George Miller’s post-apocalypse masterpiece is the final word in this genre.  Endlessly imitated or ripped off, The Road Warrior is, at its heart, a very human and personal story of heroism in great adversity. The Road Warrior proves once again that all great movies must first be great human tales.  

Robocop (1987).  If you see it again, you may be surprised at how dark and prophetic it is.  Its themes—total corporate control, the manipulation of the public, and the complete futility of elections—seem now to be uncomfortably prescient.  Science fiction as social commentary has never been this effective since H.G. Wells’s novel When The Sleeper Wakes.    

Scarface (1983).  Al Pacino’s greatest role, and probably the best gangster picture of all time.  And you can’t take your eyes off the screen—despite knowing it’s all going to end in a blaze of bullets and destruction. 

Sex, Lies, And Videotape (1989).  It belongs to the 1980s, but Steven Soderbergh’s breakout movie really feels like a 90s indie drama.  And it’s fantastic.  James Spader’s best work leaves the view with mixed feelings, and that means that the director has done his job.  A harbinger of the 90s indie explosion that was to follow on its heels.

The Terminator (1984).  Many have forgotten that this movie came out of nowhere, with almost no advance publicity.  The story is riveting, the premise sublime, and the action unrelenting.  But of course, you already knew that. 

The Thing (1982).  John Carpenter’s claustrophobic masterpiece is one of the best examples of horror cinema produced in America.  Yes, it’s that good.  Expertly paced and deftly using creative special effects work, this may be the most paranoid nightmare ever put on film.

They Live (1988).  John Carpenter’s ambiguous science fiction tale about sinister forces controlling society has developed a cult following.  Was the movie intended as an allegory?  Or would that interpretation be going too far?  See it, and decide for yourself.       

This Is Spinal Tap (1984).  Without question the greatest fake documentary ever made.  I’ve seen so many musicians say that, when watching this movie, it made them feel as if it was made specifically about them.  Filled with hilarious scenes and memorable dialogue, this one needs to be seen at least once per year.

To Live And Die In L.A. (1985).  One of William Friedkin’s many masterpieces.  A quintessential 1980s Los Angeles crime drama stars the ageless William Petersen and a sinister Willem Dafoe.  With its music, pastel coloration, shots, and clothing, few movies evoke the spirit of the decade as this one does.

Trading Places (1983).  What seemed like a harmless Eddie Murphy comedy in 1983 now seems like a searing social commentary on class barriers, avarice, and cruelty.  In this sense, Trading Places has grown immeasurably in stature with the passing decades.  It’s hard to imagine a movie like this getting made today.    

Wall Street (1987). A moral parable disguised as a tale of 1980s finance, Wall Street ranks with Platoon and JFK as Oliver Stone’s greatest work. A young broker agrees to sell his soul to an unscrupulous tycoon, believing that the price of selling out is worth it. Unfortunately for him, dining with the Devil turns out to be very different from what he imagines.   

Witness (1985).  Harrison Ford’s best work.  On the surface it is a crime drama, but beneath this we find a profound tale of moral choices, sectarian barriers, and the effects of violence on civil society.  A vastly underappreciated film.  Danny Glover’s and Josef Sommer’s portrayals of corrupt, murderous police officers is so effective that you will never quite see them the same way.   

So many movies could have made this list. Honorable mentions include The Killing Fields (1984), Rumble Fish (1983), The Outsiders (1983), Full Metal Jacket (1987), Stand By Me (1986), The Lost Boys (1987), and Heathers (1988). 

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Be sure to take a look at the new translation of Cicero’s Tusculan Disputations.