Back to the Future

"Marty! You gotta come back with me!" "Where?"
"BACK TO THE FUTURE!"

The 80's were a great time for movies. But as far as 80's movies that fall solidly under the category of "Fun" and follow a teenaged lead, it's hard to find something truly remarkable. Movies like The Last Starfighter or Adventures in Babysitting may have a winning concept or teen appeal, but then the plots seem to spin their wheels for an hour or so without going anywhere, while the runtime is filled with character antics that grate on your nerves, fluffy, nonstarter side plots, and boring car chases. John Hughes had unique characters and romance, but what about adventure? Danger? High stakes? Back to the Future ticks every box. And it fulfills each category better than its competitors often can even fill one. 

It's easy for me to take things about it for granted. Like Marty, to start. He was established in my brain as that archetype from childhood. 80's teen. Main character. Running around, getting in and out of trouble for our enjoyment. He's the standard I hold others of the kind up to—and yet I've barely considered that's what I'm doing because I knew who and what Marty was before I knew how to define it. He seems so simple and straightforward; but watching this movie and paying attention to his characterization, it's astonishing how many moments are made to serve him. It's a plot movie. Marty is made to have an every-kid feel on purpose. But he's still so established. His life, personal dreams, girlfriend, that almost have no relevance to the time-traveling adventure. And yet, if he were never in a band, we'd never have the show-stopping Johnny B. Goode performance. And that's the best dang scene in the whole movie!

Then give it all to Michael J. Fox to play and I have to check my taking-things-for-granted tendency again. To me, they're one and the same person. And even if Fox is essentially playing himself, his balance of traits is calculated. He's goofy. But, pretty cool, actually. Charming, but with an accidental feel. He can win a beautiful girl, but he hangs out with an eccentric inventor. He's not the popular guy in school, but neither does he have to deal with bullies—unless you count the principal! We easily believe both his dumb, bumbling reactions to events, and his ability to jump into action with confident competence. The likes of Tom Holland have probably lost long hours of sleep over this characterization and how balanced and blended it all is. I think Fox has a lot to do with it. But also the writing can't be ignored. It gives him so much to work with for such a tonally light character. 

And all that being said, my favorite character has long been Crispin Glover's George McFly. What's a transformation! What awful oily hair! What sincere, aching blue eyes! Watching Marty work to gift his parents with a happier, more fulfilled life has always been the highlight of the movie for me. The time travel is the fun part—that allows us to go through the extreme ups and downs of the family drama. George and Lorraine both seem hopeless losers, but all that can turn around in one immaculately set-up, powerful moment—and then seal it with a song, a kiss, and a song—as only a true 80's movie can. After how beautifully and satisfyingly that thread concludes, I often forget that Marty still has to, you know, get back to the future and all that.

The movie really has to go to work on the third act wrapping up because of how many threads it has going. And having each one conclude in ways you don't quite expect (but that make perfect sense because the set-up was there but not projected) really makes the whole last third of the movie feel like a rollercoaster of thrills and heartwarming victory—where the highs are high and the lows are high, too. Even when we're finally allowed to settle, after all the good news is out, it's not long before they're off again, promising more and more in the next movie. Even if you don't go right into the sequel (which I rarely do) the euphoric feeling sticks. How do they do it? How do they make every subplot feel vital—and each payoff feel inevitable and also like beating the odds?

Such an interesting love story because it's not about who loves who, will-they-won't-they, but it comes from a very honest perspective: "These two HAVE to end up together. Here's how." 

All I can figure is that when every detail and facet of your story is important and useful and built upon each other, it hides which ones will be used for the next payoff. Or maybe it's all so extraordinarily entertaining that you look past the moments of set up. Because even if they weren't used to set something up, they were still good moments that elevate, deepen, and give momentum to the story. Not a second wasted. Not a moment falling short. All as a fun 80's scifi teen adventure, with all the life-or-death situations, romance, and chase sequences you could ask for. That, and Doc's wide-eyed crazy expressions, too. I love this movie; and that's one thing about it I could never take for granted.

Sierra Burgess Is a Loser

...but her movie wins big time.

A Netflix high school romantic dramedy, this flick sees Shannon Purser as Sierra, an unpopular girl who unexpectedly receives some very interested texts from a hot guy she's never met before. Turns out a mean, super attractive cheerleader Veronica (Kristine Froseth) gave him Sierra's number as a way to both brush him off, and mess with the girl who irks her. But Sierra, pretending to be Veronica though texting, begins to really like this Jamey (Noah Centineo), and when Veronica's college boyfriend dumps her for not being smart enough, Sierra sees an opportunity for mutual benefit.

Our Beloved Barb Holland!

Next thing you know, Veronica is the fake face of Sierra's budding relationship with Jamey (the kids call it "catfishing"), while Sierra tutors her into sounding like a deeper person. You can probably see where it's all going and imagine the unlikely situations that must be navigated. But this movie has a little bit more going for it than a classic Disney Channel-style rom-com plot made with a Netflix budget, and that is a theme that had genuine thought put into it, and defying convention when it comes to easily stereotyped characters.

Sometimes I watch movies that are similar to this and think "If only they'd done this, it would be a genuinely good message." Someone must've been on my wavelength because this movie does exactly what I wanted. At first Veronica is like we've seen a million gorgeous cheerleaders portrayed. Ostensibly, her bullying comes out of nowhere and she's a drama-crating device. But as Sierra gets to know her we understand why she might be inclined to mean to someone she deems lesser and ugly (it's still detestable, but there's tangible motivation), and she becomes as important part of the story -- a true character we want to see get better along with Sierra.

A heavy-handed trope turned on its head.

Note that I said "along with" Sierra. We know she'll face her trials here because she's not conventional and gorgeous, but she starts out with apparent good self-esteem over her appearance. Good thing. But the movie digs in and finds her weaknesses, and as she faces them she comes away a better person. But, she gets worse before she gets better, even going so far as to engage in terrible bullying herself. Elsewhere it might be called anti-bullying, but it's the same, and this movie acknowledges that. I love this. It says that bullying bullies is never the answer, and no matter how impenetrable someone's defenses appear, you never know the damage you may do.

It says that we shouldn't judge by appearances, but it applies that message to all -- not just the outcasts, but to those who have a flawless public face and might be struggling underneath, too. Just because you're pretty doesn't mean you can't hurt. Just because you put on a confident face doesn't mean you don't feel vulnerable. It's all the same, and most teen rom-coms don't seem to notice that. In this day and age, we know that the outcast may have a winning personality and a heart of gold, but we can't seem to accept both them, and the ones who puts effort into appearance at the same time. But we either judge by surface appearances, or we don't.

A person's value isn't based on their outward appearance, one way or the other.

It's those things that for me, raised this flick above the bar, but otherwise it has its balance of pros and cons. For one, the cast is super charming, but not exceptional. Shannon Purser is -- and don't murder me now -- a fine actress and manages to lead this movie well, but I find her delivery oddly wooden at times. Other times, she's genuinely impressive. I also find it amusing that she, the girl who's been America's sweetheart since her debut in Stranger Things could possibly be perceived as the full-on loner outcast this movie wants her to be -- no matter how unconventionally-sized she is. She's so lovable. Who couldn't adore that genuine and lovely smile?

I dub this movie "The Movie of Charming Actors With Fantastic Smiles" actually, because Kristine Froseth's smile is gorgeous too. Though the whole girl is drop-dead honestly. I loved her character, because of the depth she was allowed to get to, and how most of the movie was secretly about her unexpected friendship with Sierra. She sold it all. And Noah Centineo has one of the most infectious smiles I've ever seen. Ever. If you've seen To All the Boys I've Loved Before you know what I mean. (Another Netflix rom-com I'd recommend!) His character takes a bit of a backseat in comparison with Boys, (it has to, as the deception can only go so far before it has to fall apart) but he's a worthy and charming inclusion.

Sierra's best friend Dan (RJ Cyler, aka Earl of Me and Earl and the Dying Girl) is decidedly most underused.

Sierra's parents are Lea Thompson and Alan Ruck, and I especially liked seeing Alan Ruck because of his popular character Cameron Frye who also learns self-confidence. His character here is an off-the-wall famous author who quotes other authors all the time and I just really enjoyed him. There's really a lot of uniqueness to delve into and appreciate, but a word of warning -- I wouldn't call it a comedy. It's marketed as such because of the situational plot but it's really more of a lighthearted drama. Most of the things I laughed or smiled at was character-interaction based, not actual jokes. Just to gauge expectations.

The ending is what drops the ball the most but I say they still carried it across the line. I love that the heroine makes a genuine bad mistake that's fully on her, but there's still that pitfall of misunderstanding thrown in there. And I wish they'd taken longer to wrap things up, as amends for bad things done comes too easily, even for a light little flick. Emphasis on the hurt she caused was left wanting. The situational elements go over-the-top, but that's to be expected, and some of the scenarios work impressively well, like the Skype-call date scene. And it's a little detail but I love whenever a movie slips in some sign language usage and a deaf character and this one made great use of it.

Noah and Shannon had good chemistry on the phone but I wish they'd had more real screen time together.

If anything, this flick stretches itself too far, as I would've loved to see each plot line developed further, but there's no time. One more odd thing: in spite of all the texting included, it's never superimposed on the screen; a useful technique, not utilized. This isn't a grand cinema-type movie, but really, rom-com-drams do not need to be. Netflix is the perfect outlet for flicks of this type -- they can be unique and dig in to say something meaningful without having to be Extra artistic, while easily reaching a wide audience eager to be entertained.

If that appeals to you, stick this one on your queue. Or, better yet, sit down and play it without putting it off. Sierra Burgess might be a "loser" but we all know she's really not. And you won't be either.