Trying to get right what they got so wrong with Pretty in Pink (1986), John Hughes and Howard Deutch teamed up again to make this careful study of the high school dating scene. In the poor corner is Keith (played by the original Marty McFly). We first see Keith looking like an absolute dish as he struts down a stretch of dusty train tracks, but he quickly reveals himself as a depraved monster by giving an innocent conductor a heart attack by faking an attempted suicide by train. His rival in the rich corner is Hardy Jenns, a classic spoiled 80s brat who undoubtedly sold his tech startup in early 2001 and now lives in Costa Rica with his sixth wife.
The object of these two cads' obsession is Amanda Jones, the role Molly Ringwald wouldn't touch with a ten-foot pole. Lea Thompson, fresh off her own Oscar-considered star turn in Howard the Duck, nails the part by reminding us that she is more than just a target for the two competing scoundrels.
After a downplayed domestic violence incident in which Keith bruises his sister's arm (not DJ Tanner, the other one) his only punishment from his parents is to look at college brochures; this is par for the course as Keith's old man can't wait for his only son to take the abusive show on the road to any college campus that will help sweep future assaults under the rug. Meanwhile Hardy works his charms on a young blonde trying to increase the size of his stable then gaslights Amanda when she stumbles into the hallway factory where the sausage is made.
Afraid to limit her options until she can gauge Keith's interest, Amanda continues to see Hardy and convinces him to take his convertible to the gas station where Keith is working to save up money for fancy dinners and diamond jewelry. The film's key confrontation takes place between the gas pumps, Hardy playing the over-the-top yuppie snob to the hilt and Keith going the sweaty, oil-stained beefcake route. While Hardy drives off with Amanda, Keith gets the last laugh by stealing and throwing away Hardy's platinum-plated dipstick.
Keith has seen enough. While the rich kids are hanging outside the mall he interrupts his stealthy Amanda-stalking to inject himself into her latest argument with Hardy, playing it innocent with a wholesome date request rather than what he really wants (more of an Ike-Tina Turner arrangement but without any talent).
In the buildup to the big date, which the entire community rightly sees as a subterfuge for the clash of titans between Keith and Hardy, both camps hatch plans to take down the other. Keith has the support of Duncan and the detention lifers, while Hardy is backed by 3/5ths of the water polo team.
As an appetizer before the big showdown Keith continues to groom his second choice Watts in the event that Amanda chooses Hardy. Watts makes clear her affection for Keith, who wisely plays dumb until he can see what his other options are at the end of this long Saturday night. When the dust settles on the house party head to head main event, Amanda realizes she can do better than both of these worms and gives Keith back the zirconia earrings he forced on her during their date.
Just as we see something wonderful, the uprooting of the established social order where maybe now an Amanda Jones can exercise her own independence from despicable rogues like Hardy and Keith, the filmmakers remind us that it was just "Some Kind of Wonderful" as Watts foolishly accepts being Keith's second choice for the night, resuming the same old circle of life once again.
7/10
The object of these two cads' obsession is Amanda Jones, the role Molly Ringwald wouldn't touch with a ten-foot pole. Lea Thompson, fresh off her own Oscar-considered star turn in Howard the Duck, nails the part by reminding us that she is more than just a target for the two competing scoundrels.
After a downplayed domestic violence incident in which Keith bruises his sister's arm (not DJ Tanner, the other one) his only punishment from his parents is to look at college brochures; this is par for the course as Keith's old man can't wait for his only son to take the abusive show on the road to any college campus that will help sweep future assaults under the rug. Meanwhile Hardy works his charms on a young blonde trying to increase the size of his stable then gaslights Amanda when she stumbles into the hallway factory where the sausage is made.
Afraid to limit her options until she can gauge Keith's interest, Amanda continues to see Hardy and convinces him to take his convertible to the gas station where Keith is working to save up money for fancy dinners and diamond jewelry. The film's key confrontation takes place between the gas pumps, Hardy playing the over-the-top yuppie snob to the hilt and Keith going the sweaty, oil-stained beefcake route. While Hardy drives off with Amanda, Keith gets the last laugh by stealing and throwing away Hardy's platinum-plated dipstick.
Keith has seen enough. While the rich kids are hanging outside the mall he interrupts his stealthy Amanda-stalking to inject himself into her latest argument with Hardy, playing it innocent with a wholesome date request rather than what he really wants (more of an Ike-Tina Turner arrangement but without any talent).
In the buildup to the big date, which the entire community rightly sees as a subterfuge for the clash of titans between Keith and Hardy, both camps hatch plans to take down the other. Keith has the support of Duncan and the detention lifers, while Hardy is backed by 3/5ths of the water polo team.
As an appetizer before the big showdown Keith continues to groom his second choice Watts in the event that Amanda chooses Hardy. Watts makes clear her affection for Keith, who wisely plays dumb until he can see what his other options are at the end of this long Saturday night. When the dust settles on the house party head to head main event, Amanda realizes she can do better than both of these worms and gives Keith back the zirconia earrings he forced on her during their date.
Just as we see something wonderful, the uprooting of the established social order where maybe now an Amanda Jones can exercise her own independence from despicable rogues like Hardy and Keith, the filmmakers remind us that it was just "Some Kind of Wonderful" as Watts foolishly accepts being Keith's second choice for the night, resuming the same old circle of life once again.
7/10