The 20 Best Movies of the 1980s

Brenda Chase, Hulton Archive/Getty Images
Brenda Chase, Hulton Archive/Getty Images

In the 1970s, Hollywood studios gave bold young directors free rein, resulting in a new golden age of movies (and a lot of ulcers for studio execs). In the 1980s, burned by the excesses and high-profile disasters of the '70s, the studios took charge again and started churning out safe, reliable, assembly-line product. But you can't keep creative minds down. Despite the limitations and studio-mandated box office expectations, a number of excellent movies managed to get made, including some that achieved greatness by reinventing old genres and tropes.

1. Raging Bull (1980)

Martin Scorsese, one of those mavericks from the '70s, kicked off the new decade with what many consider the best film of his career, a black-and-white, fact-based story of a volatile boxer (Robert De Niro, who won an Oscar for it). Though it wasn't a box office success (which caused Scorsese no small amount of anxiety), it was hailed by critics and awards-giving bodies, and is now regarded as one of the best boxing movies of all time.

2. Airplane! (1980)

Brothers David and Jerry Zucker and their friend Jim Abrahams didn't invent the spoof genre, but they perfected it with Airplane!. Forty years later, this lightning-fast cavalcade of slapstick, wordplay, and everything in between is still hilarious, still the standard by which other spoofs are measured (though see the same crew's 1984 entry Top Secret! for a close runner-up).

3. The Shining (1980)

Stephen King famously didn't like Stanley Kubrick's adaptation of his horror novel, but cinephiles—especially devotees of Kubrick—found much to love in the ominous, idiosyncratic, ultimately terrifying story of a man going stir-crazy at an isolated hotel. The methods to Kubrick's madness are a story in themselves (see the fun documentary Room 237), and The Shining remains one of the more unnerving studies of a damaged mind.

4. Ordinary People (1980)

Robert Reford's directorial debut, a searing story about a family in crisis after the death of a son, earned him the only competitive Oscar of his career (so far) and established him as the latest well-liked actor who was perhaps even better behind the camera. Sitcom stars Mary Tyler Moore and Judd Hirsch also proved their mettle as serious actors, making Ordinary People a surprise on several counts.

5. Raiders of the Lost Ark (1981)

Steven Spielberg and George Lucas were two of the other '70s mavericks, and their fond homage to the serialized movie adventures of their childhoods is one of the best examples ever of making a high-quality movie while staying inside the lines. With an A-list star (Harrison Ford) and those two A-list directors involved (Lucas as producer), they could have coasted and made a hit. Instead they proved that popcorn entertainment can also be ingeniously crafted.

6. E.T. the Extra-Terrestrial (1982)

Spielberg had a pretty great decade (even more so if you believe he's the true director of Poltergeist), and followed up Raiders of the Lost Ark with this instant sentimental classic about a boy and his alien friend. Spielberg's sappiness would get the better of him in duds like Always, but here he found the right blend of emotion and nostalgia by giving it a bitter undercurrent (Elliott's parents' divorce, the inevitable farewell) to remind us that even the sweetest memories often have tinges of sorrow.

7. Tootsie (1982)

Cross-dressing has been a staple of movies since the earliest days of film, but it's rarely been done with such precise satirical purpose and sharp wit as this Sydney Pollack-directed comedy in which struggling actor Dustin Hoffman gets a part on a soap opera by pretending to be a woman. Shifting gender politics would make this a very different film today, but its basic points about sexism (not to mention its humor) are timeless.

8. Once Upon a Time in America (1984)

Italian "spaghetti Western" director Sergio Leone's final film was this epic gangster story starring Robert De Niro (of course) and James Woods, which unfortunately got chopped up for its initial release and flopped. The full 229-minute version is the one that eventually earned critics' attention for its sweeping, violent story of greed, told with a sense of the poetic.

9. Amadeus (1984)

F. Murray Abraham won an Oscar for playing the jealous Salieri in this triumphant, intelligent account of the composer's relationship with Mozart (played by an also-nominated Tom Hulce). The film won Best Picture and remains one of the finest portrayals of artistic genius, and is a grandly entertaining music appreciation lesson to boot.

10. Ran (1985)

Another epic from a legendary director nearing the end of his career, Akira Kurosawa's magnificently dark take on King Lear is one of his masterpieces. Full of tragedy, brutality, and spectacle, it's a visually compelling (and timely) commentary on war and greed. The battle scenes are some of the most striking ever filmed, enhanced by some 1400 handmade costumes and Kurosawa's unnerving eye.

11. Brazil (1985)

Terry Gilliam's bleak, hilarious vision of a dystopian future is full of unforgettable images and situations, few of them crazier than the behind-the-scenes story of the film's release. The struggle was worth it, though, and over time Brazil evolved from a cult favorite into a legitimate classic. Political satire has rarely been so imaginative.

12. Back to the Future (1985)

Here is another movie made within the confines of the studio system that managed to transcend the cookie-cutter mentality by being just about a perfect piece of entertainment. The concept is irresistible, the execution spirited, the performances uniformly appealing. The word "masterpiece" doesn't need to be reserved for long, serious movie.

13. Platoon (1986)

There was a cycle of intense Vietnam films around this time, including Kubrick's Full Metal Jacket, which could just as easily have made this list. But Oliver Stone's stands out for being semi-autobiographical and capturing the harrowing, dehumanizing details of war. It also features Charlie Sheen's best performance (a low bar) and great work by Willem Dafoe and Tom Berenger.

14. Blue Velvet (1986)

This glimmering nightmare about the seedy underbelly of suburbia is director David Lynch at his David Lynch-iest, a mesmerizing horror-noir about a naive young man (Kyle MacLachlan) who gets involved with a nightclub singer (Isabella Rossellini) being tormented by a maniacal drug dealer (Dennis Hopper). Hopper’s performance makes for one of the most terrifying villains (non-supernatural division) in all of film.

15. The Untouchables (1987)

To tell the explosive story of Eliot Ness pursuing gangster Al Capone, you need a director as brash as Brian De Palma and a screenwriter as percussive as David Mamet. Like Scorsese, De Palma brought his facility with balletic violence with him from the ‘70s, in the service of a story that affords Kevin Costner, Robert De Niro, and Sean Connery the opportunity to do stellar, testosterone-fueled work.

16. The Last Emperor (1987)

Italian master Bernardo Bertolucci (Last Tango in Paris) earned a Best Director Oscar for this sumptuous biography of China’s last emperor, much of it shot on location in Beijing’s awe-inspiring Forbidden City. That fact alone is impressive, as are the 19,000 extras used over the course of the film. But more important is Bertolucci’s marvelous ability to help us understand an entire nation of people through the eyes of one venerated figure.

17. Wings of Desire (1987)

A romantic fantasy about angels and mortals falling in love, also featuring Peter Falk as himself: a former angel who got bored with immortality and became human. Wim Wenders’ rich, enchanting masterpiece was remade in 1998 as City of Angels, but the original stands as a lovely, imaginative, and affectionate look at humanity, with an air of bittersweetness to the black-and-white way angels see the world.

18. Who Framed Roger Rabbit (1988)

Ever interested in the pursuit of new technology, Robert Zemeckis pulled off several miracles with this detective noir story that shares some DNA with Chinatown. The interaction between live-action humans and animated characters was groundbreaking, and in many ways still unsurpassed. Getting cooperation from the many competing rights-holders to include their characters—and we’re talking big-time characters, all the way up to Bugs Bunny and Mickey Mouse—was a feat in itself. It’s also a deliriously loony comedy teeming with meta-references and in-jokes.

19. Field of Dreams (1989)

Hardly anyone knows who wrote and directed this sentimental favorite (Phil Alden Robinson; he also made Sneakers), but everyone can tell you the catchphrase: “If you build it, he will come.” “It” is a baseball field; “he” is for the viewer to discover as Kevin Costner brings tears to your eyes with a story of fathers, sons, and America’s favorite pastime.

20. Do the Right Thing (1989)

Few things are as universally agreed upon as the notion that Spike Lee was robbed of his Oscar the year that this incendiary story about race relations on a hot day in Brooklyn competed with the anodyne Driving Miss Daisy. From the explosive opening sequence of Rosie Perez dancing to Public Enemy to the final moments, this is a personal, angry, funny film full of righteous fury and cinematic energy.

Take Advantage of Amazon's Early Black Friday Deals on Tech, Kitchen Appliances, and More

Amazon
Amazon

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

Even though Black Friday is still a few days away, Amazon is offering early deals on kitchen appliances, tech, video games, and plenty more. We will keep updating this page as sales come in, but for now, here are the best Amazon Black Friday sales to check out.

Kitchen

Instant Pot/Amazon

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HadinEEon Milk Frother; $37 (save $33)

Home Appliances

Roomba/Amazon

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Vitamix 068051 FoodCycler 2 Liter Capacity; $300 (save $100)

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Ring Video Doorbell; $70 (save $30) 

Video games

Nintendo

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- Ghost of Tsushima; $40 (save $20)

BioShock: The Collection; $20 (save $30)

The Sims 4; $20 (save $20)

God of War for PlayStation 4; $10 (save $10)

Days Gone for PlayStation 4; $20 (save $6)

Luigi's Mansion 3 for Nintendo Switch; $40 (save $20)

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Microsoft/Amazon

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Apple iPad Mini (64 GB); $379 (save $20)

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Tech, gadgets, and TVs

Apple/Amazon

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10 Behind-the-Scenes Secrets of Professional Songwriters

A songwriter in her natural habitat.
A songwriter in her natural habitat.
Soundtrap, Unsplash

Behind every club banger and power ballad is an eclectic team of individuals, each with their own role in its creation and promotion. Needless to say, it couldn’t happen without the songwriters. These gifted musicians don’t just pen the lyrics that fuel all your car concerts and karaoke nights—they also manage egos, help artists articulate their innermost feelings, and juggle their own side gigs. So what does a songwriting career actually look like? Mental Floss chatted with three experienced songwriters about everything from how they make money to how they make hits.

1. It’s common for songwriters to have their own music careers.

From Carole King to Pharrell Williams, the music industry has long teemed with talented artists who’ve written songs for other acts—so it’s not exactly surprising that so many songwriters are nurturing what they call their own “artist projects.” In fact, all three songwriters interviewed for this article have released new music in the last few months. Daniel Capellaro released the EP Nightside [A] in November under the moniker “Dvniel”; Skyler Stonestreet’s first single as “The Sunshine State” dropped in late October; and Trent Park has been unveiling a steady stream of singles and corresponding music videos since June.

Though it seems like it could be difficult to constantly fork over songs that they might want to release themselves, the collaborative nature of the business prevents this from being a major issue. Often, the songwriter is working off ideas and emotions specific to the artist they’re writing for, so the song truly feels like it belongs to that artist. Other times, the song gets tweaked by so many writers and producers that it’s no longer the original songwriter’s personal opus. “When a song comes out, sometimes I’m like, ‘Ah that was good, but I would’ve done it a totally different way,” Park says. “But that means it wouldn’t be the song that it is.”

2. Songwriters sometimes have to fake it ’til they make it.

In a business built on relationships, it’s pivotal for up-and-coming songwriters to always be on the lookout for new connections. Sometimes, this means acting first and thinking later. During Capellaro’s early days in Los Angeles, his demo CD was his de facto business card. About a month after giving one to an executive from Universal Music Group, he got a call from the company asking when he was playing next. Having no dates lined up, he picked one at random: March 16. “So I hang up and I'm like, ‘OK, I’ve just committed to playing a show. I've got no venue. I've got no band. I have to get all this put together in the next 30 days,” Capellaro remembers.

He found a former bass player from the band Lifehouse on Craigslist, and the two set about securing the rest of the band. For the venue, Capellaro chose a well-known rehearsal space called SIR (Studio Instrument Rentals), only to find out that the Universal exec slated to see the show “[had] never signed a single act at SIR—she hates that place.” It was too late to switch venues, so Capellaro reassured his Universal contact over the phone that “she won’t recognize it” and immediately transported everything in his recently furnished living room to the stage to give it a whole new look. “I had a couch, a rug, tea candles,” he says. “I wanted it to feel like MTV Unplugged.” The hard-to-please executive was duly impressed. “She’s like ‘You sound great. How long have you guys been playing together?’ and I’m like, ‘Ah, you know, for a while.’ I didn’t want to tell her ‘Four days.’”

When asked what surprised him most about the industry, Park answered without hesitation: “That nobody knows what they’re doing.” He, too, confessed to occasional fibbery. “There are some times when I reach out to an artist and I say, ‘I love your stuff. I have a song for you,'” he says. “I’m completely lying. I just want to work with that person, and once they reach out I end up formulating songs in the vein of their stuff.”

3. Songwriters don’t just write for career music artists.

Songwriters like Capellaro and Stonestreet, who are signed to music publishing companies, mainly do work on songs for fellow artists. Park, on the other hand, is an independent songwriter—so his clients sometimes come from other industries altogether. “Right now I'm writing for a couple lawyers that are just doing it as a passion, but they pay me really well,” he says. “I’m there for everyone. Honestly, it’s way better money.” Park also spent a few weeks writing songs for the wife of a billionaire app developer. Not only did she pay him triple his per-song rate and triple his per-diem rate, she also insisted on posting him up in a luxury hotel and giving him an additional $500 each day for food and other expenses. “That was a really cool [scenario],” Park says, “I’m hoping for more of those.”

4. There are countless ways to create a song—and countless people involved.

Songwriting isn’t exactly a linear process. “You can start from any place,” Capellaro says. “You can start with someone toe-tapping, or have a piano pulled up and just start playing a C chord over and over again.” Often, the record label has already started for you—they’ll send an instrumental track to multiple songwriters, who each adds their own lyrics and melody. Then, the label simply chooses their favorite.

Other songs originate in songwriting camps. Basically, a record label will gather various songwriters in a house, split them into small groups, and “see if magic happens,” Stonestreet says. During a camp meant to generate hits for Dua Lipa a few years ago, it did: Stonestreet and several other writers penned her 2018 single “IDGAF.”

But even after a track has lyrics and a melody, there’s always a chance it’ll undergo another round of edits. Maybe a label liked a certain producer’s work on another song, so they ask them to tweak this one; or they bring in a new writer to fine-tune a few words or add a post-chorus. Big artists also sometimes have personal collaborators that they want credited on the song, whether or not they actually helped create it. “That’s why when you look at a Katy Perry song, you’re like ‘How did 14 people write this one song that has the most juvenile lyrics I’ve ever heard in my life?’ They didn’t—it’s all politics,” Capellaro says.

5. Songwriters don’t make much from music streaming services like Spotify.

Music streaming services like Spotify and Apple Music are notorious for pocketing most of the earnings from artists’ work. Spotify, for example, pays the rights holder as little as $0.006 for each stream—and that paltry sum must then be split among all the people involved in making the song. Songwriters, producers, musicians, managers, label executives, and any number of other people could each be entitled to a certain percentage of the profits. “I have over a million streams on one catalog, and that translated to $785,” Capellaro says. “If I sold a million copies, I would’ve had a house up in [Beverly Hills].” Not only are the rates low, but artists also have to somehow make their songs stand out from the tens of thousands of other new songs released each week, which Capellaro admits is “virtually impossible.”

6. Songwriters often juggle other jobs.

Since songwriters can’t rely on streaming dividends for income—and salaried music publishing positions don’t always come easy—they often make ends meet with a variety of side gigs. Park realized early in his career that while songwriters were mainly earning money from royalties, producers were often paid an hourly rate or up-front lump sum. “So I learned how to produce,” he says. Then, he purchased a mic and other equipment so he could record vocals at home—like hooks for people’s rap or EDM songs. “Basically, I’m an a la carte thing,” he explained. Park eventually branched out into music video production, and he’s now directed videos for chart-topping artists like G-Eazy and Ty Dolla $ign. He also served as a music technical consultant for 2020’s The High Note, starring Tracee Ellis Ross and Dakota Johnson; in that position, he made sure the dialogue, instruments, and other music-related details matched real life.

Even when a songwriter appears to be working a job entirely unrelated to the music industry, there could be a shrewd reason for doing so. Capellaro spent more than a decade running a restaurant called Amici in Brentwood, California. “I knew I wanted to be there because that’s where the celebrities live,” he explains. Sure enough, he connected with people like J.J. Abrams, Laura Dern, and Bonnie Hunt, who was hosting her NBC talk show at the time. One evening while refilling Hunt’s water glass, Capellaro posed a question: “Hey Bonnie, what would it take to be on your show?” She asked if he had a CD on hand, which he did, and booked him as a musical guest within weeks. The day after the taping, Hunt dined at Amici again and lauded Capellaro for his performance. “I’m like, ‘This is so surreal. I was just on your show yesterday, and now I’m bringing you sea bass.” A producer who caught the performance later reached out to Capellaro and ended up inviting him to his studio for songwriting sessions—which yielded hits for Chris Brown and Boyz II Men.

It was also at Amici that Capellaro developed a friendship with Marc Caruso, a music engineer who happened to be the founder of a music publishing company called Angry Mob Music Group. About five years ago, Caruso, knowing Capellaro was itching to give up his restaurant job and focus on music full-time, offered him a music publishing deal; Capellaro’s been there ever since.

7. Songwriters have to form close bonds with artists in a few hours or less.

Because the goal is to create a song that feels personal to the artist, songwriters usually prefer to work directly with them whenever possible. And getting the artist to give them some seed of inspiration means forging a deep friendship with them within minutes of entering the studio.

“There’s so much trust that needs to happen in the room. You’re telling potentially intimate details about yourself that would be uncomfortable sharing [with a stranger]. So much of it is trying to create a safe place for the artist and a safe place for the writers, all the while dealing with egos the size of tall buildings,” Capellaro says. “It’s almost like a therapy session: What’s your mood today? What happened over the weekend? What’re you pissed off about? What’re you inspired by at this very moment? Because it can change at 5 p.m. today, and maybe that inspires the song.”

Stonestreet expressed a similar sentiment. “I honestly love when the artist is involved. You won’t know anything specific unless you’re sitting there having a conversation—it can be emotional. You form a relationship, and you trust each other to handle the information.”

8. Songwriters have to say “no” without actually saying “no.”

Songwriters have to find creative ways of steering a song in the right direction without flatly rejecting an artist’s not-so-great suggestion. Stonestreet might toss out a compliment and lean on the lackluster reaction of the room as evidence that they haven’t yet struck gold. Something to the effect of: “‘That’s cool, and I like it, but maybe it’s not jumping out, and it’s not making everyone jump around the room and [giving everyone] that feeling of ‘This is so exciting.’”

“I always say, ‘Let’s try it,’” Park says. “‘I don’t necessarily hear what you’re talking about, but let’s try it.’” Sometimes, hearing their idea come to life is enough to make the artist realize it isn’t a great fit. Park also occasionally asks the artist’s manager, significant other, or another trusted party to weigh in, hoping they’ll side with him. “But I am always honest. I’m like, ‘Yeah, I don’t think the idea works. If you like it, 100-percent do it. It’s not my vibe, but it’s your song.'”

And since the artist does have final say, the writers also need to know when to cut their losses. If the artist is hell-bent on certain subpar lyrics? “You’re going to go with whatever they’re going to like,” Capellaro says.

9. Songs sometimes get lost in the abyss.

Earlier this year, Stonestreet wrote Ariana Grande and Justin Bieber’s duet “Stuck with U,” which got released mere weeks later. “I just heard the demo of it last week, and it’s coming out Friday. I don’t understand what’s going on,” she thought at the time. “That was a freak thing. Usually you do have to wait a minute.” A minute could be a year—or never. “So many people have to say yes to the song for it to come out … All the label’s people, the artist’s team, your team.” Even after getting all those green lights, a single could still test poorly among advance radio reviewers and end up stalling indefinitely.

Sometimes, a record label neglects to send the finished product back to the songwriter. “I think some songs can go into a complete abyss where they just sit on a hard drive for years and years,” Stonestreet says.

10. Songwriters have mixed feelings about making music via Zoom.

Since songwriting often involves multiple people spending long hours in a small studio, the coronavirus pandemic threatened to upend the whole system. So songwriters went virtual. Some, like Park and Stonestreet, already had recording equipment at home; Capellaro, meanwhile, quickly invested in a mic, a monitor, cables, and all the other requisite gadgets. To shift the workflow online, they’ve had to more clearly define each person’s task for each song.

“I’m a vocalist, so I’m going to record vocals in my house, and I will send the stems to producer X, Y, or Z, have them tune them for me [and] put them into the rest of the track," Capellaro says. “I can have another guy master it, [and] we can always hop on a FaceTime or Zoom call to get it written and recorded.” This streamlined process has actually helped with productivity. “I have been writing more music since March than I was previously,” Capellaro says.

Making music via video chat tends to work better with fewer people, so Stonestreet has enjoyed the opportunity for more one-on-one sessions. When there are several people on the call, they cut down on confusion over who’s speaking (and singing) by thoroughly explaining each suggestion. “You really talk things through, which has been really nice,” she says. That said, the camaraderie born in the studio is hard to recreate on a computer screen, and songwriters are eager to experience that again. “I love Zoom, but I also really miss people in the room with me,” Stonestreet says.