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Looking at the list of all the movies that released in 1984, it just amazes me how many great titles (too many to list) came out that year. Many of these films I didn't find until later in life, The Razor's Edge, This is Spinal Tap, The Natural, Once Upon a Time in America, because they were way over my 8 year old head. The one movie I did watch, ad nauseum, from 1984-1987 was Romancing the Stone. I was so taken with this treasure-hunting action movie, that my friends and I used to pretend we were going to go to the Amazon and explore the whole thing (more 8 year old wishful thinking). Of all the movies on the list of 1984, this one had the biggest impression on me at the time.
David Lean, one of the all-time greats, made his final film, A Passage to India, in 1984. It's marvelous, with an Academy Award-winning performance by Dame Peggy Ashcroft, and wonderful work throughout. It was the NYFCC's best film of the year. A bit of a shame that it's been looked over in your past discussions of 1984.
Here we have a classic example of Best vs. Favorite. As a 13 year old in 1984, obviously Ghostbusters was my favorite. As for best, I think it is polling out correctly as far as the top two being Amadeus and Spinal Tap, with Tap coming out on top for me. One is a great flick, the other being a Game Changer in the genre.
It's impossible for me to come across Stop Making Sense and not watch the rest of the movie. It's happy making joy on film.
My vote is for Repo Man. This was one of the first really subversive films that I can remember watching. 11 year old me though has to go with The Last Starfighter.
Granville, Ohio
13-year old me would never have chosen a movie like Amadeus... Except I did! This movie taught me appreciation for classical music, how a movie can teach while entertaining, and they there will never be another one who can play Mozart like Tom Hulce, because... that laugh!
this was a hard decision, best not favorite film of 84. Tough
What we've got here is failure to travel in time! Adam and Josh clearly forgot to push the "retain current age" button when going back to 1984, and instead let their nine and ten year old selves pick the films without adult supervision. All films mentioned are American and all but a few are mainstream titles. Grown-up Adam and Josh would never have made such a mistake.
Here's my top 5 from 1984:
PARIS, TEXAS
ONCE UPON A TIME IN AMERICA
BLOOD SIMPLE
THE KILLING FIELDS
NAUSICAÄ OF THE VALLEY OF THE WIND
The omission of ONCE UPON A TIME IN AMERICA from the poll is just puzzling. It's the top film from 1984 in both the Sight & Sound poll and on IMDb. I've seen it argued here that BLOOD SIMPLE is inadmissible because it wasn't in wide release in 1984, but I don't believe that's the criteria used by Adam and Josh. NAUSICAÄ is actually on Josh's top 5 from 1984 and that film also wasn't in wide release in the US in 1984. Year-end lists are naturally restricted by what the list makers manage to catch at a certain time and place, but when revisiting a year the best option is to go by the world premiere date as found on IMDb. Otherwise we’ll never be talking about the same thing.
To me the most alarming omission here is Wim Wenders’ PARIS, TEXAS, which the Sight and Sound poll rates as the second best film from 1984. I can’t find any references to Wim Wenders on the Filmspotting website except on the list of “Future marathon options”, suggesting that the German director is a giant blind spot. Are Adam and Josh living in an alternative reality where there are no ALICE IN THE CITIES, KINGS OF THE ROAD, WINGS OF DESIRE or PARIS, TEXAS? Forget about 1984, you need to fix this as soon as possible!
1984 was a great year in cinema. In Taiwan Hou Hsiao-Hsien made the wonderful A SUMMER AT GRANDPA’S. Chen Kaige kicked off the rebirth of Chinese cinema with YELLOW EARTH. The Italian Taviani brothers released their mesmerizing CHAOS. From Poland we got the sci-fi romp SEXMISSION and the beautiful A YEAR OF THE QUIET SUN. In the UK Michael Radford presented the bleak and haunting NINETEEN EIGHTY-FOUR. There were even a couple of good Danish films (which is unusual for the time) in Lars von Trier’s debut THE ELEMENT OF CRIME and Bille August’s coming-of-age drama TWIST AND SHOUT.
None of this was obviously on the radars of a couple of fourth graders living in America :)
I’m a huge fan of your show and I’m looking forward to your 8 from 84 series (GHOSTBUSTERS vs. GREMLINS and all).
Viggo, Copenhagen
For me Barry Levinson’s, The Natural, is my top film of 1984. It looks beautiful and is what movie magic is all about. Absolutely love the ending and is one of my favorite movie moments of all time. Fell in love with this as a teenager and still am in love with it.
Off the top of your head, recite me any line from Amadeus.
Now, recite me any line from This Is Spinal Tap.
Case closed.
Well I wrote in Paris, Texas and then came here to read the comments. Just piling on at this point. But what a year! I turned 13 and hit the theaters hard that year.
Nighmare?! Ugh.
I have to distract myself so I don't spend this space ranting about Josh's relentless quirks! (In fairness, I mostly appreciate his quirks, for example, I love Balboa, too).
In seriousness, although Amadeus is probably the better movie, but The Natural is so good. I'm not a sucker for baseball movies, but this movie has so much going for it. Redford is at the top of his charming game.
Can a movie be a classic, if it doesn't transition to the next generation? Spinal Tap did merely OK with my punk rocker 16-year-old. Terminator didn't hold up for my sci-fi-loving 17-yr-old (Alien, however, did!). But Ghostbusters is so rewatchable--surviving a viewing with both of my cynical teens! I still have to see if Gremlins, Splash, or Beverly Hills Cop survive the same teenager test.
I didn't need to read beyond the first choice, Amadeus, because I've decided that my answer to the question, "What's your favorite movie" is Amadeus.
Stop Making Sense is one of the purest expressions of joy, creativity, and collaboration ever put to film. Demme is a legend, and this is probably his best film. Plus, a killer soundtrack.
I have affection for many 1984 films like Karate Kid, The Natural, Gremlins and Ghost Busters. I could wax on and wax off about these movies forever. For me, the clear winner for best movie, one that I still wrestle with and that rewards with each rewatch, is Once Upon a Time in America. It's a sweeping epic of friendship and betrayal set to a haunting score. There are shots in this movie that were burned into my brain at first watch. While it seems to be a very straight forward story, it is so unlike any other gangster film and holds on to some of its mysteries tightly.
I actually had a hard time coming up with a 1984 release that even comes close to Leone's masterpiece.
Hughes of course, not Waters
1984 is FILLED with so many good movies, beyond what you listed. You want punk cult hits? REPO MAN. John Waters at his peak? SIXTEEN CANDLES! Serious historical drama? THE KILLING FIELDS!! Jock COld War paranoia? RED DAWN BITCHES. Auteur-driven love story? PARIS TEXAS! Weird musical? FOOTLOOSE! Epic drama? ONCE UPON A TIME IN AMERICA. Hi jinks adventure? ROMANCING THE STONE! And those aren’t even covering your six incredible listed movies.
But for me the movie of the year, and the one I have seen twenty times in the 35 years since, is the Natural. This classic baseball movie is Redford’s great middle-age picture. The story is dramatic, based on the Malamud book, and it is acted beautifully by RR, Glenn Close, Wilford Brimley and the whole cast. Production design is impeccable. The pacing is gentle, never rushed, kind of like a baseball game. It is beautifully shot with dramatic moments and a score that just can’t be beat. The final shots are iconic in the best sense of that word.
When he cracks Wonderboy and he says “pick me out a winner Bobby” and the batboy brings him the bat that he made and they have that moment? Fantastic. Or when Michael Madsen’s Bump Bailey dies in the outfield? Hilarious. And the final homer? It’s just all great.
Pitchers and catchers report for spring training in only a few short days. I think I’ll go up and re-watch the Natural now to remind me that life isn’t perfect, but it’s always better at the ballpark. When’s the last time anyone re-watched Amadeus?
Ok...yes...Amadeus is the best film on the list. The mastery of theater transformed onto screen is a lesson in both art forms. How can the juxtaposition of those two characters, in the way they grapple with their own humanity and lack there of, with such humor and heartbreak, wrapped in a cacophony of sweeping artistic expression - not be the best film on this list? However, because I was a teenager in 1984, and this film feels so out of a 1984 life for me...I had to vote Red Dawn.
Wolverines! I remember the power of it being a story of courage to face our own darkness as much as the forces which divide us. Of course, the first rule of a best film, is it can't have a remake...so I stand here ready to take the heat. Thanks Filmspotting for forcing me to take a stand again in the other category. Here's to another year and I am so grateful to have you in tow.
Looking back at my ratings for films from 84, I think Amadeus does probably edge it out, but I’ll join the chorus saying that the lack of Paris, Texas as an option is a big oversight. Definitely a strong runner up and a film I was not expecting to like that much, that just totally won me over.
It’s so nice to be amongst friends. Paris, Texas—it’s not close.
You should absolutely tackle John Sayles' "should-be" cult classic, The Brother from Another Planet. It's funny, it's weird, Joe Morton's central performance is outstanding, and it directly comments on the state of inner city America in 1984.
Also, Police Academy. I know this isn't the classiest choice, but I do think it best represents the type of comedies that were popular in that era. It's lowbrow and obviously out of step with today's standards, but it's still worth a look.
Ghostbusters and A Nightmare on Elm Street have aged badly. Amadeus and Stop Making Sense are wonderful, joyful crowd-pleasers. The Terminator and This is Spinal Tap are sleepers more influential than they are great works of art. The film that still really sticks, that I keep going back to over and over, is Wim Wenders' Paris, Texas. Harry Dean Stanton's monologue with Natassja Kinski is one of the most devastating scenes in cinema—in 1984 or ever.
Paris, Texas stays with me more than any of the films on this list. Spinal Tap is a very close runner-up (and a very different kind of film) but when one considers its complete lack of marquee value (no robots, scary things, Mozart, or Talking Heads (yes, SMS is probably the best concert film of all time), it has incredible staying power as a work of art. Ry Cooder's soundtrack, Harry Dean Stanton's haunted performance, Sam Shepard's screenplay (on of his best pieces of writing) and this Palme-D'Or winner is hands down one of the greatest achievements in cinema in 1984.
Also, shout-out to the Killing Fields, which would also make a top-5 list for me.
Ken Schwartz
Repo Man is my personal favourite, followed very closely by Starman, Paris Texas, Blood Simple, and Love Streams (which...after missing this in the Cassavetes marathon, I thought it would be a great opportunity to check this out).
I still desperately need to see Stop Making Sense in its entirety. A truly shameful blindspot
Ooh I have to second and third both Body Double and The Killing Fields. Great movies for consideration along with Stop Making Sense. I really enjoyed Amadeus and Terminator so those are very entertaining. I learned more from bd/tkf and sms tho.
To tell the truth, I've only seen three of the nominees put forth, and 1984 is far from my most well-watched year. That said, my current pick for best of the year is a no-brainer: the Zucker/Abrahams/Zucker comedy TOP SECRET! People say it's not as good as AIRPLANE!, but to that I say... what is? It's got the same breathless joke delivery as that classic, the same amount of wit and stupidity in equal measure, while abandoning the narrative structure in favor of attempting to skewer as many genres as possible: war films, spy films, 50's rock and roll films, 60's teens-on-a-beach films... it all makes for a lack of cohesion (something that has and always will plague spoof films), but also some of the funniest gags put to film. It doesn't top the trio's masterpiece, but it's still one of the greatest comedies ever.
I realize there are lot of greats in '84 but leaving the Coen Brothers' spectacular debut off the list is borderline criminal. Blood Simple kickstarted many decades of fantastic filmmaking to come from the Coens. It took a story that should've blended in with so many others in that era, yet shone like a diamond once they put their stamp on it. I was seconds away from choosing This Is Spinal Tap because I hold it so dear, but after a quick Letterboxd search of the movies I've seen from '84, Blood Simple was an easy choice, and I hereby scold you for leaving it off.
So this is a no-brainer. I have seen all of these movies, and the only one that I would ever go back to and watch over and over again is Stop Making Sense. The visual style is arresting and the concert is amazing in its ability to make you want to get up and run around the house... as you burn it down. Not only is this the best movie of 1984, it is arguably Jonathan Demme's finest moment as a film maker. And I think most of that credit should be given to David Byrne and the rest of the Talking Heads.
Stop Making Sense is not only the best film of 1984, but one of the most engaging, influential, and elegantly crafted documentaries I’ve ever seen. Jonathan Demme’s direction is incredibly humble and gracious, allowing David Byrne to shine as the film’s auteur. Whether he’s dancing in the big suit to ‘Girlfriend is Better’ or waltzing with the lamp to ‘This Must Be The Place’ or pantomiming as a postmodern preacher to ‘Once in a Lifetime,’ Byrne is transcendent as one of the great frontmen. Yet even Byrne knows when to dial it back, and give space for the entirety of the Talking Heads to work the stage and screen simultaneously. Stop Making Sense is a masterful reflection on the joys of collaboration and the empathetic energy of performance art.
Stop Making Sense is not only the best film of 1984, but one of the most engaging, influential, and elegantly crafted documentaries I’ve ever seen. Jonathan Demme’s direction is incredibly humble and gracious, allowing David Byrne to shine as the film’s auteur. Whether he’s dancing in the big suit to ‘Girlfriend is Better’ or waltzing with the lamp to ‘This Must Be The Place’ or pantomiming as a postmodern preacher to ‘Once in a Lifetime,’ Byrne is transcendent as one of the great frontmen. Yet even Byrne knows when to dial it back, and give space for the entirety of the Talking Heads to work the stage and screen simultaneously. Stop Making Sense is a masterful reflection on the joys of collaboration and the empathetic energy of performance art.
This is the most difficult poll you guys have ever published. I love the majority of the movies listed. In the end, I have to give it to Amadeus, as it was the first "serious" film that captured my attention when I was 12, and I watched it enough to wear through a VHS copy. I still have most of the film memorized, to be honest. Ghostbusters is still my favorite film of the year, but I'm comfortable saying that Amadeus is the "best".
I voted Other because of my love for The Natural. I was 17 when I saw it and it became my favorite move. I liked the themes of ambition leading to success, downfall leading to exile, belief leading to redemption. The heroes epic journey is a story as old as time, but few contemporary movies depict it as well as The Natural. Even fewer heroes embody the weariness of the journey quite like Redford does as Roy Hobbes.
Here's my hot take: the all-female Ghostbusters remake was way better than the original, and I didn't even like it that much.
PARIS, TEXAS and it's not even close.
Amadeus is the best movie of the mid 80s. It’s the greatest Man vs God story. Saleri hates God! He loves Mozart’s music. He hates that God has given true talent to Amadeus and only the ability for him to love it. He wants to destroy what God created so he won’t have to be the only one that loves and understands the complex music. Another context is the murder of John Lennon just five years early. His killer was a Beatles fan but more importantly had issues with fame and authenticity. Is Saleri a classical Holden Caufeld?
We got an Alexa for Christmas and the first song my son requested was Sex Farm Woman. We raised that kid right. Spinal Tap for the win.
These are all great choices... but if you are going to have genre picks A Nightmare on Elm Street and Terminator (both films I am a fan of) some of my favorites that I wish had made the list: Romancing the Stone, The Last Starfighter, and The Never Ending Story.
I voted for other: Star Trek III the Search for Spock. Perhaps there are better movies from 1984 but this one is my favorite. The heist of the Enterprise might be one of my favorite all time scenes. In addition to being big , operatic and entertaining I think the movie also has a lot to say about grief and sacrifice.
All of these movies are deserving of consideration, but Amadeus stands out above the rest not only as one of the most entertaining movie ever made (at 3 hours running time no less) but also as a showcase of a range of tones bolstered by two of the best performances in film history...in the same movie. The cackling Tom Hulce. The brooding F. Murray Abraham. The music. The production design. It's a true masterpiece. I first watched it in middle school as part of a music appreciation class. It changed me. It also connected me to my (now late) father. He adored the works of Milos Forman and placed this one at the top. I always loved finding those connections with my Dad. I suppose that personal, sentimental connection is what puts this above other favorites like the genius Stop Making Sense, the hilarious This is Spinal Tap, and the wise-cracking fun of Ghostbusters, which, Josh, you are way under-appreciating. That movie is my childhood..and I was a 90s kid. - Kevin from Clinton, TN
I worship Talking Heads, but wouldn’t rank a pure concert film against narrative features (or even concert docs like Gimme Shelter and Woodstock). Also, I count Blood Simple as a 1985 release. Therefore, my pick is:
1) Paris, Texas
2) Beverly Hills Cop
It's called Amadeus math: take the total percentage of viewers possible (that's 100%), subtract the percentage who voted it number one (fill that in here), and your remainder equals the percentage of people who haven't seen Amadeus.
The Natural is a classic. I always find a best pic is one you can watch over and over like films like Princess Bride , Groundhog Day, and my all time FAVORITE film The Man From Snowy River; action, romance, humor and a compelling story, much like The Natural. You don’t have to like baseball to appreciate the vulnerability of the protagonist. Much like the biblical Samson, a flawed hero who comes through in the end. All this with its historical fictional appeal. Please please please don’t overlook one of ‘84’s best contributions to the Arts.
As movies are a visual medium, Stop Making Sense is a fantastic visual experience as Demme follows the band through their wonderful performance. This movie takes the concert video and transforms that genre into something that needs to be seen as much as it needs to be heard.
When I finally watched Paris, Texas a couple of years ago, it was in an effort to push past nostalgia in anticipation of hearing your lists. I’m forever grateful. It’s a masterpiece, one that feels wildly ahead of its time. It reminded me of The Sweet Hereafter and Exotica in the way it slowly revealed its characters, plot, and themes. So although the eight year old I was in 1984 wants to vote for Ghostbusters (or maybe Cloak & Dagger), Paris, Texas gets my much current vote.
In an* attempt. Sorry for typos. I am typing this furiously on my cell phone because I had to write in straight away when I heard this blasphemy.
Just heard Josh say that Gremlins is a better movie than Ghostbusters, and I’m actually furious. I had to vote for Ghostbusters here in attempt to correct Josh’s insanely incorrect statement. How dare you, sir? You should be ashamed of yourself. I hope a rewatch of both movies gets you to come to your senses. One is a timeless classic. The other is dated and corny. I hope you figure out which is which. (I am currently living in Hattiesburg, MS, but I still have a Georgia drivers license... so am i ready to say I’m “from” Mississippi? Nope)
Kansas City, MO
Love Paris, Texas, but my favorite is Cassavetes' penultimate film Love Streams.
Paris, Texas - no question.
My answer could only be Wim Wenders' PARIS, TEXAS – a film I carry with me in my innermost being. Some years ago – before my nascent relationship with film had grown into the raging appetite I have today, I made a short list of films. These ten titles were films that I had heard about and felt some primal call to, some glimpse of the power this medium would one day have over me. I called it the Paris List for the particular film that inspired me to investigate this curious, persistent feeling. Well, I have truly fallen down the rabbit hole now, and my intuition could not have been more true. PARIS, TEXAS is an unparalleled evocation of loneliness, regret, and reconciliation.
“I knew these people. These two people. They were in love with each other. The girl was very young, about 17 or 18, I guess. And the guy was quite a bit older. He was kind of raggedy and wild.”
With due respect to my beloved Amadeus, it can only be Paris, Texas. In a career full of poignant, lonely odes to wide open spaces, found connections, and lost souls, Wim Wenders perfected his own lovely subgenre here and directed Harry Dean Stanton to one of the most devastatingly humane and subtle performances in film history. I could listen to Travis’ soulful, regretful speech to Jane with no visuals at all and still feel its perfection. Paris, Texas is a beautiful and tender meditation on what it means to live in a big country, with all the isolation and community that entails.
Mystery! Intrigue! Action! Adventure! Romance and danger in exotic lands and an emerald the size of your fist! Of course I'm talking about Romancing the Stone, an irresistibly joyous romp from New York to Cartagena that contains a career-best performance from Danny DeVito, the most likeable Michael Douglas has ever been on screen, a sultry, smoldering Kathleen Turner that set my pre-pubescent heart on fire. Might be the most pure 'fun' I've ever had at the movies.
Amadeus is that rare film that just sweeps me up in it no matter where I fall into its narrative. I'm frankly stunned that Josh is so 'meh' on it. It's FAR more than just a good film. It's a certified masterpiece that has gotten better with age - and it started out nearly perfect. 2 best actor nominees in the same film, so deserving and so earned, but F. Murray Abraham commands every frame of the film with a towering performance. Try not to feel your heart swell as Salieri anguishes over Mozart's ease with music - holding the scores and marveling at them. The one moment that is truly stunning is when he sees Mozart for the 1st time, acting childish with Stanzi, and then sees him conduct. Once Mozart leaves, he looks at the work and begins to conduct while hearing the music in his head. The oboe...strings... Slays me every time.
This Is Spinal Tap is more than one of the great American comedies and THE definitive “mockumentary”. It is (if I may borrow from Josh Larsen) a prayer for friendship. The penultimate scene of Nigel & David in the dressing room post-breakup is as heartbreaking & well acted as any dramatic film. An incredible feat for such a ridiculously funny movie. It’s also a predictive satire of the deconstruction of the music industry. Although on the surface the band seems to be the only target- I think the film indicts us - The Audience. “We” gleefully lapped up Spinal Taps’ overly sexualized anthems, then, just as gleefully, threw them to the rock scrap heap and laughed at their irrelevance. Isn’t this the fate of all popular artists, if they stick around long enough? Not to fear! That which is old & lame becomes hip & cool again in a foreign land. And the beat goes on...
The best film of 1984 is Brian de Palma's slasher "Body Double." Is it gratuitous and excessive? Sure. However, it deliberately pushes the envelopes of excess to delirious and transcendent heights, setting its sights on a pair of conventional movie comforts that audiences naturally take for granted: causal realism and stylistic transparency. Rather than deliver on these comforts, De Palma instead creates a multilayered reflection on filmmaking that investigates the act and the art (yes, the art) of watching films by using genre (which is perhaps the most comforting of movie comforts) as a pivot point. He treats this slasher film's core themes—explicit violence, deviant sex, dopplegangers, vampirism—like magic tricks, all of which call attention to its audiovisual fabric. The film is a metaphysical marvel whose cynical nature is, admittedly, an acquired taste, but it goes down so easy for anyone attuned to its spirit. It also makes the best case for auteurist cinema of any movie released in the 80s, when auteurism was waning post-New Hollywood. A vital film.
It's been over 20 years since I saw The Killing Fields, but when I told my dad I thought I was ready for "grown-up" movies (to me, meaning movies like "The Terminator"), he instead showed me The Killing Fields and The Year of Living Dangerously, forever changing my idea of what film could and should be, and why it was worth taking film seriously and seeking out films that challenge viewers.
Repo Man is the most interesting 1984 movie and should be done instead of Purple Rain, which has aged terribly, or Ghostbusters, which is fine, but has been discussed enough for everyone's lifetime. Repo Man is a sci-fi comedy wrapped in a road movie trapped inside a satire which skewers '60s boomer burnouts and mindless American consumerism. It looks back to Robert Aldrich (Kiss Me Deadly) and looks ahead to Tarantino (suitcase in Pulp Fiction). Also, plate of shrimp.
Blood Simple is '85. Only played a few fests in '84.
I caught up with or revisited a number of films from 1984, when Josh and Adam did their "Best of" from that year. I have to put Amadeus at the top, but The Killing Fields was a close second.
I was going to vote for Amadeus, but then I remembered the Palme d’Or winning Paris, Texas came out that year as well as the Coen Brothers’ debut feature film Blood Simple. Couldn’t decide which one to vote for so I voted for both!
Once Upon a Time in America by a mile! I haven't seen it in ten years, but it made such an impression for me the first time I saw it. There's a early scene in a train station that I still always think about.
Also want to give some love to Paris, Texas, and yes... the Muppets Take Manhattan. No apologies.
Oh, I forgot to mention where I am. Living in Bucharest, originally from Melbourne.
I could watch Harry Shearer whispering 'Shhhhh' during Listen to the Flower people on an infinite loop and I would never stop laughing. Sorry I don't have anything insightful to add to the conversation, but I had to express my love for This Is Spinal Tap and voting alone wasn't enough. It's my favourite comedy of all time.
Amadeus? Excellent film. The Terminator and Nightmare on Elm St? Horror masterpieces. This is Spinal Tap? Still so damn funny.
But to me the clear winner is Stop Making Sense. I recently rewatched the film as it was covered on the Blank Check podcast and I was once again blown away by the utter perfection of that film. It's like this absolutely perfect object, a celebration of joy and creativity. It's not just an incredible performance by the Talking Heads but an amazibg visual splendor. It's so infectiously charming that I find myself watching at least one song from it almost every week. Flawless film, ultimate 1984 picture and maybe the best film of that decade. It's just that good!
Add Nausicaa of the Valley of the Wind! Surely deserves as much consideration as Ghostbusters or A Nightmare on Elm Street.