Love is a multifaceted thing in ’80s flicks like “Pretty in Pink,” “Always,” “Something Wild” and “Some Kind of Wonderful.”
Pretty in Pink
It’s time for another adolescent auteur, and we’re rooting for such rising-star writer-directors as Maggie Carey (“The To-Do List”), Josh Boone (“The Fault in Our Stars”) and Ari Sandel (“The DUFF”).
From Miss Hannigan in “Annie” to all the Heathers in “Heathers,” these nasty gals ruled the screen during the Reagan era.
Get ready to relive your agonizing adolescence with the help of “Sixteen Candles,” “Some Kind of Wonderful,” “Pretty in Pink” and other angst-ridden teen flicks from the ’80s.
We love characters who are stuck in the “friend zone” because they remind us how difficult love can be—and that’s what makes love worth chasing. Our list of 10 reasons you might be stuck in the “friend zone” has it all—spies, light-sabers, pregnancy, cartoons and, of course, Molly Ringwald.
We owe a lot to characters in movies like “Brokeback Mountain”—ones who make the brave decision to come out and even the ones who never get to be that bold—since they serve as a boon for those who struggle today.
Molly Ringwald has made a career out of playing the sort of supremely relatable everywoman that moviegoers love–;and learn from. Here are 10 valuable life lessons you can learn from Ringwald’s cinematic body of work, from “Pretty in Pink” to “Sixteen Candles.”
The Brat Pack’s time in the spotlight may have been short lived, but their pop culture impact carries no expiration date. Take a nostalgic trip with us as we reminisce on our all-time favorite Brat Packers–Ally Sheedy, Andrew McCarthy, Anthony Michael Hall, Demi Moore, Emilio Estevez, Judd Nelson, Molly Ringwald and Rob Lowe.
Maybe you never knew that chart-topping hit was written to score a movie, or maybe your ears perk up at that haunting instrumental that you never knew you knew, but here’s one thing we do know. Prepare yourself: The following 10 movie theme songs have high earworm probabilities.
Orchestral Manoeuvres in the Dark, the iconic electronic band that sadly most in the US only know from “If You Leave,” played their first US shows this week in over 20 years. At NYC’s Terminal 5 the energy was palpable and nostalgia flooded the room.
OMD’s latest album, History of Modern, is a welcome return to form. Unlike many other past-their-prime pop stars’ recent efforts, this album is quite good. It’s so good in fact it trumps much of OMD’s back catalog, which has always been a bit uneven.