With typical bloody-mindedness, Oliver Stone took a subject Hollywood didn't want to touch – the Vietnam War – and spun it into Oscar gold. Taking a different tack from the mythic craziness of Francis Ford Coppola's earlier Apocalypse Now, Platoon's success is in its grunt's-eye view of the controversial conflict. Stone having served in Vietnam himself, it was a perspective he was almost uniquely qualified to present. Somehow he manages to humanise and empathise with the soldiers without shying away from the horror and folly of America's involvement.
79. Batman (1989)
Strange now to remember that Batman seemed revolutionary in its darkness to a 1989 audience used to the brightly coloured Bat-antics of Adam West. Watching it today, used as we are to "gritty" superhero films, it looks camp again. But, boy, was it exciting back in the summer of '89. Jack Nicholson's unhinged Joker isn't to everyone's taste these days, but Michael Keaton remains an effectively understated Dark Knight, in a goth Gotham that seems arrested in the 1940s. Almost 30 years on, TV's current Gotham retains that strange vibe, and every other blockbuster is a superhero movie. We've moved on from Tim Burton's Batman, but we're still feeling its influence.
78. Top Gun (1986)
If it looked a lot like a recruitment video for the US Navy, it was – and is – impossible not to get caught in Top Gun's jetwash. Stern-jawed with its own seriousness, all while giving us lines like "Son, your ego is writing checks your body can't cash!" and featuring 30 percent more high-fiving than any other movie on Earth, it is, like its hero, brash and self-assured. It may not have been the smartest film of its time - at points, Maverick's (Tom Cruise) flying maxim "If you think, you're dead" seems to have applied to the screenwriting process - but it sure is fun. As an aside, do people really fly rubber dog shit out of Hong Kong?
77. Hairspray (1988)
Set in '60s Baltimore, this kitsch classic is a John Waters nostalgia trip that's full of big hearts and even bigger barnets. Ricki Lake is wannabe dance star Tracy Turnblad, who dreams of appearing on The Corny Collins Show but is soon immersed in a battle against dance-floor segregation. It's like Grease meets Selma. Subsequently remade and spawning about a hundred theatrical remakes, Hairspray showed Hollywood that you could cast plus-size stars and audiences would still comes flocking. It's a message that still seems to be sinking in.
76. Dirty Dancing (1987)
"Nobody puts Baby in the corner." Or so goes the mantra in the Catskill Mountains. Patrick Swayze and Jennifer Grey are the lovestruck opposites foxtrotting, mamboing and, err, grinding their way into each other's hearts in Emile Ardolino's romantic drama: one that resulted in that lift being attempted at every wedding since. Grey and Swayze effortlessly saved Baby and Johnny from two-dimensionality, stepping perfectly in time with the '60s soundtrack whilst leaving viewers either wanting to be Johnny Castle or with Johnny Castle.
75. The Lost Boys (1987)
You know that thing when your older brother starts acting out and it transpires that he’s actually a vampire? Sucks, doesn’t it. That’s exactly what happens when Michael (Jason Patric) and Sam Emerson (Corey Haim) move to Santa Carla in Joel Schumacher’s Californian horror. As Michael finds himself drawn to magnetic vamps David (Kiefer Sutherland) and Star (Jami Gertz), Sam joins up with vampire hunters, the Frog brothers (Corey Feldman and Jamison Newlander), to try and reverse Michael’s toothy problem. Were they worms? We’re still not sure. What we do know is that these are the coolest Draculites ever committed to screen.
74. Big (1988)
When 12-year-old Josh Baskin (David Moscow) fails to impress a girl due to being too short to go on a ride at the carnival, he makes a desperate plea to fortune-telling machine, ‘Zoltar’. The next morning? Poof! Josh Baskin is now Tom Hanks. Penny Marshall’s fantasy comedy is chock-full of magic, from the unplugged Zoltar machine right through to the famous FAO Schwarz scene Hanks shares with Robert Loggia.
73. ¡Three Amigos! (1986)
The sound of inflated egos whistling as the air quickly escapes permeates this memorable comedy, which showcases Steve Martin, Chevy Chase and Martin Short. It might be set in 1916 during the reign of silent movies, but ¡Three Amigos! skewering of actorly attitudes works perfectly in the star-driven '80s as three faux gunslingers are called upon to save a small Mexican village from bandits, but misunderstand the request as a request for them to perform. Physical gags (that salute!) sit comfortably alongside verbal sparring, while the three leads mesh brilliantly. And earn ten trivia points from the Burning Bush if you knew that this film was co-written by composer Randy Newman.
72. Labyrinth (1986)
For people of a certain age who weren't up to the mammoth tome of Tolkien, this was their first real introduction to fantasy. A relatable tale of a frustrated older sister (Jennifer Connolly) who must rescue the baby brother she nearly wished away from the well-coiffed clutches of goblin king Jareth (David Bowie), this is director Jim Henson pouring his love of magic and muppetry on to the screen. And of course Bowie, playing a character who sounds like he should be the stuffy manager of a fast food restaurant, delivers the cunningly charming goods.
71. Heathers (1989)
There was no shortage of movies for teenagers in the 1980s, but Heathers offered a striking alternative to the Cameron Crowe/John Hughes demographic. A comedy as black as Christian Slater's overcoat, it sees a precocious 17-year-old Winona Ryder join the three most popular girls in school, all named Heather. It takes Slater's rebel-without-a-cause to send her down a dark path with deadly results. Those shoulder pads are liable to have someone's eye out, for starters.
70. The Fly (1986)
"Be afraid," ordered the tag line. "Be very afraid." Taking a hokey 1958 B-shocker with a cool, creepy idea at its heart (teleporting scientist accidentally swaps heads with a fly) and injecting it with his own, gruey brand of scaremongering, David Cronenberg certainly made sure we were. Now the human/fly interface was something that happened at a genetic level, and the original's sudden transformation became something gradual, insidious and horribly relatable. Seth Brundle's (Jeff Goldblum) disintegrating mutation into Brundlefly is an extremely amplified illness; cancer, or the '80s newest killer, AIDS. Safe to say, The Fly really got under its audience's skin.
69. RoboCop (1987)
So much more than a high-concept action movie about a cyborg policeman, RoboCop is also a savage satire and a religious parable, with its structural narrative nicked from folk mythology. The deeper you go into it, the more you find. But it works as a shoot 'em up too. Its savage, gonzo violence and truly hissable villains perhaps work so well because they're from an outsider's skewed perspective: Dutch director Paul Verhoeven, here only making his second English-language film. The sequels (and remake) increasingly missed the point. Verhoeven's later Starship Troopers is RoboCop's real spiritual successor.
68. Do The Right Thing (1989)
Spike Lee's finest couple of hours is a pressure cooker of racial tension, taking place over a single, sweltering hot summer day in Brooklyn. Its furious power was such that several contemporary newspapers were worried that it amounted to incitement to riot. Whether Lee's character, Mookie, does the right thing when he breaks the window that kicks everything off, is a question the film leaves ambiguous – but Lee has since pointed out that some audiences seem more concerned about the property damage than the death of a prominent character. Public Enemy's Fight The Power is the backbone of the piledriving soundtrack.
67. The Karate Kid (1984)
Wax on, wax off. Wax on, wax off. Now repeat. Ralph Macchio is the young Padawan to Pat Morita’s Mr Miyagi in the first instalment of John G. Avildsen’s (yes, the director of Rocky) martial arts trilogy. Moving from New Jersey to California, Daniel (Macchio) befriends Ali Mills (Elisabeth Shue) and receives the unwanted attention of her karate-proficient ex-boyfriend. Luckily, Miyagi is prepared to train Daniel to fight said ex in the Under-18 All-Valley Karate Tournament, leading to a tense, air-punching finale that only the director of Rocky could construct.
66. The Little Mermaid (1989)
It is better, so they say, down where it's wetter. Disney took this aphorism to its logical conclusion in 1989 with The Little Mermaid, an animated musical as bright, sparkly and innocent as Ariel's big blue peepers. With its its colourful animation, showstopping Broadway tunes, and a Hans Christian Andersen fairy tale repackaged for Generation X, it set the template for Disney's late '80s/early '90s renaissance.
65. The Goonies (1985)
“Heyyyyy yooouuu guuyyyyyssss!!!!” Richard Donner’s highly infectious and quotable adventure succeeds in great part thanks to its brilliant young cast - hello Josh Brolin and Sean Astin. From Corey Feldman having fun at the expense of Spanish-speaking maid Rosalita (Lupe Ontiveros), to the Fratellis extracting the world’s longest confession from the put-upon, Truffle Shufflin’ Chunk (Jeff Cohen), The Goonies balances comedy and fantasy to startling effect, never forgetting to let the genuine emotion shine through.
64. The Breakfast Club (1985)
You can name The Magnificent Seven - well, at least six of them - but can you list The Breakfast Club? John (the criminal), Claire (the princess), Andy (the athlete), Brian (the brain) and Allison (the basket case) are sent to Shermer High School's answer to Guantanamo on a fateful Saturday morning in March 1984 and emerged changed for ever... along with most of the rest of us. John Hughes' knack for portraying teens in a way that was insightful, generous and sensitive, while never missing a good boob-and-lippy based party trick, was basically supernatural. True fact: at no point does anyone eat breakfast.
63. Airplane! (1980)
Tell me Billy, do you like movies about gladiators? How about airplanes? Having made an inauspicious entry into comedy movies with The Kentucky Fried Movie, the comedy trio of Zucker-Abrahams-Zucker practically invented the spoof subgenre as we know it with Airplane!. By hiring serious dramatic actors to deadpan silly lines, the ZAZ gang began a trend for audacious, mould-breaking comedies that continued throughout the decade. It's an entirely different kind of flying. Altogether.
62. Predator (1987)
John McTiernan's second feature is proof that the unremarkably generic can be elevated to ridiculous greatness by the right director and cast. A mash-up of the men-on-a-mission war movie and an alien / then-there-were-none slasher horror, McTiernan slips in some sly swipes at the action genre along with some groan-worthy homoeroticism – but more-or-less keeps a straight face. It's full of iconic moments like the Ol' Painless jungle destruction and the final one-man-army mud fight. And Arnold was, arguably, never better.
61. Good Morning, Vietnam (1987)
Originally pitched as a sitcom by the real Adrian Cronauer but spurned by networks because they failed to see the nascent funny side, the idea for Good Morning, Vietnam hit Robin Williams when Cronauer tried to make it work as a TV movie. The final film, massively overhauled by writer Mitch Markowitz, was tailored to Williams' needs and he roars in the role of a funny, frustrated Armed Forces Radio DJ who learns some tough truths about war and humanity. He received a well-deserved Oscar nomination, but don't disregard a subtle turn by Forest Whitaker as Private Garlick.
60. Full Metal Jacket (1987)
Stanley Kubrick had, by his track record, a relatively busy decade in the 1980s, releasing a grand total of two movies. Tougher and less sentimental than the previous year's Platoon, Full Metal Jacket was an uncompromising war movie with a dark sense of humour. It's essentially split into two halves: the second half is a serviceably scathing depiction of Vietnam at its zenith, but it's the initial boot camp segment that has proved most memorable. In his traumatic training regimes, real-life Marine R. Lee Ermey conjures up some of the most quotable insults of the decade (eg "Were you born a fat, slimy, scumbag puke piece o' shit, or did you have to work on it?").
59. Trading Places (1985)
Few films tackle the go-go '80s with as much delicious wit as John Landis' Trading Places. The decade of excess is riotously skewered in a Mark Twain-inspired fable which sees Eddie Murphy's homeless hustler unwittingly swapping lives with Dan Aykroyd's snooty commodities trader, the result of a far-fetched wager. It's a smart examination of rich and poor from a time when the gap was widening, and it's hilarious to boot. As a bonus, it also boasts one of the best looks-to-camera in cinema history.
58. Fatal Attraction (1987)
Whether you see it as a terrifying domestic horror film or just sub-Hitchcockian schlock with a nasty misogynist streak, Fatal Attraction is a defining '80s thriller. There's bonking, splashes of lurid violence and deserving yuppies getting their comeuppance. If the eventual body count only amounts to one deranged mistress (Glenn Close) and a small bunny, the punishment for Dan Gallagher's (Michael Douglas) infidelity is pretty ferocious. The 'til death do us part' had never been more literal than in a final bathroom showdown. Just try not to cheer.
57. Midnight Run (1988)
The fact that this is the greatest of all road-trip Mafia bounty hunter movies should not be devalued by the fact that it's also the only one. A begrudging bromance between two men who initially hate each other – Mob account Charles Grodin and Robert De Niro's by-the-book ex-'tec – Midnight Run's third wheel is Dennis Farina's awesomely abusive gangster, Jimmy Serrano, who just wants to put a fork through both their fuckin' hearts. An '80s classic of the kind they really don't make anymore. Oh, and the Litmus Configuration remains the funniest con in the canon.
56. The Terminator (1984)
Strange how the biggest action hero of the decade earned that accolade by playing one of that same decade's biggest villains. Even stranger when you consider said action hero wasn't even physically suitable for the part, as originally envisioned by James Cameron. After all, the T-800 cyborg was supposed to blend in, be a hidden assassin, look… normal. Not, for example, like a hulking Austrian bodybuilder last seen hacking people up with a broadsword in Conan The Barbarian. Still, The Terminator hit huge and gave us two '80s icons in one: the larger-than-life Arnold Schwarzenegger, with his catchphrase, his rippling muscles and his extensive, explosive ordnance. And the steely-grinned, red-eyed nightmare from the future, which until the firey final act lurked beneath that sculpted physique.
55. Gremlins (1984)
Don't get Mogwai wet. Don't feed Mogwai after midnight. Don't expose Mogwai to bright light. Why? Because they turn into feral, murderous Gremlins when you do. All hell breaks loose when Billy Peltzer's (Zach Galligan) cute little furball Gizmo is dowsed in water, spawning a batch of tricksy, sadistic mogwai with a taste for human flesh. Gremlins may have rubbed some parents up the wrong way (it helped bring about the PG-13 rating), but the smoking, poker-playing critters had already made their mark.
54. Fitzcarraldo (1982)
Werner Herzog and Klaus Kinski had gone mad in the jungle in the '70s on Aguirre, The Wrath Of God. The fact that they both signed up to do it again a decade later is testament to the perversity of their fractious relationship. The story of an eccentric visionary who wanted to build an opera house up the Amazon, Fitzcarraldo is arguably more interesting for its production story than the finished film. "Nobody had ever had cause to drag a boat over a mountain," beamed Herzog afterwards, "and nobody ever will again. I am a conquistador of the useless." The whole insane story is unraveled in Les Blank's documentary Burden Of Dreams.
53. Poltergeist (1982)
Long before the subprime crisis made real estate seem terrifying, Poltergeist offered some scary home-buying business. Admittedly, an ancient burial ground is not the best place to park your family, as the white-bread Freeling clan (Craig T. Nelson and JoBeth Williams) soon find out in Orange County, California. It's the prelude to all kinds of floaty-object, dimension-straddling, milk-glass-breaking spooks in a genre flick that may not be ferocious enough for gorehounds but it's plenty frightening enough for the casual dabbler. The controversy over its authorship – Tobe Hooper directed but Steven Spielberg's creative involvement was fundamental – may never be resolved. Neither of them would have been rushing to take ownership of the 2015 remake.
52. The Untouchables (1987)
Brian De Palma's stylish, confident directing; David Mamet's slick, elegant screenplay; Kevin Costner's first major leading role; Robert De Niro's 30 pound weight gain; Sean Connery's Oscar-winning Ireland-by-way-of-Edinburgh accent; Ennio Morricone's imperious, almost operatic score... As gangster movies go, The Untouchables is pretty untouchable. Batter up.
51. The Thing (1982)
The film everyone conveniently forgets when they claim all remakes suck. John Carpenter took the Howard Hawks / Christian Nyby original and gave it an overhaul of frozen paranoia and extraordinary '80s creature design: courtesy of obsessive practical FX wizard Rob Bottin, who essentially lived on the set throughout the whole lengthy process. Of The Thing's many astonishing moments, the upside-down severed human head with the spider legs is perhaps the most unforgettable. This film is older now than the Hawks version was when this one was new. You've gotta be fucking kidding…
50. Who Framed Roger Rabbit (1988)
At the crest of the late '80s animation comeback came this perfect marriage of the medium's biggest hitters. Disney and Warner Bros. – arch rivals in cartoon capery – for the first time agreed to join forces for Robert Zemeckis' groundbreaking blend of animation and live-action. Film noir detective potboiling and looney toonage make for an esoteric mix that shouldn't work, but it absolutely does. It's just drawn that way.
49. Bill & Ted's Excellent Adventure (1989)
There are no shortage of '80s teenage comedies; there are very few '80s teenage comedies which see Genghis Khan escape a time-travelling telephone box to skateboard around a shopping mall. There's still something deeply endearing about this goofy history lesson, which pairs a young Keanu Reeves with Alex Winter – plus cameos from Napoleon, Sigmund Freud, Beethoven, Socrates, and Abraham Lincoln behesting a watching audience to "party on, dudes". Words to live by.
48. Scarface (1983)
When it comes to 1980s excess, there are few more perfect artefacts than Brian De Palma's fantastically garish crime thriller. Updating the rather more sober 1932 Howard Hawks original into a Cuban drug trafficking melée, there's big hair, bigger personalities, mountains of cocaine, and a tidal wave of decadent, ultra-stylised violence. The soundtrack could function as a Best Of The '80s compilation, too.
47. Mad Max 2 (1982)
"In the roar of an engine, he lost everything... a burnt-out, desolate man, a man who wandered out into the wasteland...." George Miller's Mad Max series gets progressively more insane with each entry. (2015's Fury Road sees the franchise arrive at peak insanity). This sequel broadens the wastelands, imagining a post-apocalypse of leather, fire and sand through a resolutely 1980s prism (the future will have mohawks, apparently). As dystopias go, Miller's vision is often mimicked, rarely bettered.
46. Manhunter (1986)
Serial killing, '80s-style, reached its gory, icy peak in the clinical hands of Brian Cox's Hannibal Lecktor in Michael Mann's thriller. The not-so-good doctor plays the familiar role of mind game-playing quasi-consultant to Will Graham's FBI agent as the G-man tries to draw a bead on a terrifying, physically powerful killer known as the Tooth Fairy (Tom Noonan). It's all handled with elegance and a degree of chilly detachment by its director, and beautifully shot by Dante Spinotti. Manhunter didn't do a fraction of Silence Of The Lambs' later box office or register on the awards circuit, but it's aged like a fine chianti.
45. My Neighbour Totoro (1988)
You wait ages for a cat bus, and then two come along at once. Japanimation experienced a renaissance in the late 1980s when a small anime house named Studio Ghibli set up shop, and in 1988 released Grave Of The Fireflies and My Neighbour Totoro on the same day. Both were acclaimed, but it's the latter that has taken on a timelessness. Only the blackest heart cannot be spellbound by this gorgeous tale of wood spirits and magical trees in post-war Japan. Totoro's the kind of neighbour we wouldn't mind living next door to.
44. Crimes And Misdemeanors (1989)
A long, long way from the early, funny ones, this is the high-water mark of Woody Allen's slightly later, really quite serious phase. The Woodster was tackling all kinds of darkly-tinged themes in a movie that tiptoes close to straight-up thriller terrain as Martin Landau's ophthalmologist gets his shady brother to off his troublesome mistress (Anjelica Huston). Set against this fierce depiction of moral cowardice and male weakness is Woody himself, amiably blundering about trying to make a documentary about his insufferable brother-in-law (Alan Alda). Judaism's bleak inner turmoils have never been funnier.
43. Das Boot (1981)
A lot of young men go to sea in a leaky tin can and grow hipster beards in Wolfgang Petersen's U-boat classic. Along the way, they're depth-charged, strafed, hunted and generally embattled until most are holding it together by a thread. The Battle of the Atlantic (specifically, war veteran Lothar-Gunther Buchheim's account of it) offers the historical backdrop, but ultimately this story of survival and courage is a universal one. There are no good guys or bad guys here, just a lot of men desperately hoping to see dry land again. Watch the director's cut to experience it in all its nerve-lacerating glory.
42. Field Of Dreams (1989)
In this age of male emotional acceptance, we might be long past the days of this (and maybe Old Yeller) being The Films That Blokes Feel They Can Cry Over, but Phil Alden Robinson's exploration of obsession, grief, and baseball still has the power to take the heartstrings and play them like a fiddle. Adapting the magical realism of W.P. Kinsella's book Shoeless Joe, Dreams offers up Kevin Costner as the farmer who ends up communing with spirits which channels his earthy everyman persona to perfection. If you let it in, the tears will come.
41. The Blues Brothers (1980)
The Blues Brothers is a perfect conglomeration of music, comedy, and blockbuster moviemaking: a mission from God powered almost entirely by alcohol and cocaine (if reports from the set were to be believed). One of many classic 1980s comedies to come from the burgeoning Saturday Night Live stable, it matched massive musical numbers (James Brown, Aretha Franklin, Ray Charles...) with mammoth stunt spectacle (the demolished building, the shopping mall chase, the military finale...) and introduced a generation to Ray-Ban Wayfarers.
40. Lethal Weapon 2 (1989)
Lethal Weapon was a loose and confident creation but Riggs (Mel Gibson) and Murtagh (Danny Glover) seem to be having even more fun in their second outing - even when confronted with racist smugglers and Joe Pesci's loveably irritating Leo Getz. So does returning director Richard Donner. He pulls out some cracking set-pieces, including an opening car chase, a helicopter assault and that fateful trip to the loo. Joss Ackland and henchman Derrick O'Connor make convincing villains, entirely failing to see the funny side of the bromancing cops' verbal jousting and, in the process, giving the world the key to a truly terrible South African accent. "Dee-ploo-matic e-mew-nity" indeed.
39. First Blood (1982)
Rambo was forced into the role of one-man-army superhero for the daft sequels, so it's refreshing to revisit First Blood and find a thrilling pulp drama about a PTS sufferer driven over the edge by bullying small-town petty-mindedness. Sylvester Stallone is a decent actor when given the opportunity, and John Rambo in this film, crucially, is almost believable: the crunchy action kept under tight control by director Ted Kotcheff. It's a decent adaptation of David Morrell's page-turning novel too, although Brian Dennehy's Sheriff Teasle gets shorter shrift, and the devastating ending is changed so that Rambo lives.
38. Cinema Paradiso (1988)
A film that still makes you wish your local multiplex was a bit less, well, 'multi', the single-screened Sicilian cinema in Giuseppe Tornatore's Oscar winner glows with the transporting power of the movies. Looking back, it helped catapult its US distributors Miramax – typically, Harvey Weinstein was one of the first to spot its marketability – to a period of '90s glory, Shakespeare In Love et al, and shifted Italian cinema away from its roots. Never mind all that, though, and immerse yourself into a swooning, sun-kissed love letter to movies, friendship and to romance itself.
37. The Man With Two Brains (1983)
Dr Hfuhruhurr (Steve Martin) pioneers a new procedure allowing him to transplant human brain into new bodies. It's an out-there premise, even coming from the man behind The Jerk, and occasionally feels a bit uneven but it still yields plenty of laughs in what is Martin's early '80s highpoint. There's also a fair few jabs at male sexual vanity buried within as Hfuhruhurr agonises over whether or not he's lost his moral compass in his pursuit of the perfect woman. Given that he attempts to poison Randi Brooks with window cleaner and throws Kathleen Turner into a bog, we're saying he probably has. "Into the mud, scum queen!"
36. Akira (1988)
Sometimes, when things aren't going our way in the Empire office, we like to fall to our knees in despair and wail to the heavens: "TETSUOOOO!" Though, admittedly, the Empire office does not often feature a member of a dystopian Neo Tokyo motorcycle gang mutate into a giant mass of ever-expanding limbs through uncontrollable psychic powers. Akira is yet another vision of the future through a distinctly 1980s lens – and yet, this vision is fiercely, brilliantly unique.
Read Empire's account of the making of Akira here.
35. Local Hero (1983)
Big-shot Yank goes to Scottish seaside town and magic ensues. Not just the plot but, thanks to Burt Lancaster's presence, the reality of Bill Forsyth's cosy, Mark Knopfler-scored classic. That synopsis barely scraps the surface of Local Hero's timeless charm. It's got a lovely, anti-Thatcherite moral too, about how money can't buy everything – not even if you're an oil tycoon with a powerful telescope who looks a lot like Burt Lancaster. It's fair to say its British producer, David Puttnam, the man also behind Chariots Of Fire and The Killing Fields, had a pretty decent decade.
34. The Killer (1989)
Adding 37 percent more slow-mo to the decade, John Woo exploded out of Hong Kong action cinema and into the international spotlight with a run of badass crime flicks in which Chow Yun-Fat wasted ruthless gangsters in big jackets and there would often be doves. Following A Better Tomorrow, Woo's pioneering use of gun-fu, a lucky charm in Yun-Fat and those doves all came together in blazing church-set crescendo to this attention-grabbing maelstrom of Triad carnage. Nestled amid the awesome pyrotechnics are ageless themes of honour and redemption worthy of Woo's main influences, Martin Scorsese and Jean-Pierre Melville.
33. Indiana Jones And The Last Crusade (1989)
Here is the factually correct opinion on which Indiana Jones films are best, in descending order of greatness: Raiders, Last Crusade, Temple Of Doom, The Film Which Must Not Be Named. Still stung by criticism that Temple was too dark, Steven Spielberg whipped up a threequel bursting with the spirit of old-school adventure, and sparkling with chemistry between the fedora-ed hero (Harrison Ford) and his aloof father (Sean Connery). The film's finale, having our heroes ride off into the sunset, was as perfect as finales come. (At least, until The Film Which Must Not Be Named went and messed things up.)
32. Tootsie (1982)
"No one will hire you!" says Michael Dorsey's agent. Michael Dorsey has other ideas. As the soap star Tootsie, Dustin Hoffman makes for an astonishingly convincing woman – but it's what lies under the fake breasts and permed wig that really startles. There are other cross-dressing comedies beyond Tootsie, but none have the nuance or insight that Sydney Pollack's comic drama offers; so powerful and eye-opening was the experience that Hoffman once said he never regarded the film as a comedy.
31. Ghostbusters (1984)
As far as parapsychologists go, this lot might just be our favourite. Spooked by a dead librarian in the New York Public Library, the 'busters immediately find themselves in a city haunted by ectoplasm, fridges and Marshmallow Men. Ivan Reitman's film put Bill Murray front and centre as Peter Venkman, flanked to perfection by Dan Aykroyd and Harold Ramis as fellow proton-packers Ray and Egon. Who you gonna call?
30. A Nightmare On Elm Street (1984)
The hat, the glove, the sweater, the make-up. Freddy Krueger was always going to be an iconic villain, although nobody quite realised the extent to which he'd dominate the '80s. He became a stand-up comedian in the sequels, but here, in Wes Craven's original Nightmare, he's much talked about but little seen. And Robert Englund's monster is frightening too. Craven doesn't quite nail nightmare-logic in the way David Lynch does, but the first Elm Street still manages some extraordinary imagery: the rubber-wall loom over the bed; the marshmallow stairs; Amanda Wyss smeared across a ceiling. Not yet encumbered by the baggage to come, Freddy's at his most powerful here.
29. Top Secret! (1984)
The second film from the Zucker-Abrahams-Zucker team was a box-office disappointment upon release, and is not remembered as fondly as Airplane! or The Naked Gun; perhaps owing to its odd genre mashups (Elvis Presley, war movies, espionage thrillers...). A shame, as Top Secret! is unconditionally one of the best spoofs ever made, stuffed with glorious visual gags at a rate to humiliate most modern comedies. "How Silly Can You Get?" sings Val Kilmer in a German prison during one scene. Answer: extremely.
28. The Naked Gun: From The Files Of Police Squad! (1988)
The Naked Gun represents ZAZ (that's Jerry Zucker, Jim Abrahams and David Zucker) near the height of their comic powers alongside co-writer Pat Proft. Taking the short-lived Police Squad! TV series, upping the stakes but keeping the seriously silly streak, the movie offers an endless supply of quotable lines and utter insanity. All heightened by master of the straight turn, Leslie Nielsen, blundering his way through a case that ends up involving mind control, baseball players and the Queen. And not forgetting a lurking vein of subversive satire that still rings true in today's politically charged policing climate: "Just think," ponders Frank when he's sacked, "next time I shoot someone, I could be arrested..."
27. Jean De Florette (1986)
An '80s classic with not a glimpse of a machine gun, angry cop or massive explosion, the first part of Claude Berri's adaptation of Marcel Pagnol's novel Manon Des Sources is a sun-ripened slice of purest Frenchness. If you wondered where they got the idea from for those Stella Artois ads, it's somewhere in the DNA of this Provençal fable about a sneaky pair of peasants (the great Yves Montand and Daniel Auteuil) trying to diddle their way to acres of farmland. There's a hidden spring, some rabbit farming and a wood nymph. Trust us, it's magnifique.
26. Amadeus (1984)
As anyone familiar with Falco's '80s pop classic Rock Me Amadeus will tell you, Wolfgang Amadeus Mozart wrote The Magic Flute in the year of his death, 1791. It's here, at Mozart's tragic end, that Milos Forman's costumed opulence switches into requiem mode. Prior to that, Tom Hulce's wonderfully skittishly, playful take on the great musical genius keeps the tone jaunty as F. Murray Abraham stews as Salieri and Jeffrey Jones is his often-bemused patron, Emperor Joseph II. The result yielded eight Oscars and a pretty handy soundtrack.
25. The Princess Bride (1987)
The Princess Bride is many things. It's a fantasy, it's a comedy, it's a romance, it's an adventure, it's a swashbuckler. It's a fairy tale, primarily, a whirlwind yarn of princes and princesses, pirates and giants, villages and castles. It's also a wry take on fairy tales, with a sly satirical edge, and whimsically silly names like Prince Humperdinck, Fezzik and Buttercup. It is ultimately a simple and sweetly straightforward story-within-a-story, and fundamentally very old-fashioned. Languishing for years in the dungeons of development hell, it almost never made it to screen – a thought that now seems, well, inconceivable.
24. Withnail And I (1987)
Withnail (Richard E. Grant, a teetotaler in real life) and "I" (Paul McGann, his character never named on screen) live a life of squalor and unemployment in North London. When they learn of the extremely distressing news that they've run out of wine, the only sensible option seems to be a Great British Holiday in the Lake District. Bruce Robinson's boozy comedy is set in the 1960s, but it shares a grotty alternative spirit that is every bit the 1980s. A reassuringly British enterprise, credit must go to Robinson's sharp-as-spirits script, which manages quotable comedy and devastating pathos in every sentence.
23. 48 Hrs. (1982)
It's now got a reputation as the film that ignited the mismatched-buddy-action-comedy genre, but while there are definitely laughs, 48 Hrs. might be harder-edged than you remember. Eddie Murphy's incendiary early performance as convict Reggie Hammond sparks aggressively off Nick Nolte's shabby racist San Francisco cop Jack Cates, but crucially, even by the end of the film, the pair never really like each other. Director Walter Hill would phone in action films later in his career – Red Heat, Another 48 Hrs. – but this is a reminder of a time when he was properly on fire.
22. An American Werewolf In London (1981)
Very few films have successfully negotiated a line between comedy and horror, making the note-perfect American Werewolf In London all the more impressive. There's genuine atmosphere in the stay-off-the-moors opening; genuine warmth in the tragic relationship between David Naughton and Jenny Agutter; genuine scares courtesy of surreal nightmares and waking-world throat ripping; and proper laughs thanks to Griffin Dunne's gradually decaying supernatural chorus and some snappy dialogue. Also, "A naked man stole my balloons." And Brian Glover's "That's enough!" The belated sequel An American Werewolf In Paris got nowhere close to the genius of John Landis' original. Thankfully the Weinsteins' remake never happened.
21. Raising Arizona (1987)
1984's Blood Simple was the Coen brothers' actual debut, but it was this curious little black comedy which truly announced Joel and Ethan to a wider audience. Featuring two outstanding early performances from Nicolas Cage and Holly Hunter, it's a farcical family comedy of Southern graces and stolen babies, of screwball criminality and unexpected violence, of hapless bank robbers and semi-mystical biker bounty hunters. We still hold out hope for a Raising Utah sequel.
20. Once Upon A Time In America (1984)
A gorgeous recreation of New York that was mostly shot in Rome's Cinecittà Studios, Sergio Leone's decade-spanning gangster opus grows in stature with each passing year. Admittedly, it started that process in a state of critical and box office purgatory. Its first theatrical cut, the cinematic equivalent of a Marine buzz cut, butchered its elaborate stature, chopping its languid rhythms into 139 brusque minutes. Now restored to something close to its full, four-and-a-bit-hour glory, it's an '80s masterpiece with a very '70s sensibility.
19. Star Wars: Episode VI - The Return Of The Jedi (1983)
Director Richard Marquand had galactic boots to fill: how in the name of Moff Jerjerrod do you follow Episodes IV and V? By upping the stakes and Ewoks, that's how. Part three of the original trilogy saw nearly-aware-they're-brother-and-sister Luke (Mark Hamill) and Leia (Carrie Fisher) zip off to rescue Han (Harrison Ford) from Jabba the Hutt, finding themselves sentenced to death in the process. With Luke trying to steer clear of the Dark Side and Han and Leia playfully bickering across that galaxy far, far away, this is a threequel as comfortable in its gloominess as its wit.
18. When Harry Met Sally... (1989)
Can men and women ever be just friends? Nora Ephron's script put the age-old adage to the test as best friends Harry (Billy Crystal) and Sally (Meg Ryan) attempt to deal with the fallout of an unplanned sexual encounter. Containing one of the the funniest lines of all time (delivered by director Rob Reiner's mother, no less), and electric chemistry between its leads, When Harry Met Sally... carved Reiner's initials at the very top of the romcom tree.
17. Ferris Bueller's Day Off (1986)
Before Deadpool, there was Ferris. The fourth wall-breaking, school-skipping scallywag catapulted Matthew Broderick to superstardom, becoming another John Hughes classic in the process. Ferrari 250 GT California Spyders, Twist And Shout, trampoline fence jumping: every set piece is synonymous with Hughes' comedy. It's so '80s, even Jennifer Grey and Charlie Sheen pop up. Infinitely quotable and a bona fide cult classic, if you don't mind, we're off to stare at a Monet.
16. Beverly Hills Cop (1984)
Hot from 48 Hrs., Eddie Murphy took a character ditched by Stallone and turned it into a star-making performance. Lighter and funnier than Reggie Hammond, Axel Foley is a livewire of maverick energy, and there's genuine warmth from supporting players Judge Reinhold and John Ashton as Axel's impromptu Beverly Hills detective 'family'. Of course, there's also that theme tune from Harold Faltermeyer, and great villainy from Steven Berkoff too: tellingly, while he leaves most of his movies out of his autobiography altogether, he mentions this one as a thoroughly good time.
15. Blue Velvet (1986)
Yielding an '80s villain who's still deeply scary 30 years later, Dennis Hopper's nitrous-sucking weirdo Frank Booth, a sparkling turn from Isabella Rossellini as his kinda-mistress/kinda-prisoner, Dorothy, and David Lynch's second Best Director nod, this surreal mystery peels back America's small-town dream to show something seriously icky beneath. Think The Wizard Of Oz in reverse, only with a lot more violence, drugs and twisted subtext and a much less innocent Dorothy. After the painful fiasco of Dune, Lynch got straight back to his very best.
14. Brazil (1985)
Lurking somewhere between George Orwell and Monty Python, you'll find Brazil. Well, somewhere closer to Orwell than the '60s-born surrealist comedy troupe, despite the fact the film was created, co-written and directed by one of them (Terry Gilliam) and starred another (Michael Palin). After all, Gilliam's original title for the movie was 1984 1/2, and its '40s-ish, freedom-choking dystopia aesthetically places it in the decade of 1984's publication. As does its ultimately bleak outlook (dreams, love and liberty will be crushed). But the comedy, dark as it is, still rings out, and its satire remains as sharp as it was in the Thatcher/Reagan era that sired it.
13. Stand By Me (1986)
Coming-of-age movies don't come much more coming-of-age than Rob Reiner's Stephen King adaptation. Perfectly capturing the fading playfulness of childhood wonder during the hunt for a dead body, Gordie (Wil Wheaton), Chris (River Phoenix), Teddy (Corey Feldman) and Vern (Jerry O'Connell) are a gang that youngsters will want to join for years to come. Bookended by Richard Dreyfuss, Stand By Me is as affecting on the rumbling train tracks as it is during the quiet moments in his study.
12. Ran (1985)
Shakespeare has never been more action-packed than in Kurosawa's version of King Lear - and, yes, we're including The Last Action Hero. Kurosawa devotees will bemoan the absence of Toshiro Mifune – the great collaborators had long-since gone their separate ways – but the use of primary colours, the choreography of the vast melees and deep themes of loyalty and family place it up there with his very best. The tragic aristocrat at its centre, played by jidaigeki great Tatsuya Nakadai, loses control of his destiny – and his kingdom – in one of the most memorable climactic battles this side of Saving Private Ryan. Catch the new Ran-storation to witness all that bloody carnage in dazzling 4K.
11. The Shining (1980)
Stephen King famously hates Stanley Kubrick's version of The Shining. Kubrick, with surgical precision, stripped away everything he thought was silly in King's novel – haunted hosepipes; ambulatory topiary – leaving just the core: a relentless study of a man going mad in an empty hotel. King complains that Jack Nicholson is clearly crazy from the beginning of the film. There's something in that. But the atmosphere of dread and horrible anticipation that Kubrick creates, prowling the hotel's corridors with Garrett Brown's Steadicam, remains almost unmatched. King tried his own TV miniseries version in the 90s. Didn't even come close.
10. Evil Dead II (1987)
Lots of people complained that the Evil Dead remake wasn't funny enough. Evil Dead II – occasionally subtitled 'Dead By Dawn' – has now so far eclipsed the original 'ultimate experience in grueling horror' in popular consciousness that we can't now imagine Bruce Campbell's Ash as anything but a hapless splatstick loon. The Evil Dead had a gnarly energy, but Evil Dead 2 goes properly insane: the standout sequence being Campbell's bravura physical performance as Ash endures a lengthy battle with his own hand. The classic chainsaw / boomstick combo has recently been resurrected on TV, but it begins here. In a word, groovy.
9. This Is Spinal Tap (1984)
Rob Reiner's mockumentary, or, "if you will, rockumentary", proved so convincing that, for many members of its early audience, it was taken as a straight-up documentary. Even genuine rock stars who knew it was fake thought it felt real; The Misfits' Glenn Danzig said, "When I first saw Spinal Tap, I was like, 'Hey, this is my old band'." Thanks to Reiner and main players Christopher Guest, Michael McKean and Harry Shearer, the veracity is deeply impressive (they wrote and performed all the songs, too). But what really makes it as enjoyable to watch 32 years later is the fact that it's also so incredibly, neverendingly funny.
8. E.T. The Extra-Terrestrial (1982)
In box-office terms, E.T. was the biggest film of the 1980s. For a time, it was the highest-grossing film of all time (at least, until Steven Spielberg broke his own record with Jurassic Park). It's not hard to see why: here was the perfect alchemy of blockbuster entertainment, spellbinding science-fiction, and old-fashioned, big-hearted storytelling. The folkloric fable of the little alien with a heart of gold had 'em queuing round the block, and quickly embedded itself in the consciousness of a generation.
7. Aliens (1986)
Imagine Aliens getting announced in our current social media age. 'Alien is perfect – leave it alone!' the internet would howl. And of course, the internet would be wrong. James Cameron, in those days a former FX guy who'd directed a low-budget cult- sci-fi called The Terminator (plus Piranha 2: Flying Killers) took Ridley Scott's gothic space horror and extrapolated it into a war movie, expanding the mythology in the process. We'd seen the face huggers and the xenomorphs before. But now, in one of cinema's greatest shock reveals, we had a queen...
6. Die Hard (1988)
In the 1980s, action movies tended to be the preserve of steroid-addled muscle men, chain-gunning their way to body-counts of infinitude. At the decade's close, a sitcom star and a sci-fi/horror director made an action movie about a regular schmoe in the wrong place at the wrong time and inadvertently made the greatest action movie of all time. It's sometimes easy to forget that John McClane was a product of the 1980s (only Holly McClane's hair and Ellis' coke habit really signpost the era), but that's what you get for being a timeless classic. Yippee ki, and indeed, yay.
5. Back To The Future (1985)
On paper, it's hard to relate to a film that contains Libyan terrorists and a time-travelling DeLorean. But Robert Zemeckis' sci-fi comedy is filled with enough cringeworthy, relatable moments (kissing your own mother, anyone?) to ensure his flux-capacitor-fuelled adventure is one you very much want to stay aboard. The highest-grossing film of 1985, BTTF may be more concerned with the 1950s, but it's one of the most quintessentially '80s films on this list.
4. Blade Runner (1982)
We are just a few years shy of Blade Runner's 2019 setting, and it's starting to seem unlikely that everyone in Los Angeles will drive hovercars and carry neon umbrellas. No matter: this is perhaps the mostly gorgeously realised vision of a (1980s-inflected) future ever committed to screen. The futurist imagination of Ridley Scott's sci-fi neo-noir will beguile; the mystery behind Deckard – more human than human? – will engross; Scott's ahead-of-its-time effects and distinctive art direction will astound.
3. Raging Bull (1980)
Martin Scorsese's boxing opus famously lost out at the Oscars to Robert Redford's stolid (if unfairly maligned) Ordinary People. If time has not been especially kind to that decision, you can see why Redford's story of a broken American family might have chimed more with voters than the bruising, artful undercurrents of Raging Bull in the uncertain days of Jimmy Carter's America. Shot in stark monochrome by Michael Chapman and stitched together perfectly by Thelma Schoonmaker, Jake LaMotta's journey out of the ring and into a personal hell of booze and domestic violence is captured by Robert De Niro in possibly his finest performance.
2. Star Wars: Episode V - The Empire Strikes Back (1980)
Three years after Episode IV turned Mark Hamill, Harrison Ford and Carrie Fisher into household names, director Irvin Kershner somehow delivered an even better sequel. Empire spent time in both the skies and the swamp as Luke (Hamill) began to truly understand the ways of the Force – but forget all that. Empire was really about discovering Vader was Luke's father, spawning a million parodies in its wake. Has there ever been a better third-act revelation? We're saying 'no'.
1. Raiders Of The Lost Ark
Nazis, the Staff of Ra and a boulder the size of a small house were the order of the day for Harrison Ford in his first Indy outing. An archaeologist protagonist (proteologist?) may not sound all that exciting, but Steven Spielberg and George Lucas' franchise follow-up to Star Wars succeeded, among many other reasons, in not taking itself too seriously. Lesser prequels and sequels followed, but Raiders cemented a post-A New Hope and Empire Strikes Back Ford as a Hollywood heavyweight. Face-meltingly good stuff.