This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
This is a list of the ten most voted movies on IMDb from each year in the 1980's. It gives another perspective than the list with the highest ratings. You could call it more of a popularity contest than a quality contest.
This list is part of filmsite.org's History of Sex in Cinema and compiles the 1980s' "low-brow, teasy, R-rated sexy teen comedies with gratuitous nudity, mindlessly weak plots, and raunchy profanity, designed for horny adolescents, usually teenaged males with raging hormones and active fantasy lives who were looking for glimpses of naked girls and their first sexual conquest (a 'Let's Get Laid' sub-genre)."
I'm a devoted fan of 80's cinema and during the last five to six years I've seen around 500 - 600 of the most popular or critically acclaimed movies hailing from this decade. Due to this enjoyable movie marathon I've been given the opportunity to re-evaluate these classical movies and measured them against eachother and against modern day standards. The result is highly subjective, but keep in mind that I was/am a man aged 28-33, which to some degree influences what kind of movies I like/liked. Check out the comments section for explanations.
This is a list that displays the top 10 movies for each year during the 1980s according to IMDb when the movies are sorted for highest rating with at least a 1000 votes. Keep in mind that the movies are ranked according to their year. So first it's the top 10 movies from 1980, then the top 10 from 1981 and so forth.
Furious Cinema's 50 Furious Films of the 1980s. See the 60s list here: http://www.icheckmovies.com/lists/50+furious+films+the+1960s/senorroboto/
See the 70s list here: http://www.icheckmovies.com/lists/furious+cinemas+50+furious+films+of+the+1970s/petegcdb/
This is a compilation of top 10 lists from the forum discussion in the 1980s group from that decade. All movies have to be from the 80s. The way in which the movies are ranked are that 1st place in any individual list gives 10 points, 2nd place gives 9 points and so forth. If the list is in no particular order thenall movies get 5 points. Then all points are added up and we get a top list for the whole group taken together. All movies that make an individual list are included on this list. If points are equal the movie voted on by most members are ranked first. This list will be more valuable for every member that submits their personal top 10. I will update this list every time a member submits or updates their personal top 10.
In Christmas 2010 Empire released a special collector's Edition chronicling all the movies in which they had reviewed and given a five star rating (the highest rating). 69 movies from the 80s were given this honor and the list displays which ones.
In 2019, Billboard teamed up with SiriusXM to determine the 500 best songs of the 1980s, with Olivia Newton-John’s 1981 pop hit “Physical” topping the list. It’s an apt choice for many reasons, foremost among them that the ‘80s, if mainstream American filmmaking from the era is any indication, might be called the decade of the body—of turning away from the more cerebral, auteurist cinema of the New Hollywood and toward star-driven genre vehicles, featuring the likes of Arnold Schwarzenegger, Tom Cruise, and Melanie Griffith, who in Brian De Palma’s delirious Body Double plays a porn star named—wait for it—Holly Body.
Conventional historical accounts of the decade see this transformation through the lens of box office, as studio practices tended toward market saturation, and stardom became dependent on the potential to make viewers feel rather than think. But that narrative overlooks the plethora of small, seedy gems made by Hollywood filmmakers starring well-known actors still vying to challenge audiences with daring visions of the modern world. Such as William Friedkin’s Cruising, Michael Mann’s Thief, and Martin Scorsese’s After Hours, whose nocturnal animals discover new, and often unwanted, shades of themselves while moving through city streets.
If the neon-lit cityscape is an essential image in ‘80s films for the way it expresses the allure and danger of living by night, it also points up how a fear of AIDS—and its association with city life—leapt into the collective consciousness. Maybe that’s partly why Ridley Scott’s Blade Runner seems to epitomize ‘80s aesthetics for many: The replicant, whose body often looks like an ideal and healthy human, is actually a machine. The city, though, need not be essential for the metaphor to work. In fact, author John Kenneth Muir argues that, in a film like John Carpenter’s The Thing, which is set in Antarctica, the necessity of a blood test to determine “what is really going on inside the human body” could be understood as a direct reference to the AIDS epidemic.
If that potentially sounds like a grim diagnosis of the decade’s films, it actually points to the vitality of the decade’s cinematic artistry, as filmmakers from across the globe emerged to share their haunted visions of sex, music, and voyeurism. In France, Jean-Jacques Beineix, Leos Carax, and Luc Besson each helped create cinéma du look as a hybrid strain of popular and art cinema with a lush visual style. Meanwhile, aging master Robert Bresson was making his last (and arguably finest) film. In Canada, David Cronenberg showed us how exploding heads, penetrative home video, and wayward twin gynecologists could encapsulate various maladies of the times. And in Taiwan, Edward Yang and Hou Hsiao-hsien were at the forefront of New Taiwanese Cinema, diagnosing the twin poles of urbanization and globalization as they started to define contemporary life.
The number of singular filmmakers who emerged in the decade is extensive. Auteurs such as Abbas Kiarostami and Souleymane Cissé created works that helped further introduce the realities of their respective countries to audiences around the globe, while, back in the U.S., Lizzie Borden and Donna Deitch were making their first feature films, each of which has endured as a classic of queer cinema. The decade’s films help us understand that, in order to see all titles of consequence, one needs to remain open to movies playing at the multiplex, the arthouse, and the grindhouse. The latter includes numerous slasher films, itself a subgenre enamored with the dangers and pleasures of the flesh. We must remember that, sometimes, wisdom comes from unlikely places, so consider this seemingly throwaway line from 1982’s The Slumber Party Massacre as words to live by: “It’s not the size of your mouth; it’s what’s in it that counts.” Clayton Dillard
Published on April 23, 2020