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Nice effects though.

This story has more twists and turns than a second-rate soap opera.

This film is so real. It treats its characters with so much care and sensitivity.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

I do not like the use of homophobic slur in this film as well as the presence of an Asian character who looks stupid. I'm asian and feel it's outrageous, using racist comedy. I'm a little angry when I watch this movie, as well as some scenes that I think are not funny but sickening. But I realize this is the 80s movie that is less diversity.

John Hughes was the genius behind such great 80's comedies like 'Pretty in Pink', 'Ferris Bueller' and of course 'The Breakfast Club', and this was his first attempt at the genre.All the elements that would make his latter films so beloved are here, as of course is the ever delightful Molly Ringwald. There are some lovely moments of comedy, and some real heart behind it.I didn't feel that this film was as complete as some of the later Hughes outings. It was almost as if he was trying lots of things out to see what worked. This therefore made for a bit of a mishmash of a film.You can't argue that the final scenes are lovely though. They are romantic, they're funny - John Hughes just excelled at writing these films. It's perfectly, enjoyable, and while it didn't grab me like some of the formerly mentioned films, it is still an example of a genius at work.

Part sweet-hearted teenage romance and part raunchy National Lampoon comedy, which makes sense as this film represents a transition for first-time director John Hughes. Fresh from a post at the Lampoon magazine, where he penned the seminal classic Vacation, Hughes was about to revolutionize teen-geared filmmaking with his deep understanding of emotional roller coasters and accurate portrayal of the high school social structure. What results is a spotty picture that experiences triumphant highs and... well, not lows per se, but a shocking disconnect with any shred of political correctness. Long Duk Dong is the worst of these offenses, of course, as a blush-inducingly ugly Asian stereotype, while a major plot point in the second act involves handing off a passed-out prom queen for not-so-subtly hinted sexual escapades. At the time this was made, I'm sure, these seemed perfectly acceptable choices for a teen comedy, but it's impossible to imagine most of it surviving the filters today. But if we can forgive all that (or maybe just move on from it), Sixteen Candles remains an intrinsically charming (and often laugh-out-loud funny) film. Molly Ringwald is responsible for a great deal of that, at her blushing, grounded best, while Anthony Michael Hall deserves a nod for his work as her suave-as-he-thinks-he-is wannabe suitor. And I'd completely forgotten about several baby-faced cameos from John and Joan Cusack throughout the story. It spirals out of control at points, especially during the expansive, scattershot school dance, but regroups nicely in time for a touching, classically Hughsian finale. Matched, of course, with the perfect scene-setting new wave tune.

An unrequited crush, your obnoxious grandparents are staying over, your sister's getting married, and your parents forgot your birthday. Could anything get worse? Sixteen Candles, released in 1984 and directed by John Hughes answers this question and proves that no matter how bad it gets, a happy ending is always possible. Samantha Baker, our heroine is a high school sophomore who happens to be having the worst week of her life. Jake Ryan, a senior, has every girl in the school's heart, including Sam's. Through trial and error accompanied by a foreign exchange student's wackiness, being stalked by a geeky freshman with a huge crush on her, and attending a school dance nervous and alone, Sam's attempts to woo Jake make for one of the most influential movies of the 1980s. The cinematography of Sixteen Candles is flawless. Soundtrack from timeless media makes its way into the picture. Perfect camera angles capture the emotion of the scene perfectly. Through twists and turns, the plot weaves itself into a classic love story. The need for acceptance is a primary theme in Sixteen Candles. Sam is unassertive about her appearance and place in society, Caroline flaunts her beauty out of insecurity, and the Geek feels a need to stand out. Many teens will find Sixteen Candles uplifting and relatable. An absolutely perfect movie by one of the best directors of the decade. 10/10.