Even more than his long-time colleague and friend, Steven Spielberg, George Lucas is the boy who never grew up. For one, Star Wars is so inspired by sci-fi serials like Flash Gordon and the WWII dogfight movies that his imagined sci-fi universe feels oddly antiquated, and befitting its setting in a moment “a long, long time ago.” No less fitting is that American Graffiti, Lucas’s breakout hit, is a love letter to his youth in the 1950s and ’60s, and that it’s become the ur-text of the nostalgia movie as a subgenre. Everything from Happy Days to The Big Chill lives in its shadow, though given the shininess of the film’s surfaces, from the neon-lit drive-ins to chrome-plated cars that have been buffed to perfection, perhaps it’s more accurate to say that the film’s descendants are illuminated by its gleaming glow.

American Graffiti has the most threadbare of plots.