Heathers (1989)

R   |    |  Comedy, Crime


Heathers (1989) Poster

In order to get out of the snobby clique that is destroying her good-girl reputation, an intelligent teen teams up with a dark sociopath in a plot to kill the cool kids.


7.2/10
84,439

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  • Winona Ryder and Michael Lehmann in Heathers (1989)
  • Winona Ryder and Christian Slater in Heathers (1989)
  • Winona Ryder and Christian Slater in Heathers (1989)
  • Winona Ryder and Christian Slater in Heathers (1989)
  • Kim Walker at an event for Heathers (1989)
  • Winona Ryder in Heathers (1989)

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5 April 2005 | nick-848
10
| Best teen comedy ever.
Daniel Waters wrote one of the best satires ever in "Heathers", a dark comedy that ranks right up there with "Dr. Strangelove" and "Network". Certainly it's the best teen comedy ever made. Why? Because in spite of its highly stylized depiction of teenagers, it caught the truest essence of what high school is actually like in America. Not only that, it trashed the entire genre and-- in a feat of sheer genius-- even the *reaction* to the genre by outside observers (namely parents). Terry Southern could have done no better.

"Westerburg high school self-destructed not *because* of society but because Westerburg High School *was* society" was restated, to near-universal praise, by Michael Moore in "Bowling For Columbine", but Waters said it before him, said it better, and frankly he's got a lot more credibility ("Hudson Hawk" notwithstanding). The cast is brilliant, even if, strangely, some of them don't seem to get what the whole movie was about. You half expect that most of the cast and crew, like the kids who sign a petition to bring Big Fun to the school for a gig, made a movie they didn't know they were making. But the key figures nailed it-- Ryder and Slater were never better.

"Heathers" is one of the best films of the Eighties-- put the lid on the Eighties, as it were. It has suffered criminal neglect, probably because it may have required an "indie auteur" to really knock the cinematic elements out of the park. The direction is competent but unspectacular. Still, the star is the writing, and Waters deserved an Oscar for this script. Unsentimental, vicious, and above all hilariously funny, he drove a stake through the heart of those oh-so-precious John Hughes films and, at the same time, set the stage for Kevin Williamson and all the rest. He did it with a perfect ear for dialogue combined with a Swiftian vision of social structures, and did it all as an argument *against* ironic detachment, for which this film and its messages needs to be revisited now more than ever. Simply incredible.

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