Has any teen movie had a better one? The arrival of bad boy JD Christian Slater, channelling Jack Nicholson offers Veronica the chance she need to break out of this constricting caste, and the two become a kind of situationist Bonny and Clyde. Writer-director Amy Heckerling seemed to have invented a whole new teen-pop culture language: We know where Molly Ringwald's Andie is coming from.
Not that many wisecracks either, come to think of it. Rourke's Motorcyle Boy is dreamily magnetic, with his barely audible mumble and his barely concealed vulnerability. From the thrilling soundtrack to a before-they-were-famous supporting cast Matthew McConaughey, Ben Affleck , Parker Posey, Milla Jovovich to Linklater's unmistakable compassion for his characters, everything clicks. Coppola even enlisted the San Francisco Ballet to choreograph the fight scenes. There is a superb sight gag about Cher and Dionne talking on their big clunky mobile phones. And John Cryer's Duckie is that strangest of male characters — the lovable, clownish nice guy who doesn't get the girl, even though he's better company, and better dressed. Instead we get time-lapse clouds and clocks, a percussive Stewart Copeland score, bursts of colour, a bizarre, levitating dream sequence. Clueless is a real classic: The movie is worth watching for the costume changes alone, particular Ringwald's boss, Annie Potts, who flits daily from fetish-punk to s beehive, Madonna-esque material girl to Debbie Harry New Wave. It was a movie as vivid and colourful as its heroine's remarkable wardrobe: Has any teen movie had a better one? With its melancholy undertones and hour time-frame, the movie occupies similar ground to American Graffiti and Dazed and Confused, but is distinguished by a post-Porky's sensibility that simultaneously satirises and celebrates pre-PC smuttiness. Instead, Larry Clark's raw, bracing drama reminds us just how safe and artificial most teen movies are. Even if the film is no Clueless, it's still quite the bobby-dazzler. Clueless is notable for not having a "bully" character who meets a comeuppance. The transplanting of Shakespeare to a latter-day US teen setting is the least successful part of it: In London, Brooks's film attracted crowds of Teddy Boys, who slashed cinema seats, danced in the aisles and actually started a riot. Worse than all of those headline danger signs, though, is the general lack of concern or compassion the characters display, particularly Leo Fitzpatrick's chillingly uncouth anti-hero Telly, with his heartless quest to "de-virginise" younger girls and his sloppily articulated boasts about his successes. That's not to take away from Ringwald's wonderfully natural performance. With the spectre of Aids stalking the shadows, a happy ending is a distant prospect. Much of the humour arises from the inexperienced heroes' chauvinistic assessments of sex. Back in the s, dumbing down had been the hot-button issue. But could it be that there is a spark between these two? Mean Girls, the satirical film written by Tina Fey, and starring Lindsay Lohan, is very different. Coppola covered similar teen ground, with a similar cast, in his other SE Hinton adaptation, The Outsiders, but there he aped the Technicolor s; here, he was closer to s film noir, by way of the French New Wave. In fact there's barely a mention of school. Writer-director Amy Heckerling seemed to have invented a whole new teen-pop culture language:
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