Last of the John Hughes teen movies, and it's pretty clear that he'd already said everything he had to say. Thematically similar to Pretty in Pink, Hughes's preceding collaboration with director Howard Deutch, Wonderful isn't half as charming in either script or performance. It's a wishy-washy, often boring take on the same old "us versus them" concept, wrapped up in the hopeless chase of the school beauty.
Age has been a stretch for these films before (Judd Nelson and Emilio Estevez were in their mid-20's for The Breakfast Club) but the acting has always been good enough to make us forget. This time, without any of the Brat Pack regulars, there's something missing; it constantly feels like adult stars forced into adolescent roles. Lea Thompson seems like she's on her way to interview for a news broadcasting gig, and approximately 75% of the school wears shoulder pads of one variety or another. None of it feels authentic. The performances are almost universally hollow and vacant, too, especially from leading man Eric Stolz, who looks and acts like a mannequin.
It has a few redeeming moments, particularly a shining small part for Elias Koteas as a punk rock musclehead, and a good message, but otherwise it's passionless fodder. I guess all good things must come to an end.
Review by drqshadowBlockedParent2020-01-30T19:52:48Z
Last of the John Hughes teen movies, and it's pretty clear that he'd already said everything he had to say. Thematically similar to Pretty in Pink, Hughes's preceding collaboration with director Howard Deutch, Wonderful isn't half as charming in either script or performance. It's a wishy-washy, often boring take on the same old "us versus them" concept, wrapped up in the hopeless chase of the school beauty.
Age has been a stretch for these films before (Judd Nelson and Emilio Estevez were in their mid-20's for The Breakfast Club) but the acting has always been good enough to make us forget. This time, without any of the Brat Pack regulars, there's something missing; it constantly feels like adult stars forced into adolescent roles. Lea Thompson seems like she's on her way to interview for a news broadcasting gig, and approximately 75% of the school wears shoulder pads of one variety or another. None of it feels authentic. The performances are almost universally hollow and vacant, too, especially from leading man Eric Stolz, who looks and acts like a mannequin.
It has a few redeeming moments, particularly a shining small part for Elias Koteas as a punk rock musclehead, and a good message, but otherwise it's passionless fodder. I guess all good things must come to an end.