Review: BACK TO THE FUTURE
rating: 5
Advertisement
It needs no introduction, virtually everyone has seen it, and much like Toy Story, you will struggle to find anyone who dislikes it; to celebrate the 25th anniversary of Back to the Future, it is being re-released in select cities around the world (London being one of them), and though by now we have all had the opportunity to watch our trilogy boxed sets dozens of times, catching this timeless classic (no pun intended) in its original presentation is well worth slamming down some cash for. Marty McFly (Michael J. Fox) is a typical teenager growing up in the mid-1980s. However, when testing out a time machine with eccentric scientist friend Dr. Emmett Doc Brown (Christopher Lloyd), he is accidentally sent back to 1955. Here, he meets his parents in their high school years, and after inadvertently causing his own mother, Lorraine (Lea Thompson), to become infatuated with him, has to repair the course of time and ensure that she falls in love with his future father, George (Crispin Glover), or face being erased out of existence altogether. Undeniably one of the greatest films of the 1980s and indeed, of all time, Back to the Future has endured so well because it walks that fine tightrope of managing to appeal to just about everyone in some measure; there are fun adventure elements and zany characters for the kids, an intelligent, multi-layered time-travel narrative for sci-fi nerds, and a cheeky Freudian undercurrent despite which the film still garnered a generous PG rating. It is an irresistibly charming product of the 80s, yet it is stuck in that zeitgeist in only the most pleasurable of ways (much like John Hughes output of the same period), while the sci-fi twist keeps it subversive enough that it will surely entertain many generations to come. BTTF represents that rare perfect marriage of everything a film needs to succeed, from Robert Zemeckis pitch-perfect direction, to the sharp, hilarious screenplay, the immaculately styled performances, the scintillating visual effects, and Alan Silvestris unforgettable score (along with Huey Lewis and the News wonderful contributions). The constituent elements would not operate without the films biggest triumph its screenplay which is among Hollywoods most economic and brilliantly composed, for there are no disposable lines of dialogue; everything spoken is either cuttingly funny and heartfelt or employed to foreshadow a temporal event later in the film. If the first two Terminator films are cinemas best serious-minded engagement with concepts of time-travel, then this is its best comic effort, equally clever in recognising the fallacious, self-negating nature of jumping through history, and creating a protagonist so inherently likeable that his quest seems no less important than John Connors.