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IT’s Mourning in America: Modern Cinema’s End of the Eighties…

IT and Atomic Blonde touch on an intriguing (and renewed) interest in the end of the eighties.

There are a number of other examples scattered across contemporary pop culture. Halt and Catch Fire recently jumped several years in the gap between its penultimate and final seasons, straddling the end of the eighties and exploring the existential chaos of the early nineties. Mindhorn finds its central character unable to escape the shadow of a beloved cult television show that was retired in 1989, his fame ending with that decade. Although the true story that inspired it unfolded in the mid-nineties, Gold is set in the late eighties.

Part of this undoubtedly simple nostalgia. After all, the current generation of cinema audiences most likely came of age in the late eighties and grew in the nineties. This explains the wave of eighties and nineties nostalgia sweeping through popular culture, from the relaunches of shows like Twin Peaks and The X-Files to belated sequels like Independence Day: Resurgence and Jurassic World. People tend to be nostalgic towards their own childhoods, and this explains the pull of pop art like Stranger Things to modern audiences.

At the same time, it is interesting to wonder whether there is something deeper at work in all of this, if this very focused fascination with the end of the eighties is in some way intended as a commentary or reflection on the contemporary world, whether these films are trying to make sense of the modern climate through the framework of the transition from the late eighties into the nineties.

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Non-Review Review: Atomic Blonde

Atomic Blonde is a very pretty mess.

Atomic Blonde is a stylistic showcase for director David Leitch and star Charlize Theron, a bruising and beautiful ballet of brutality with a killer soundtrack. Atomic Blonde is a film set in a funhouse mirror version of Berlin in November 1989, a movie that argues its location is more a state of mind than a physical place. The violence in Atomic Blonde is visceral, the mood tangible, the soundtrack delectable. Atomic Blonde is a feast for the senses.

Seeing red.

However, Atomic Blonde also makes next to no sense. The film is an action movie dressed in the attire of a nihilistic espionage thriller, and a little narrative confusion inevitably comes with the territory. These films are all but obligated to have twists and betrayals, macguffins and revelations, switches and levers. Atomic Blonde embraces that zany approach to plot and structure with relish. However, the problem with Atomic Blonde is more fundamental than all that. It often struggles to remain coherent from one scene to the next, from one set piece to another.

Atomic Blonde is beautiful chaos, an exploding collage that probably didn’t make any sense to begin with.

Putting her turtleneck on the line.

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