Hellen I like the storyline of this show,it attract me so much

Clevercell Very disappointing...

JinRoz For all the hype it got I was expecting a lot more!

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

moderniste I loved, and still love this movie. When it came out, I was 12, and living a rather sheltered existence in Sacramento, which was very much like a Northern Californian version of the SoCal's "The Valley".This movie does a very realistic job of portraying how different things were for teenagers back in that era. Today's teens have been raised by parents who've bought into the idea that they need to be around their kids 24/7--the whole attachment parenting thing. Young kids spend most of their time around their adult parents, and if they do hang out with other kids, they are highly supervised "play dates". They grow into teens who may have some online freedom, but most likely are regimented into structured "programs"--lessons, classes, teams or clubs with high degrees of adult supervision. Parents often try their hardest to be seen as "friends", with the hope that their teen will share every little last thing about their lives, so different from the generation gap I recall in the late 70s/early 80s when I was that age.And these parents have very little of an adult life outside of their precious darlings-- so unlike what I recall of my parents and their large circle of friends with their frequent dinner parties and kid-free vacations and camping trips. Today's parent would have a guilt trip of epic proportions if it was even suggested that they spend adult time away from the kiddies.They might just be turned in to CPS if they allowed their teenagers to have even the tiniest amount of freedom as the 4 "Foxes" did in this thoughtful and revealing movie. Teenage girls aimlessly driving around, taking buses by themselves down to Hollywood, and having a much older boyfriend with a cool adults-not-welcome party pad would simply never happen in today's helicopter-parented middle classes.My teenage years in the early 80s weren't quite as free as these girls had it, but I remember endless nights spent driving around in a car full of friends with a "suitcase" of cheap Shafer beer, often ending up at the party house belonging to a bunch of 20- something guys--with nary a parent in sight, and no constant texting or calling ones' parents every hour. There was plenty of beer and pot, and lots of kids were having sexual relationships. And yet somehow we all made it--my group of pals all went to university; no one got arrested, addicted or pregnant.Kids like Annie who overdid it were around--though not many suffered the same extreme fate as Cheri Currie's character did. Ironically, Annie was the one with the MOST parental involvement, albeit an abusive authoritarian jerk of a father, and yet she has the toughest road to follow.Jodie Foster is, unsurprisingly, excellent, playing yet another smart, capable and sophisticated-beyond-her-years teen, unflinchingly blasé about sex, booze, and 'ludes until she needs to be emotional about Annie's behavior that is getting her closer and closer to being involuntarily committed to a mental ward. Foster's sheer intelligence is so evident even in those early years; it's no surprise to me that she became such a huge success, and so well-respected for the depth and excellence of both her acting and directing.I really do love this movie, but boy howdy does it highlight how much society has changed in regards to its views of childhood, teenagerdom, and adults' roles. I must admit that I'm rather nostalgic for those freer times when there was more of a healthy boundary between teenagers and their parents position in their lives. "Foxes" is a stylish yet very realistic look at Valley girls before they were "Valley Girls".

skullislandsurferdotcom The late seventies didn't turn out enough films about the youth culture: teens not wrapped up in anti-war protests of the prior decade, but just wanting a good time, which there's not much of in this so-called character-study of four girl/friends, two played by Jodie Foster and The Runaways Cherie Currie.Director Adrian Lyne doesn't seem interested in the kids (which includes a pointless Scott Baio with a Linus blanket skateboard), but rather, how atmospheric the lighting affects each close-up shot: which are very abundant. We never get the feeling of placement nor do we establish any distinct, or interesting, location.And why are these girls so miserable and what they're escaping from? Other than dull conversations with their miserable parents in scenes fitting to an acting workshop, it feels more like an After School Special than a teen rebellion flick.The music lacks the essential hard-lined energy of, say, OVER THE EDGE. The melancholy intro of Donna Summer's pop tune "On The Radio" is not only played throughout, but pops up whenever things get "deep." And Cherie Currie's wild girl character has potential, but lacks screen time and is so doomed she should have a paper taped to her back reading: BURY ME.This ponderous melodrama starts off well: good actors and some cool Hollywood Boulevard exterior locations. But none are used for very long, and never establishes our protagonists or their destination, which is pretty much nonexistent.For More Reviews: http://cultfilmfreakreviews.blogspot.com/

Woodyanders Jodie Foster, Cherie Currie (the former lead singer of the seminal all-girl rock group the Runaways in her remarkably able acting debut), Marilyn Kagan, and Kandice Stroh are uniformly believable, splendid and touching as the titular quartet, who are a tight-knit clique of troubled, fiercely loyal adolescent girls with negligent, uncaring, self-absorbed parents who do their best to grow up and fend for themselves in the affluent San Fernando Valley, California suburbs. The girls are forced to make serious decisions about sex, drugs, alcohol, commitment, and so on at a tender young age when they're not fully prepared to completely own up to the potentially harmful consequences of said decisions. Foster, giving one of her most perceptive, affecting and underrated performances to date, is basically the group's den mother who presides over the well-being of both herself and the others; she's especially concerned about the good-hearted, but reckless and self-destructive Currie, whose carelessly hedonistic lifestyle makes her likely to meet an untimely end.This picture offers a poignant, insightful, often devastatingly credible and thoroughly absorbing examination of broken, dysfunctional families which exist directly underneath suburbia's neatly manicured surface and the tragic net result of such families: tough, resilient, but unhappy and vulnerable kids who have to confront the trials and tribulations of growing up on their own because their parents are either too inconsiderate or even nonexistent. Adrian ("Fatal Attraction," "Jacob's Ladder") Lyne's direction is both sturdy and observant while Gerald Ayres' script is somewhat messy and rambling, but overall still accurate in its frank, gritty, unsentimental depiction of your average latchkey kid's nerve-wrackingly chaotic, capricious and unpredictable everyday life. Leon Bijou's soft, dewy, almost pastoral cinematography properly suggests a delicate and easily breakable sense of tranquility and innocence. Giorgio Moroder arranged the excellent score, which makes particularly effective use of Donna Summer's elegiac "On the Radio." The top-notch cast includes Sally Kellerman as Foster's neurotic, insecure, peevish mother, Scott Baio as a sweet skateboarder dude, Randy Quaid as Kagan's rich older boyfriend, British 60's pop singer Adam Faith as Foster's feckless, absentee rock promoter father, and Lois Smith as Kagan's smothering, overprotective mother. Appearing in brief bits are Robert Romanus (Mike Damone "Fast Times at Richmont High") as one of Foster's morose ex-boyfriends and a gawky, braces-wearing Laura Dern as an obnoxious party crasher. Achingly authentic, engrossing and deeply moving (Currie's grim ultimate fate is very heart-breaking), "Foxes" is quite simply one of the most unsung and under-appreciated teen movies made about early 80's adolescence.

Rack-Focus "Foxes" is a serious look at the consequences of growing up too fast in the 1980s. And unlike the teen sex comedies that overshadowed it (Porky's, Fast Times at Ridgement High), the movie holds up well against time.Its theme of teen angst is as relevant today as it was 25 years ago and Jodie Foster and sk8er boi Scott Baio (remember him?) lead a fine young cast that's well worth watching.The film follows four Southern California girls as they move through a rootless existence of sex and drugs and devoid of parents. The teens spend their days in and out of school and their nights at parties, concerts, or out on the street. Seldom are they home because instant gratification is a pill, party, or boy away.But rather than condemning them, the film is sympathetic, blaming absent, uncaring adults for forcing the teens to grow up alone. And the charismatic cast is impossible to dislike.The film's opening – a long and loving pan - sets the tone for what follows. We see the girls asleep at daybreak amid the objects that define teen girlhood, from Twinkies to a picture of a young John Travola, while Donna Summer's "On the Radio" is scored beneath.From there the movie picks up speed as the girls head off to school and to life. Annie (Runaway rocker Cherie Currie) is the wild child who lives for the next party or pill. Deirdre (Kandice Stroh) is the boy crazy drama queen. Madge (Marlilyn Stroh) is the shy girl in over her head. And Foster is the one with the plan. It's her job to keep this crew together long enough to finish high school while also holding her divorced and desperate man hunting mother in line (Sally Kellerman).It's an almost impossible job and one that Foster ultimately fails at.Despite its age, "Foxes" remains a pleasure to watch. Dated hair, clothes, and references to Olympic skater Dorothy Hamill haven't hurt the movie.The cinematography is simply stunning, with breathtaking filtered shots of the L.A. basin at dawn, dusk and at night. Giorgio Moroder adds a 80s soundtrack featuring the likes of Donna Summer and Janis Ian.Perhaps the movie's biggest disappointment is that the young stars around Foster never broke out like the casts of "St. Elmo's Fire" (1985) or "Empire Records" (1995). "Foxes" shows why they should have. But perhaps like Bowling for Soup's song "1985," they just hit a wall.