Parents

I had never heard of this movie before, and it looked like it had the same sort of weird zany surrealism as Society, which I massively enjoyed. What I was not expecting was how much darker in tone this film was going to be, and how massively uncomfortable it can be at times with some of the thematic undertones.

It taps into the inherent surreal nature of 1950's idyllic suburbia and builds wonderfully off of that horror, as well as delving into the true horror of being stuck in the same house as people who might want to hurt you. While there was a lot that just didn't hit and some spots where I felt the movie lacked, overall I found the movie to be interesting and kind of fun.

This movie is definitely not for everyone and is bound to disappoint quite a few horror fans, but for those that like surrealism in the vein of Society, this is definitely worth the watch. It's a solid movie and even if it's not the best out there, it has some merit as a film and some solid thematic undertones.

If asked which movie has been the most uncomfortable watch for me, it has to be this one. Bob Balaban has put together a film that encompasses all those dark feelings about our parents. With a beautiful performance from Randy Quaid as the strangest father in the world, it is from the dark place where all great black comedies come from. His dizzying combination of gruesome and mundane is incredibly well crafted, not falling into either one but dancing back and forth between them. I HIGHLY recommend this movie. Strange it comes from the man who played the chummy cartographer in Close Encounters of the Third Kind.

It's been 13 years since I saw this movie, but it made such an impact on me that to this day I can close my eyes and visualize the characters, and feel the mood that make this film worth watching. Not too many movies scare me like this one did. It wasn't the use of vast quantities of blood, or the killings that scared me, as much as it was the Ward and June Cleaver-ness of the parents. What really did it for me was the mind twist the director built into this film, and the way it was pulled off by the actors. If you're squeamish then this probably isn't for you, but if you can watch a movie and appreciate it for the art it is, I recommend it.

Years go by and I still adore Parents and make sure to watch it every so often. Impeccable casting, including a never-better Randy Quaid, Mary Beth Hurt, and Sandy Dennis, truly energizes the film. Preteen lead Bryan Madorsky has become a personal hero of mine, perfectly capturing the essence of fear and revilement that ten-year-olds can develop for their seemingly monstrous parents. Unfortunately for Madorsky's character Michael, his parents truly are monsters. I love the burgeoning friendship/romance between the two young kids, particularly in the telling sequences where they get drunk and end up in the freezer and where they speculate on the secret lives of their parents. And any movie that uses Perez Prado's "Cherry Pink and Apple Blossom White" over the opening credits is peachy in my book.

46. PARENTS (comedy, 1988) Ever since their move to a new town 10-year old Michael has been feeling strange. Maybe its because his new house seems so big and spooky. Or maybe its because his parents have started serving him a new recipe they call "leftovers". Whatever the case he has grown very suspicions of anything and everyone. His growing anxieties instill in him a wicked outlook towards life that gets him in trouble at school. Things turn for the worst when they investigate Michael's private home life.

Critique: Strange little film is the blackest of comedies. The story is told from Michael's P.O.V so everything looks abstract and weird. Attention to detail of setting (50s Americana), production design and costumes is very rewarding. Bob Balaban's craftily directed 'Pax Americana' scenes seem aesthetic and distant. The film has strong thematic qualities with David Lynch's own subversive 'Twin Peaks' society of evil lurking underneath a wholesome facade. Lynch's own regular composer, Angelo Bandalamenti, provides the music.

It also benefits from the stylistic brushes of cinematographer-turned-director Barry Sonenfeld. The use of sweeping, low-angle shots (illustrating this child's nightmare world) and use of hand-held are wonderful. The subversive overtones of the film make it not for all tastes.

QUOTE: Michael: "Well, what were they before they were leftovers?"

Dad: "Leftovers to be."