Hello everyone, Manuel here jumping aboard my personal DeLorean and taking a trip to 1989 to catch up with what’s still Amy Heckerling’s biggest box office success, the comedy Look Who's Talking.
There's a certain joy and sadness in revisiting films you remember enjoying as a kid. Some, because of their continued playback on cable or at your own home theater, seem to age with you so that their flaws become endearing while their wonders become treasures you hoard as if they were intended just for you. In this, films can be like old friends. Catching up with one you haven’t seen in over a decade can be a terrifying prospect. Have they aged well? Do you still share the same sense of humor? Will there be awkward silences where there were laughs before?
Much like its stock male lead, Look Who’s Talking is a flawed, sloppy, lovable creature. It may feature the scariest CGI baby that side of Ally McBeal, but at its heart it’s a funny rom-com that handles its “women having it all!” plot with aplomb. Heckerling’s quippy film follows Mollie (Kristie Alley) whose married lover (George Segal) knocks her up, refuses to divorce his wife for her (doing so instead for his younger interior decorator), leaving her to raise young Mikey by herself. John Travolta plays James, a roguish cab driver who after helping Mollie deliver her son, begins babysitting for her and well… you can probably guess where the film eventually lands. Certain things have aged better than others. The performances still shine. Proving why they were stars before they were Kathy Griffin punchlines, Travolta and Kristie show that a great rom-com needs great chemistry at its center to succeed. Indeed, Travolta’s on-screen charisma remains undeniable whenever he’s dancing while Alley’s comedic timing shows why she was a sitcom superstar. And that doesn’t even cover the presence of always welcome Olympia Dukakis who proves she can do raucously funny no-nonsense mom in her sleep. My favorite exchange from the film is Mollie asking her mom why she married her father:
-He looked good in a uniform.
-Yes, but didn’t they all look good in uniform?
-No... I didn’t care for the sailors and their bell-bottoms!”
It’s all in the delivery, but there’s a spark in Heckerling’s script that is undeniable. The same cannot be said for the central conceit of the film. Hearing Bruce Willis’s voice as Mikey’s inner monologue is as bizarre as it sounds and adds very little to the film as a whole; maybe this explains the diminishing returns of the film's two sequels which relied more heavily on its voice actors (Roseanne Barr, Diane Keaton and Danny DeVito) and thus on its rickety gimmick?
Mikey, voiced by Bruce Willis
If Look Who’s Talking is indeed an old friend, it’s one I’ll be unlikely to catch up with any time soon. She's just as nice as I remember her, if not as funny but her schtick gets old very soon (am I the only one impervious to cute kids in films unless they're named Richie and are (s)mothered by Julianne Moore?). Now I’m scared to see other old friends from that time (I’m looking at you Willow!) for fear I'll be just as disappointed.
What childhood staple have you revisited recently? Are there films better left as untouched warm memories of sitting around with friends in party hats while celebrating one's sixth birthday?
Thursday, September 17, 2015 at 1:00PM 
It is a truth universally acknowledged that a teen movie made after 1995 owes a debt to Clueless. Since its release 20 years ago, Amy Heckerling's classic has had surprising longevity: it revitalized teen fashion in the wake of grunge, resuscitated a genre (while also spawning a new subgenre), spawned a platinum soundtrack, launched a new generation of acting careers, like way altered the teenage lexicon, and inspired a rap video as late as 2014. We at Team Experience reference it at least once a year. And though Clueless landed at #3 on our recent Back To School Team Top 10, the two films that topped it were both direct beneficiaries of Clueless's wit and satire. Clueless redefined the teen film genre, divorcing it from the darkness of the 80s, while maintaining the social satire and serious observation that gave the totally quotable dialog resonance for an optimistic, clueless new generation of 90s teens. 
