Ten Films from 1986 That Should Be Erased From History

While 1986 is often hailed as a golden year for film, with classics like "Plavi somot" (Blue Velvet) and "Hana i njene sestre" (Hannah and Her Sisters) emerging, a critical look reveals that not every movie from that era holds up. Far Out magazine, as cited by N1, points out that a wave of nostalgia for the 1980s risks idealizing a decade that also produced significant cinematic missteps. This perspective challenges the notion that all films from 1986 are worthy of remembrance.

The article specifically calls out "Poltergeist II: The Other Side" as a prime example of a failed sequel. It argues that the film devolved into a generic haunted house story with cheap scares, lacking the impact and originality of its predecessor. The absence of key creative forces behind the original "Poltergeist" is cited as a major reason for the sequel's shortcomings, transforming a potentially groundbreaking family horror into a forgettable genre entry.

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Horror sequels were not in their best shape during 1986, as franchises were churning out new installments to make villains icons, even when it was not the intention of the original authors.

Similarly, "Maximum Overdrive," directed by Stephen King himself, is presented as a directorial debut that highlights King's limitations as a filmmaker. Despite his immense success as an author whose novels were frequently adapted into films, King's attempt to direct his own work resulted in a film widely considered a failure. This critique suggests that King's experience as a novelist did not translate into effective cinematic direction, leading to a movie that is more of a curiosity than a classic.

From a Serbian perspective, this discussion about cinematic quality in 1986 resonates with a broader appreciation for film history. While acknowledging the undeniable classics, it's important to maintain a critical eye and recognize that even celebrated years can have their duds. N1, in presenting this analysis, encourages a nuanced view of film history, separating genuine artistic achievements from commercially driven but artistically lacking productions. The article serves as a reminder that nostalgia should not overshadow critical judgment, and that some films are indeed better left in the past.

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After publicly criticizing Stanley Kubrick for the adaptation of "The Shining," which he claimed had little to do with the novel, the only time he decided to take over directing himself, he showed how incapable he was as a filmmaker in his directorial debut "Maximum Overdrive."