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Pretty in Pink is a rather intelligent (if not terribly original) look at adolescent insecurities.
This is like every other Hughes film, just a little shoddier.
Miss Ringwald's pouty naturalness remains her biggest asset, and her performance is once again appealing.
Although it is not a great movie, it contains some moments when the audience is likely to think, yes, being 16 was exactly like that.
A grubby and even nasty movie in its understanding of class structure, of culture and counter-culture and the ways that teenagers can destroy one another over the subtle distinctions therein.
...it manages to capture the heart, which makes up for a lot of other deficiencies.
Pretty in Pink is clichéd, stereotyped, remarkably sentimental, and sweet as all get-out.
While the script contains trite and unbelievable dialogue, the superbly convincing performances make up for these faults.
Molly Ringwald is appealing, but the film has little else going for it.
...even the notoriously reshot conclusion comes off as genuinely sweet and touching...
It is perhaps too much to ask that a John Hughes film bear the standard for class warfare in the 1980s, especially when the film was so tone-deaf in depicting its subculture's milieu.
From Molly Ringwald's pretty-in-pink mouth to the political banter of Jon Stewart's Daily Show, Jon Hughes's frustrated sarcasm branded a generation.
John Hughes was born in 1950 but connected deeply with the next generation's cultural brooding.
To be able to give this kind of stuff new and sympathetic twists is a tribute to Hughes' skill with narrative, and to Ringwald's magnetism as a performer.
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