USA Up All Night (also known as Up All Night and Up All Night with Rhonda Shear) is an American…
Good girls want him bad. Bad girls want him worse.
"Drape" (or Greaser) Wade Walker, also known as Cry-Baby for his ability to shed a single tear, falls head over heels for square Allison Vernon-Williams who, incidentally, is tired of being good.Allison is a "square" good girl who has decided she wants to be bad and falls hard for Cry-Baby Walker, a "Drape" (or Greaser).Spoofing Elvis movies and Juvenile Delinquency scare films of the '50s, this movie follows the adventures of Cry-Baby who, after he is sent to juvie and released, is determined to cross class (and taste) boundaries to get Allison back.
You show me someone who doesn't like this movie and I'll show you... uhhh, umm... my middle finger.
...but not really. That would be rude.
There's nothing the matter with my face. I got character!
John Waters might be an acquired taste but there's no arguing that the man has a unique vision and uncompromising style. I almost think he simply makes films that he would enjoy watching himself while giving little regard to what appeals to the masses.
Here he lampoons the teen rebel films of the 50s resulting in what I imagine an Elvis Presley film would look like if directed by a man on acid. Not that I think Waters was on acid, I simply think this is actually what he finds entertaining when he is stone cold sober.
Unlike what most people think, Johnny Depp's first foray into the cinematically…
¿La mejor peli de Waters? ¿El Depp más molón de la vida? ¿Traci Lords? ¿Iggy Pop?
Una peli que se folla a los Rebeldes de Coppola por todos sus orificios. Inolvidable popada.
Really wish my brother would have named his son Hatchet Face, like he swore to do after we first saw this movie in the early 90s.
Late 1990/early 1991 - Watched Cry-Baby when it was in heavy rotation on cable. Love the characters, the music, the '50s Baltimore milieu, the "drapes vs. squares" plotline and John Waters' propensity for puerile jokes that even a seven-year-old can appreciate. More than anything, I can't believe how cool Johnny Depp is as Wade "Cry-Baby" Walker, a character that, I'd later learn, is an idealized composite of every doomed rebel from every low-budget '50s B-picture with cute boys in leather jackets. When nice girl Allison (Amy Locane) declares that she's tired of being good and wants to be bad, it makes me feel funny in a way I couldn't explain. And when Cry-Baby teaches Allison, in hilarious detail, how to…
Weird and twisted movie starring great Johnny Depp. This movie is very short for some reason but it is a good fun and it is filled with great music.
Romeo and Juliet meets The Outsiders and they have a dorky kid together named Cry Baby.
This movie is absolutely ridiculous but I can't help but love it.
"Cry-Baby don't dig squares"
I was tremendously bored throughout Cry-Baby. Despite having an interesting art-style and the charm of any other John Waters flick, the satirical humour was right on the nose and the performances ranged from decent to terrible, all of which lacking any sense of coherence with one another. Coupled with a painfully by the numbers plot which is punctuated with equally as cookie-cutter songs, there was nothing substantial to latch onto throughout the thankfully short 85 minute runtime.
The film had a reoccurring problem of poorly establishing motivation. Besides obviously wanting to date Allison, we're not given Baldwin's motivation, particularly why he so passionately hates the drapes, until the second to last scene. Even then it's only…
Wah? Ok, so... Wait. What did I just watch?
There's some decent acting but some of the characters are horrible and some horrible acting and just the way the film's put together it makes me sick.
Goofy as a box full of pug puppies, colourful as an explosion in a paint factory and acted as hard as any actor can act, this was a pretty fun flick. (And one of the few John Waters flicks that can even qualify as "family-friendly", too!)
Full review at: fanboynation.com/cry-baby-1990/
The central conflict of Cry-Baby focuses on a culture clash. The upper class WASPs of the Squares are desperate to squash what they see as plebian delinquents with their loud bawdy music. These clashes are present in practically every one of John Waters’ films – whether the messed up Fishpaw family and the outraged moralistic masses of Polyester or the perverse skewing of fashion and art in Female Trouble. Another theme of Waters’ film that is present it the twisted view of institutions. Like the demented convent of Polyester, Waters’ has an orphanage with children on display is glass enclosures with props to accentuate their environment. And Cry-Baby’s father having been executed for being the Alphabet Bomber rounds out the Waters tropes, his films always having a strong element related to sensationalized horrors.
Even though the whole joke could be condenced to a 5 minute music video, it's all amusing enough to be worth 80 minutes of your time.
A loving retro-fitting of JD and prison movies that makes the cultural rebels the good guys. One of the great things about the flick is that even some of the squares and moral authorities see past surface appearances at who's truly polite.
The intersection of new queer cinema (and its various influences) and the dense, colorful world building of The Big Lebowski or Buckaroo Banzai.
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