• It’s a masterpiece because of the overwhelmingly engaging and brilliantly unique narrative
  • Touches parts of Frank Capra, mainly it’s a wonderful life, whilst also being a excellent statement on eras—much like Zemeckis’ forrest gump was and is a statement for the baby boomer generation this film speaks to the 1980’s Reaganism (Biff waxing the BMW) and neo-conservatism (captured in post WW2 suburban America here). It’s a fascinating study
  • Oedipal elements for sure with Michael J. Fox and Lea Thompson’s character
  • Such economy in that narrative
  • Hill Valley (city) and Bedford Falls comparisons
  • Not the big jump back in time, but the quick flash forwards mirror the Bedford falls back and forth in Capra’s masterpiece
  • There’s formal repetition and variation here in the young and old that is ingenious- it’s not yet tired or tedious like the sequels would run into as they try the same jokes the 2nd and 3rd time
  • That variation in the narrative also reminded me of another narrative masterpiece- ramis’ groundhog’s day
  • The product placement for Pepsi gets hard to handle
  • Michael J. Fox is a revelation—Christopher Lloyd is perfect as the wide-eyed eccentric (not surprisingly plucked from Milos Forman’s cuckoo nest– but Thompson is strong as well as is Crispin Glover
  • Yes the clock intro is taken from Pinocchio but it’s a thoughtful (albeit blunt) motif. I love it. It’s also a fairly impressive oner (referring to opening clock credit)—Zemeckis details every frame with economy so nothing is accidental—it rewards multiple viewings—the “Uncle Joey behind bars” stuff—the “I love you” note from Jennifer on the clock tower paper
  • The score is very good- I was surprised to see it wasn’t John Williams—it’s Alan Silverstri who did forrest gump and predator
  • Some moments are too on the nose— Lea Thompson’s dad in the 50’s says “If you ever have a kid that acts that way I’ll disown you”
  • These actors, as good as they are here, would never again really find roles for them half as suitable
  • DeLorean—fully embracing the time. Ditto with the great Huey Lewis track
  • Marty’s skateboard skills are properly set up again nothing here is done without a later purpose
  • What doesn’t age well upon repeat viewings is the time and space deadline manipulations at the end (car doesn’t start)— wire comes unhooked- and some of the weaker narrative contrivances like “I’ll go back 10 minutes earlier and that should be enough time to warn doc”—why not go back an hour?
  • Love the ending- “where we’re going we don’t need roads”—it’s not Casablacna’s line and ending but still
  • Masterpiece