Four best friends, with four different personalities, have issues of their own. Deidre is fascinated by her sexuality and has many boyfriend problems. Madge is unhappily overweight and has overprotective parents. Annie boozes and does drugs, and runs away from her abusive father, a policeman. Jeanie has to take care of them and is fighting with her divorced mother. The only way to loosen up, and forget all the bad things happening in their lives, is to party and have fun. Jeanie is ready to grow up and wants to stop acting like a child. Annie is the worst of them all and Jeanie is worried about her the most. She risks her neck more than once trying to keep Annie clean and free from trouble. But Annie's unstable behavior and flare ups keeps everyone on edge. Written by
Cherie Currie revealed to E! Entertainment that one member of the cast ruined one take of a scene by grabbing Currie in an exaggerated romantic way and kissing her. Jodie Foster was not pleased with the goofing around, and ordered the set shut down until everyone could get serious again. See more »
Jodie Foster's hair changes during the party scenes. In some shots, she's wearing two combs (pulling her hair off of her face), while in other shots, she's wearing one comb with the other side combed straight down. See more »
[after Jeanie was talking to a pimp on Hollywood Boulevard, looking for Annie]
God, Jeanie, I don't know how you could even talk to that guy. I mean like, he looks like a... He could hypnotize you like a cobra or something you know, and the next thing you're out on the Boulevard and you're dressed like the Pointer Sisters.
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"Don't it kind of strike you sad when you hear our song?"
Four teenage girls in a suburb of Los Angeles get into all kinds of trouble: parties, drugs, cops, mixed-up parents, older boyfriends. Jodie Foster, the group's level-headed mother hen, tries keeping everyone together "like a family" (like the family unit she's never had), and the heartbreaking thing about the movie is that she can't. Slowly, everyone grows up and goes away. THAT precise plot point, though underscored throughout, is unfortunately tampered with. Did we really need a long sequence with Scott Baio outracing a car full of thugs on his skateboard? Or an even longer sequence--also with Baio--where Foster has a strange soliloquy about pain as an illusion. Some of the dialogue in fact is downright loopy, and I didn't much care for an edit in the third act which segues clumsily from a death to a wedding. But these are nitpicks in what is basically a very sensitive story about the loss of a tight bond. And Jodie's face at the ending speaks volumes. If viewers do get choked up, the movie has earned this. The film doesn't pander for tears or ask for sympathy--it shows us an example of friendship and hopes we understand. *** from ****
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