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Heathers (1988)

 -  Comedy | Crime | Drama  -  31 March 1989 (USA)
7.4
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Ratings: 7.4/10 from 47,188 users   Metascore: 73/100
Reviews: 243 user | 95 critic | 19 from Metacritic.com

A girl who half-heartedly tries to be part of the "in crowd" of her school meets a rebel who teaches her a more devious way to play social politics; killing the popular kids.

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Title: Heathers (1988)

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Cast

Cast overview, first billed only:
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Lisanne Falk ...
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Lance Fenton ...
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Ram
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Jon Shear ...
Rodney (as Jon Matthews)
Carrie Lynn ...
Phill Lewis ...
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Betty Finn (as Reneé Estevez)
John Zarchen ...
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Storyline

A regular girl, Veronica, tries to survive the social jungle of high school by sticking with the three most popular girls at school who are all called Heather. As she meets a sociopath named JD, her life spirals into a continuous cycle of hate, unintentional murder and indifference, as she exacts revenge on her enemies, also known as her best friends. Written by Marielle <msaz.movies@gmail.com>

Plot Summary | Plot Synopsis

Taglines:

A killer comedy. See more »


Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

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Release Date:

31 March 1989 (USA)  »

Also Known As:

Fatal Game  »

Box Office

Budget:

$3,000,000 (estimated)

Gross:

$1,108,462 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Heather Duke's kitchen in the dream sequence was also the kitchen used for Heather Chandler's house. They just switched the colors and lit it differently. See more »

Goofs

At Kurt and Ram's funeral, Ram, laying in his coffin, is breathing. (The football resting on his chest is moving up and down.) See more »

Quotes

Heather Chandler: Is this turnout weak or what? I had at least 70 more people at my funeral.
Veronica Sawyer: Heather?
Heather Chandler: God, Veronica. My afterlife is so boring. I have to sing Kumbaya one more time...
Veronica Sawyer: What are you doing here?
Heather Chandler: I made your favorite. Spaghetti. With lots of oregano. Dinner!
Veronica Sawyer: [wakes up from dream]
See more »

Connections

References A Nightmare on Elm Street (1984) See more »

Soundtracks

You're The Only One For Me
Written & Performed by Stewart Levin
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Frequently Asked Questions

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User Reviews

 
Best teen comedy ever.
5 April 2005 | by (New York, New York) – See all my reviews

Daniel Waters wrote one of the best satires ever in "Heathers", a dark comedy that ranks right up there with "Dr. Strangelove" and "Network". Certainly it's the best teen comedy ever made. Why? Because in spite of its highly stylized depiction of teenagers, it caught the truest essence of what high school is actually like in America. Not only that, it trashed the entire genre and-- in a feat of sheer genius-- even the *reaction* to the genre by outside observers (namely parents). Terry Southern could have done no better.

"Westerburg high school self-destructed not *because* of society but because Westerburg High School *was* society" was restated, to near-universal praise, by Michael Moore in "Bowling For Columbine", but Waters said it before him, said it better, and frankly he's got a lot more credibility ("Hudson Hawk" notwithstanding). The cast is brilliant, even if, strangely, some of them don't seem to get what the whole movie was about. You half expect that most of the cast and crew, like the kids who sign a petition to bring Big Fun to the school for a gig, made a movie they didn't know they were making. But the key figures nailed it-- Ryder and Slater were never better.

"Heathers" is one of the best films of the Eighties-- put the lid on the Eighties, as it were. It has suffered criminal neglect, probably because it may have required an "indie auteur" to really knock the cinematic elements out of the park. The direction is competent but unspectacular. Still, the star is the writing, and Waters deserved an Oscar for this script. Unsentimental, vicious, and above all hilariously funny, he drove a stake through the heart of those oh-so-precious John Hughes films and, at the same time, set the stage for Kevin Williamson and all the rest. He did it with a perfect ear for dialogue combined with a Swiftian vision of social structures, and did it all as an argument *against* ironic detachment, for which this film and its messages needs to be revisited now more than ever. Simply incredible.


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