Fast Times at Ridgemont High (1982) — Not bad. It may fall into the general category of youth-exploitation movies, but it isn’t assaultive. The young… - Pauline Kael

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Fast Times at Ridgemont High (1982) — Not bad. It may fall into the general category of youth-exploitation movies, but it isn’t assaultive. The young director, Amy Heckerling, making her feature-film début, has a light hand. If the film has a theme, it’s sexual embarrassment, but there are no big crises; the story follows the course of several kids’ lives by means of vignettes and gags, and when the scenes miss they don’t thud. In this movie, a gag’s working or not working hardly matters — everything has a quick, makeshift feeling. If you’re eating a bowl of Rice Krispies and some of them don’t pop, that’s O.K., because the bowlful has a nice, poppy feeling. The friendship of the two girls — Jennifer Jason Leigh as the 15-year-old Stacy who is eager to learn about sex and Phoebe Cates as the jaded Valley Girl Linda who shares what she knows — has a lovely matter-of-factness. With Sean Penn as the surfer-doper Spicoli — the most amiable stoned kid imaginable. Penn inhabits the role totally; the part isn’t big but he comes across as a star. Also with Robert Romanus, Judge Reinhold, Brian Backer, and Ray Walston. The script, by Cameron Crowe, was adapted from his book about the year he spent at a California high school, impersonating an adolescent. The music — a collection of some 19 pop songs — doesn’t underline things; it’s just always there when it’s needed. Universal. color (See Taking It All In.)

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About Pauline Kael

Pauline Kael (June 19, 1919 – September 3, 2001) was an American film critic best remembered for the reviews she wrote for The New Yorker. Collections of her reviews were later published in book form.

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The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.

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