Until last weekend, I had never seen ADVENTURES IN BABYSITTING, a 1987 classic from director Chris Columbus. This is to say, that until last weekend, I had never lived.

The film, which you can guess at even if you don’t already know the film by heart, is about Chris Parker (eternal teen crush Elisabeth Shue), a High school senior tasked with taking care of a hormonal High school freshman Brad (Keith Coogan) and his younger sister Sara (Maia Brewton).

Of course Brad has a crush on Chris, and of course he’s way too old to have a babysitter (15), but that situation is as old as mankind itself, and just as relatable. I’m sure the cavemen were doing the same thing, and besides, this was the 80’s, dammit. Throw in a comedic, sarcastic jackass sidekick in Daryl (Anthony Rapp of RENT fame, another Chris Columbus joint) and an annoying “best friend” of Chris’ in Brenda (THE ARTIST and KINDERGARTEN COP’s Penelope Ann Miller), and you have the makings of adventure.

Brenda is only one thing: the inciting incident, because she decides she wants to run away from home. She gets to the train station before she’s out of money, crying and requiring rescue. That plot point is almost entirely forgotten (thankfully) once it successfully brings Chris and the kids out of the suburbs and into…the city, where all manner of hijinx and danger can happen. Brenda loses her glasses and sucks for the rest of the movie, providing ready made bathroom breaks.

Once in the city, I’m not really sure how Chris and company become carjacked by “badass” criminal Joe Gipp, but Joe Gipp is awesome (above), and because Brad steals a Playboy with some vague super secret plans written in them once at Gipp’s bosses lair, Chris and company have marked targets on their backs.

The 80’s touchstone is probably the 79th most important film ever made, for many reasons. For one, it was Chris Columbus’ directorial debut. The guy went on to define everyone’s childhood with HOME ALONE, HOME ALONE 2: LOST IN NEW YORK and MRS. DOUBTFIRE. Say what you want about the first two HARRY POTTER films, but the guy presumably had the last say on almost all of the casting and created that rich, magical film world. Most would argue that Alfonso Cuaron truly fleshed it out, and added whimsy, depth and gravity to the proceedings, but Columbus gave him a strong foundation to explore. He clearly gets kids, and may be one of the best directors for children’s movies ever, and he had a knack for creating a rollicking family movie from the get go.

(The less said about BICENTENNIAL MAN, the better.)

Chris Parker was perfect, not only because she had a guy’s name, and that’s hott (I blame DAWSON’S CREEK), but because she was portrayed by Elisabeth Shue (she’s really good at the above look).

Elisabeth Shue is one of the most fascinating actresses of the 1980’s. Her breakout role came as Ali in the original KARATE KID. When I watched that film for the first time as a kid, I was captivated by her the moment I saw her, much like the king, Ralph Macchio, who was about the most relatable teenager there is. There’s nothing more embarrassing than this awkward meet up on their first date:

I also couldn’t have rooted for their romance more during their theme park visit.

Soon, Elisabeth Shue became the dream girl, but an attainable one, because she always seems so nice, charming and genuine. She has that girl next door vibe, hell, she might have created it, and is one of the reasons our childhoods seem so depressing by comparison, since girls like Elisabeth Shue don’t exist next door. Or if they did, I wouldn’t be wasting my Friday afternoon writing about a movie that features Bradley Whitford’s finest onscreen performance as dickhead boyfriend (his license plate actually reads “So Cool”).

After KARATE KID, Shue apparently starred in LINK, where she had to outsmart a murderous orangutan, which has vaulted to the top of my To-Watch list. But it was her leading role in ADVENTURES IN BABYSITTING that truly launched her career and cemented her place as 80’s heartthrob. She would go on to win Tom Cruise’s heart in COCKTAIL and Michael J. Fox’s in BACK TO THE FUTURE II and III (she replaced a wooden Claudia Wells in the sequels).

There was a lull in the early 1990’s, or at least that’s my assumption, since I’ve hardly heard of any of her roles during that time, until LEAVING LAS VEGAS, when she slayed embodying the hooker with the heart of gold trope. She had the pleasure of watching Nicolas Cage kill himself with alcohol, a thankless role that netted her Shue’s only Oscar nomination. She followed that up with Woody Allen’s DECONSTRUCTING HARRY in 1997, and has bounced around since (including a turn in the star-studded PIRANHA 3D), until landing a role in CSI in 2012.

Shue’s best performance was likely LEAVING LAS VEGAS (thus, Oscar recognition), but ADVENTURES IN BABYSITTING is probably my favorite. She’s not simply the leading man’s love interest. Here, she’s the star and manages to do it all: slapstick comedy, romance, heartbreak, singing, dancing and Schwarzeneggerian one-liners. There might not be a better line than, “Don’t fuck with the babysitter.”

(This comes after Brad stupidly/adorably defends Chris in front of the Lords of Hell, by calling him a big city scum sucker, and then getting a knife in the toe a la Chandler on FRIENDS)

Her lip-syncing to The Crystals’ “Then He Kissed Me” during the opening credits of ADVENTURES IN BABYSITTING is a veritable star is born moment. The exact time and place when Elisabeth Shue became the girl next door of the 1980’s, a look and vibe that was copied and borrowed time and time again in many movies after. In most slasher flicks, the monstrous villain is running after a version of Elisabeth Shue, because we care about Elisabeth Shue.

That is literally a female version of Tom Cruise in RISKY BUSINESS. Then there’s this hilariously bad “Babysitting Blues” performance to save their lives:

But…Elisabeth Shue is not the best part about ADVENTURES IN BABYSITTING, though the movie would’ve tanked without her.

Nay, the best part was Sara, the youngest of the kids that Chris is responsible for. I don’t know if I can remember a movie where the youngest child is the best, funniest and coolest of the ensemble. They’re almost always annoying, living, breathing, spittling warnings against parenthood. Instead, Sara is a girl who wears Thor’s helmet, draws Thor comics, and has a Thor poster on her wall. In the 1980’s, almost thirty years before Chris Hemsworth would make the Norse God a sex symbol and supremely cool. Sara has all the best lines, is mischievous, sassy, and has a good heart. She is so great that I hope I run into her adult self and fall in love. Where are you, Maia Brewton?

This clip, which likely was buried in a time capsule to show future mankind (or the aliens of GALAXY QUEST) what life was like in 1987, is probably the greatest thing ever:

Can you imagine seeing that today? Thor is a legitimate plot point in the movie. She has a replica Mjolnir, she wears the helmet, wears a red cape and matching Weasley Christmas sweater, and their asses are saved BY Thor.

And by Thor, I mean Dawson, a blond giant mechanic who kinda looks like a Santa Mall version of Thor. Dawson is played by a blond Vincent D’Onofrio, which is one of the least heroic things I can think of. Even in 1987, it barely works:

But it’s no less awesome to behold, which is what I could say for the entire 102 minutes of this movie.

ADVENTURES IN BABYSITTING is chock full of moments where you’ll just giggle and comment, “Oh, the eighties,” sigh and wish you were back there, at least for a John Hughes curated school dance.

There’s even an endearing dude with a claw.

Robin Williams and JUMANJI have haunted our dreams since 1995, but the story began much earlier: 1982, in fact, when Chris Van Allsburg’s book won the National Book Award. For JUMANJI and THE POLAR EXPRESS, Allsburg is kind of the king of children’s fiction. And it’s easy to see why the movie version would be freaky/awesome:

Joe Johnston (CAPTAIN AMERICA: THE FIRST AVENGER), whose career began with the instant classic HONEY, I SHRUNK THE KIDS and cult fave THE ROCKETEER, followed it up with directing the “live action sequences” of THE PAGEMASTER. So, clearly, he could do no wrong, and was on a roll heading into helming the film adaptation of JUMANJI.

In the 90’s, you know who else could do no wrong (or enough coke)? Robin Williams. Well I can’t vouch for TOYS (not many can), but HOOK, FERNGULLY, ALADDIN and MRS. DOUBTFIRE permanently etched Robin Williams’ into every kids’ life history. Robin Williams meant greatness, and an eternity of (confusing) youth thanks to JACK, HOOK and JUMANJI, another movie that plays with his age and upbringing.

This time around, he plays the adult version of a bullied kid (Alan Parrish) who got stuck in a board game for 30 years and as such, gets a chance to showcase his world-renowned hair growing abilities. In many ways, he’s essentially playing a Lost Boy from HOOK, given a chance at redemption, and another chance at family, and to defeat his villainous Dad/Poacher.

Then you sprinkle in David Alan Grier, whose career never really took off, unless you count the TV movie ANGELS IN THE INFIELD (and maybe you should). He did manage to net a recurring role on LIFE WITH BONNIE, perhaps because he worked with Bonnie Hunt on JUMANJI, who was clearly added for her tremendous sex appeal.

Then there’s a prepubescent Kirsten Dunst and a monkey boy, and you have an instant classic on your hands.

JUMANJI so thoroughly terrified and enthralled me as a kid, that I had to have the Jumanji board game…but was too afraid to play it, lest I get stuck in the board. Forever. The idea of growing up instantaneously, and missing my life, losing my friends, family, and having my Dad run after me with a rifle in the forest, while having to wear a big ass leaf for a hat, is an unsettling one.

But the idea of going from creepy kid (below, who looked like an unholy combination of my childhood best friend, my Dad as a kid and a freckly wicked witch) to Robin Williams, with the ability to wrestle with alligators and Bonnie Hunt almost tipped the scale in the other direction.

The movie was such a phenomenon (was it? I’m making this up) that the following year, JUMANJI got an animated series that looks a lot like the Wild Thornberries.

Needless to say, it lasted just the one season.

But now it’s time to wet our whistles with this sure to be mediocre drinking game. That said, it certainly beats ZATHURA.

JUMANJI DRINKING GAME RULES

1. Every time they roll the dice (or there’s a new turn), drink!

2. Whenever the Jumanji theme plays, meaning the terrifying freaking drums, have a sip.

3. If monkeys are up to mischief…drink!

4. Drink whenever our fateful heroes read a new rule of the game, and double it if they’re confused by it.

5. When you see a lion, take a sip.

6. When someone kills a massive spider with a tennis racket, drink, since that’s the only time you’ll ever see such a monumental achievement.

7. Waterfall during a stampede!

8. If something genuinely scary occurs, drink.

9. Drink if you ever find yourself attracted to Bonnie Hunt.

GET SUCKED IN THE FLOOR EDITION: Drink whenever you’re attracted by 13 year old Kirsten Dunst, you sicko.

Every time, your answer should be fuck yes.

What follows is my way of introduction to ye faithful reader(s). Rather than inundating you with vague autobiographical information, I thought I’d let you discover my life through movies, by sharing seven of my absolute favorite childhood movies. While none of these is my favorite movie (since I can remember, BACK TO THE FUTURE has been my answer to that question, but GALAXY QUEST is closing in), and I’ve seen so many mind blowing movies that have changed my life or inspired me since, movies just have a bigger impact on you when you’re younger. Movies are more pure precisely because you are, as you haven’t yet left Neverland and grown up, and aren’t yet saddled with life’s expectations and complications. In many ways, I’m still the same kid who yearns to be the manager of a professional baseball team rather than endure the pressure of actual playing, like in LITTLE BIG LEAGUE, or the alienated monster kid who longs to be a part of Scooby’s gang in SCOOBY DOO AND THE GHOUL SCHOOL.

Let’s go, shall we?

Mary Poppins (1964)

Before I was too cool to spend New Year’s Eve with my parents, my sister and I used to watch movies until midnight with the folks, back when that was a big deal. The first year we started this tradition (I don’t know exactly how old I was), my Mom put her foot down (she was steppin’ in time) and made us watch MARY POPPINS. I, of course, was resistant to something that sounded so girly and silly and stupid. This was before I would embrace my wacky self, and my feminine side, and many a movie that’s frowned upon by insecure dudes and “grown up” men and women. Now, I’m all for it, and this classic live-action (with some animation) musical with Julie Andrews and Dick Van Dyke was a big reason for that.

Each song is beautiful, from the protest-power song of “Sister Suffragette” that fit in with the socially conscious 60’s era even if the film itself took place when women were fighting for the right to vote (while still painfully subservient to their dopey husbands like Mrs. Banks), to the pop cultural might of “Supercalifragilisticexpialidocius.” Yeah, because of that song’s greatness (and my current obsession with the soundtrack on Spotify) I could spell that without consulting Google. There’s “Spoonful of Sugar,” which is one of three songs that actually do make chores more bearable (if only the truism “in every job that must be done there is an element of fun” was true). The dreary and touching “Feed the Birds” is as manipulative as a Sarah MacLaughlan puppy ad, but no less effective.

It’s a film that has a classic joke that doesn’t make sense to any but English majors (least of all children) yet is still hilarious: “My friend said he knew a man with a wooden leg named Smith. So I asked him, ‘What was the name of his other leg?'” Misplaced modifier humor: what gets better than that?!

The film not only gives us animated singing and dancing animals, a chaste but no less dreamy love story between Bert and Mary, but is a socially conscious picture that empowers women (somewhat), and perhaps its finest achievement is chronicling the development of Mr. Banks from the gruff, stern, responsible banker to lovable family man. For any young man with designs at a large future, try not to tremble at the opening lines of David Tomlinson’s finest moment, in “A Man Has Dreams”:

A man has dreams of walking with giantsTo carve his niche in the edifice of timeBefore the mortar of his zealHas a chance to congealThe cup is dashed from his lipsThe flame is snuffed aborningHe’s brought to rack and ruin in his prime.

It’s DEATH OF A SALESMAN in song.

Dick Van Dyke: dancer, beau, singer, comedian, actor…rapper? Just listen to his fast-talking singing at the end of “Jolly Holiday” and other moments sprinkled throughout this beautiful film. While the film is titled after Ms. Poppins, it’s Bert’s character that absolutely steals the show and grounds the narrative. He’s just an honest (and obscenely talented) man scraping to get by, but he’s somehow charmed the world’s luverly-iest woman, and in so doing, made it seem like Bert is the one out of Mary Poppins’ league. Bert should’ve ended the misplaced belief that the impoverished are poor because they’re lazy, as he works as a chimney sweep, artist and a one-man band.

It wasn’t until senior year of high school until I truly accepted who I was, and shared the weird to the world, and was no longer embarrassed that I read comics, or that I had never dated a girl. I think I’d be grasping at fate to intimate a legitimate connection between that leap than with Bert’s leaps across rooftops, but it’s clear he was a worthy role model all along, and perhaps that leap wouldn’t have been possible without Dick Van Dyke’s complete all-in with Bert. I oftentimes wish I had embraced the message proliferated by Bert sooner. Would I have taken up theatre? Would I have learned to read music, or to sing? I feel like that’s passed me by, or loses its luster after high school and college, but MARY POPPINS’ timelessness says otherwise. It’s never too late; a man has dreams, after all.

If you’re not whistling or clicking your heels by the end of the film, and inspired by the buoyant, jubilant ending number “Let’s Fly A Kite,” that is as touching a moment between a father and his children as any, then you’re a serious Grinch.

The film may border on the cartoonish, literally and figuratively, but it’s also real, as symbolized by Bert’s wonderfully simple line: “Life is a rum go, governor” in response to Mr. Banks’ turmoil before his enlightenment. Of course, it also glorifies poverty, displaying more happy, grimy chimney sweeps than have probably ever existed.

Further evidence that Dick Van Dyke is the most talented man in show business ever:

If you doubt the power and magic of this movie, click your heels to the following (admittedly bad quality) video of “Step in Time,” my favorite song from the film:

Recently, I watched this movie with a few of my friends, tailored a drinking game to its wondrous content, and ended the night trying and failing to emulate D-V-D on the dance floor. The experience informed my Halloween costume this year.

While I haven’t found the woman, that when I hold her hand, I feel so grand, and my heart starts beating like a big brass band, it’s remains a jolly holiday when you spend it with Mary. Chim chim-in-ey, chim chim-in-ey, I love you!

But not her:

I have no idea why, but Karen Dotrice, who plays Jane Banks, terrifies me, for her role in the immortal cat film THREE LIVES OF THOMASINA. GODDAMN YOU THOMASINA.