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Pretty in Pink

Pretty in Pink

Romance · Drama · 1986

Andie is an outcast, hanging out either with her older boss, who owns the record store where she works, or her quirky high school classmate Duckie, who has a crush on her. When one of the rich and popular kids at school, Blane, asks Andie out, it seems too good to be true. As Andie starts falling for Blane, she begins to realize that dating someone from a different social sphere is not easy.

Movie details

Pretty in Pink

“Blane's a pretty cool guy. Andie's pretty in pink. And Duckie's pretty crazy.”

1986 Romance · Drama 1h 37m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Andie is an outcast, hanging out either with her older boss, who owns the record store where she works, or her quirky high school classmate Duckie, who has a crush on her. When one of the rich and popular kids at school, Blane, asks Andie out, it seems too good to be true. As Andie starts falling for Blane, she begins to realize that dating someone from a different social sphere is not easy.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Pretty in Pink?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Howard Deutch

Written by

John Hughes

Molly Ringwald

Molly Ringwald

Andie Walsh

Andrew McCarthy

Andrew McCarthy

Blane McDonough

Jon Cryer

Jon Cryer

Philip F. 'Duckie' Dale

Annie Potts

Annie Potts

Iona

Harry Dean Stanton

Harry Dean Stanton

Jack Walsh

James Spader

James Spader

Steff McKee

Kate Vernon

Kate Vernon

Benny Hanson

Court is in session

Put Pretty in Pink on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.