Realização:
John HughesArgumento:
John HughesCâmara:
Tak FujimotoMúsica:
Ira NewbornElenco:
Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones, Jennifer Grey, Cindy Pickett, Lyman Ward, Charlie Sheen, Ben Stein, Richard Edson, Kristy Swanson (mais)Streaming (1)
Sinopses(1)
Ferris Bueller (Matthew Broderick) is a tricky but harmless fast-talker. But he knows how to have fun, which is exactly what he sets out to do when he feigns illness and talks his parents into letting him stay home from school. The perpetually lucky Ferris enlists his hypochondriac best friend, Cameron Frye (Alan Ruck), into springing his girlfriend, Sloane Peterson (Mia Sara), from class, and the three embark on a raucous downtown Chicago adventure. From Wrigley Field to the Art Institute of Chicago to a Polish pride parade, Ferris and his friends make the most of their day off. But Ferris, Sloane, and Cameron might not get away with playing hooky. Ferris's sister, Jeanie (Jennifer Grey), is determined to prove that Ferris is faking sick and make him pay for it, and the bumbling school dean, Ed Rooney (Jeffrey Jones), is sure that Ferris is pulling a fast one. (texto oficial do distribuidor)
(mais)Críticas (2)
I have to say, my discovery of more John Hughes films was well worth it. He was able to depict youth like no one else, and it didn't really matter that these youths were played by actors in their thirties. The illusion works perfectly. The story is important, and what matters is how the individual scenes are woven together, which often could work independently as gags or stories.
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I like this film just by the way it approaches entertainment and storytelling. The apt depiction of a tiresome school routine, the deliberately overblown escalation of innocent student rebellion by the underdog principal, Broderick's satirical on-camera commentary, the simple yet believable teen psychology, and finally, the unprecedentedly polished script where every frame, motif and dialogue play an important role in a future twist or joke – all of this, together with the great actors (besides the likeable main trio, especially Jeffrey Jones, the famous Emperor from Forman's Amadeus), makes for one of the most iconic and creative comedies in American film history. Given the parodied social undertones, I understand some of the criticisms that this is a purely overseas affair, but I still can't (or rather, don't want to) imagine such a moron being able to criticize so much sheer entertainment and intoxicating audiovisual substance – murder deserves other films entirely, leave this gem alone. 90%
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