A New Yorker article would like to tell you that Michael Lehmann’s “Heathers” has aged magnificently since its landmark debut back in 1989, but it hasn’t. At the time it was seen as an incredibly fresh dissection of the teen movie, an antagonist to the John Hughes movement of the ‘80s, which was slowly but surely was dying due to its all-too-facile outlook on teenagers. “Heathers” hit a nerve in America, it sought to destroy the archetypes of the teen movie and that it did. Copycats emerged, some much better movies as well, but it’s Lehmann’s vision which kick-started it. That still doesn’t mean that watching “Heathers” today, which I again saw recently, makes for a fresh experience. In fact, it has become such an important and copied film in pop culture that almost everything it does feels a little too obvious and predictable. That’s how important “Heathers” was to America.
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