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Matthew Broderick looked so brilliant in those days. While this film single handedly made him Ferris Bueller forever, at least this is a film that can be seen all throughout the years without dating too badly. Sure, the music and props will signify a time of discontent and bad hairdos, but the idealistic look of a man simply wanting to ditch school has never been made more daringly and charmingly.

Everything about this film was gold, from the postmodern "conversations" with the audience to the little back stories which seem to shape the overall canvas of the film. While Alan Ruck was way too old to play in this movie, at least he proved to be a great opposite to the cool and nonchalant Ferris. Gross-out comedies may now be the norm, at least we can look back to this film and enjoy a good, genuine laugh.

On my IMDb "Top 10 Greatest Comedy Films" list.

No other "Coming Of Age" teen film since has been able to knock Ferris Bueller off its post-American Graffiti "COA" throne. Like the 1961 Ferrari GT 250 SWB California portrayed in this film (more than one used in production, and all were well-made knock-offs as no one was going to risk knocking around an ultra-rare $25M collectable), there is simply no substitute (George Lucas' American Graffiti' still reins as the all-time #1 COA film, but that came 10 years earlier, and is in a class by itself, although this film is also deserving of being considered an "important and significant film").

This was John Hughes' 4th directed movie, during his most prodigious period from 1984 to 1990, that also included 'The Breakfast Club' and 'Home Alone'.

Hughes tried to portray teens realistically and gave them relevance in his films - he was empathetic to the challenges of adolescence, and consciously avoided Hollywood's often shallow characterizations of the teen high school years.

The Library of Congress selected the film in 2014 to be preserved in the National Film Registry, honoring FBDO for its cultural significance.

Before all the slapstick, before re-writing "Home Alone" umpteen times and before selling his soul to "Disney Pictures Inc.", John Hughes was believed to be THE scribe for teen angst.

He wrote eloquently of it in "Sixteen Candles", "The Breakfast Club" and "Pretty in Pink". And with "Ferris Bueller's Day Off", he creates a person and a time in life that just about anyone who's ever been a teenager can relate to.

Who hasn't known someone like Ferris Bueller (Broderick)? Someone who always has a plan, someone who made loafing off an art form, someone who could fall in a barrel of you-know-what and come out smelling like a rose?

All he wants to do is take a day off from school and enjoy the day in Chicago - simple enough, but he must also try and convince his best friend Cameron (Ruck) and his best girl (Sara) to join him and, in the process, learn to enjoy what life has to offer.

Naturally, there is a tyrannical school dean (Jones) who is determined to catch Ferris in the act of hookey and Ferris' own sister (Grey, pre-nose job) who has it in for her brother, the "trouser-snake".

There are funny situations throughout the movie, and the characters are ones that grow on you, especially Ruck's worry-wart portrayal of Cameron Frye, constantly fretting about his dystalic, cursing his father and nearly drowning in a pool, all in the name of friendship.

Sara has less to do, but she plays the object of desire well, and Ferris' passion for her is understandable. At least he thinks about the right things, like what their lives would be like after high school.

All the way from beginning to end, this movie is a great trip in search of fun, relaxation, not taking life too seriously and how to sing Wayne Newton songs in the middle of a parade.

You want to catch vintage John Hughes and classic '80s teendom at its best? Seize this "Day"!

Ten stars for "Ferris Bueller's Day Off".

Like Back to the Future, Ferris Bueller's Day Off seems to hold a pretty firm and entrenched place in whatever 1980s teen cannon that people hold in such high regard. Back to the Future was, perhaps famously, rejected by many-a studios on the basis of 'not being raunchy enough'; something other films of its ilk were at the time. I can imagine something similar happening to Ferris Bueller's Day Off, but like Back to the Future, it is the decidedly 'un-raunchy' films of the era that we now revisit the most often and just seem to hold in higher regard.

I think what keeps this film resonating with past and current audiences alike is its clear distinction in paying close attention to young people, and their ever-ongoing battle for independence, for recognition and for individuality. The lead is Ferris Bueller (Broderick); a young and very confident, almost borderline sociopathic in his behaviour, male in then-contemporary America. Ferris is the sort of guy who can con his way into an expensive restaurant; hack his way into the school computer mainframe and shows total disregard to his friend's and certain respective situations when trying to haggle the use of a rare and classic car for the day. The film takes special care in introducing him as an individual whom lives in a large, detached house in a rich neighbourhood that comes complete with a white picket fence. He is literate in all the latest gadgets and pieces of technology, be it home computers used to hack or stereo systems to further the notion he is unwell.

In direct opposition to Ferris is the principal of Ferris' school, named Ed Rooney (Jones). Rooney isn't just out to capture Bueller as he plays truant, he is out to destroy Bueller's life; this, Rooney outlines as his goal very early on in the piece. This seems to be the essence of what keeps audiences old and new consistently discovering the film; that study of 'old vs. young' as these cocky, smart and quite attractive bunch of confident oddball kids dare stand up to those of a high authority; those that are grey, suit-clad authoritarian figures such as Rooney.

But I think Bueller is smarter-still than what he lets on. He talks very early on about how important it is to go to college and learn a trade and live the American Dream, but he does so in a very nonchalant manner, almost as if he is repeating what it is he's told to say, or think, or feel. What follows is a chain of events and total disregard to most things that suggest he isn't of this ideation at all. But the journey does have an ideation; an ideation Bueller himself cooks up to do with being able to notice life and enjoy life as best you can, otherwise it might seem like it's passing you by.

But the film isn't preoccupied with just these studies. Its attention to young vs. old or independence vs. routine is similarly played about with through one of Bueller's two friends named Cameron Frye (Ruck), who is given a slight subplot to do with being able to stand up to his father. Ferris and Cameron's third friend is Sloane Peterson (Sara), Ferris' girlfriend. The three complete an unusual triangle of pals; they are one another's' friend as well as foil, forever getting into adventures and situations but hitting the odd wall when it comes to the finer things during the day out. Cameron is forever concerned with the car; Cameron and Sloane are forever worried they might get caught (particularly when Ferris partakes in a large musical number in the street) and Ferris seems forever pre-occupied that the three of them will not get the best out of their day off; a day off Ferris sees as a gift, as something they worked hard towards earning with their scheming, and thus; must embrace it as fully as possible.

The film is a love story, a comedy that relies on slapstick, situation and screwball alike; the film is an odd beast of basic convention, surrealist humour and truancy glorification. But does it ever focus too much on one thing? Does it particularly care what you might think of it? I don't think it does, it just throws mostly everything at the screen, stirs it all up and allows it all to play out. It feels like two, or possibly three, different films at once – but that's fine because there is enough different sorts of content all brewing at once, and focused on at a balanced rate, that we go with it. One might say the film's attitude echoes that of its lead; it's doing things its own way, in its own style and doesn't particularly mind how you react. It's the kind of film that can go from a slow motion shot of two guys driving a sort-of stolen car that was sort-of stolen in the first place to the Star Wars theme; to a series of scenes that rely on a school teacher falling over a few times as a source of humour. The best thing about it all, is that it's all actually rather effective.

Presenting "the 1980's", the golden era of teen flicks. This is another outstanding classic.

What makes the whole idea absolutely hilarious is that this isn't at all something teenagers would do when taking a breather from school. Fine dining, art exhibits and parades, really? Or how would I know, perhaps the jazz was different back in the 80's.

The humour here is very subtle but effective all the same. It's hidden in the facial expressions, gestures and tone of voice. I particularly enjoyed the famous 'staring at a canvas' scene which I found both highly entertaining and profound at the same time.

Modern-day film and television industry could take a lot from this one. It shouldn't be all about the bawdy comebacks and toilet jokes. Humour is most effective when it's undetected.

But on a more serious note, there are actually important themes that are discussed here whether it's defying your parents, discovering your abilities or keeping your friends close but enemies even closer.

With both its lighter and more serious facets I know a comedy when I see one. And this is pure comedy gold.