Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

This time around, it’s May 2, 1986, and we’re off to see Blue City, Jo Jo Dancer, No Retreat No Surrender, and Saving Grace.

Blue City

As thrillers go… this is one of them.

Billy Turner (Judd Nelson) returns home to Blue City, Florida and immediately learns his father was killed. He sets about trying to solve his father’s murder and reunites with some old friends to help him on his mission.

Awful. Simply awful.

Billy seems to be some sort of copy of Axel Foley from Beverly Hills Cop, and any time he talks about his father’s death it seems like an afterthought.

Add in he hooks up with Annie (Ally Sheedy), the younger sister of his friend Joey (David Caruso), and neither of them seem all that bothered after Joey gets killed, you really have no idea who these characters are.

It’s a very confused film and no one seems to know exactly what tone they are going for.

Jo Jo Dancer, Your Life Is Calling

A surprisingly intimate reflection at one’s own shortcomings after one of the most public falls in history.

Jo Jo Dancer (Richard Pryor) suffers a horrible accident after freebasing cocaine, and he uses his time in the hospital to reflect on his life and what led him to this moment in time.

Yes, it is the world’s most thinly veiled look back at one’s life. Pryor famously was horrifically burned while taking drugs, and this was his way of coming back into the public eye.

It certainly is not a perfect film, but it is engaging and touching. It feels like a man who truly wanted to explore his own past and didn’t know any way to do it than through what he always knew, entertaining people.

A surprisingly candid look at one’s own life and allowing the world to take the journey with him.

No Retreat, No Surrender

Have you ever watched a movie so bad you wish it would punch you through the screen to put you out of your misery?

Jason Stillwell (Kurt McKinney) relocates to Seattle after his father’s dojo in Sherman Oaks, California is taken over by an organized crime syndicate takes it by force. Their plan? To take over every dojo in the country.

… do I need to tell you anything else about the ‘plot?’ This movie was beyond awful and I think the only reason it still exists in any form is it shows off a very young Jean-Claude Van Damme.

This is one of the worst movies I’ve seen in some time, and that’s saying a lot.

Saving Grace

It’s nice to be surprised by a movie, and it rarely happens twice in the same week.

Cardinal Bellini (Tom Conti) becomes Pop Leo XIV. After a year in the position, he gets locked out of the Vatican accidentally and decides to take the moment to reconnect with the average people. He goes to a little village he was aware of and helps them rebuild their aqueduct. Not only does he have that to contend with, but the local hoodlum, Ciolino (Edward James Olmos) doesn’t want him to succeed as he makes his money from everyone depending on him.

Yes, the fact that the fictional Pope is Leo XIV wasn’t lost on me while I was watching it.

It’s not a great movie, but I found myself engaged, and charmed by Conti’s performance. I’m not quite sure why Olmos was playing a rural Italian, but it is what it is.

It’s a charming and heartwarming film, and certainly will keep you entertained.

1986 Movie Reviews will continue on May 9, 2026, with Dangerously Close, Fire with Fire, Last Resort, and Short Circuit.

A child sexual assault case filed against Aerosmith frontman Steven Tyler will proceed to trial in Los Angeles County Superior Court.

The singer is accused of grooming, sexually assaulting and impregnating 16-year-old Julia Misley in the 1970s. The suit, first filed in 2022 in Torrance, claims he “used his role, status, and power as a well-known musician and rock star” to exploit Misley. The complaint also argues Tyler admitted to the alleged crimes in his own memoir, “Does the Noise in My Head Bother You?,” where he refers to her as his “teen bride.”

Earlier this week, a judge dismissed most of the case, citing the statute of limitations in Massachusetts, where the pair lived during their three-year relationship. But they allegedly crossed state lines while Tyler toured the country with his band, including to California, according to the complaint. Because of California’s Child Victims Act — a 2020 statute that allowed a “lookback window” where alleged victims can file lawsuits regardless of a statute of limitations — a portion of the case will still be tried.

“This is a massive win for Steven Tyler. Today, the Court has dismissed with prejudice 99.9% of the claims against Mr. Tyler in this case,” Tyler’s lawyer, David Long-Daniels, said in a statement to The Times. “The court has decided that only one night, 50-plus years ago, out of a three-year relationship is allowed to remain.”

New York has a similar statute that was recently employed by singer Casandra “Cassie” Ventura in her case against Sean Combs. She filed a sex-trafficking and sexual assault lawsuit against the music mogul in 2023, in the U.S. District Court for the Southern District of New York, just days before the expiration of a lookback window.

The lawsuit against Tyler, who previously appeared as a judge on “American Idol,” claims he and Misley first met at an Aerosmith concert in 1973. According to the document, he “performed various acts of criminal sexual conduct upon Plaintiff that night.” At the time, Tyler was in his mid-20s and Julia was 16.

The alleged encounter was the first of many, the lawsuit claims. In 1974, Tyler was named Misley’s legal guardian and took her on tour with the band.

According to the complaint, he described the nature of the relationship in his 2011 memoir, writing, “She was 16, she knew how to nasty … with my bad self being twenty-six and she barely old enough to drive and sexy as hell, I just fell madly in love with her. … She was my heart’s desire, my partner in crimes of passion. … I was so in love I almost took a teen bride. I went and slept at her parent’s house for a couple of nights and her parent’s fell in love with me, signed paper over for me to have custody, so I wouldn’t get arrested if I took her out of state. I took her on tour with me.”

The lawsuit also describes Misley’s alleged pregnancy with Tyler’s child, which ended in a “pressured” abortion.

In previous court documents, Tyler has denied the allegations and attempted to get the case dismissed.

“This reflects years of resilience and courage by Ms. Misley, driven by an unwavering pursuit of truth and justice. It is time for justice and for Tyler to be held accountable by a jury,” Misley’s attorney, Jeff Anderson, said in a statement.

The trial is scheduled for August.

Dhanush is one of those very few lead actors in India currently who are completing films at a quick pace and releasing them in theatres. He released three films(i.e. Kuberaa, Idli Kadai & Tere Ishk Mein) last year and is set to release at least three films this year as well. For his first film in 2026, he teamed up with director Vignesh Raja and made an intense action thriller, Kara. Vignesh Raja’s last film, Por Thozhil, did extremely well. It was one of those very rare films which worked both critically and commercially.

When a film in the combination of Dhanush and Vignesh Raja was announced, the expectations among the audience around the film skyrocketed and the buzz around the film went up further when, Mamitha Baiju, was announced as the female lead in the film. After creating enough curiosity among the audience with the trailer, the film was released in theatres today. Did the director, Vignesh Raja, come up with an engaging film yet again? Did Dhanush score a blockbuster with, Kara? How did Dhanush & Mamitha Baiju, pair look on screen? Did G. V. Prakash Kumar, come up with a memorable album yet again for a film starring, Dhanush? Let’s figure it out with a detailed analysis.

What is it about?

A good Samaritan father(K. S. Ravikumar) based out of a remote village in Tamilnadu, fights against a bank which manipulated him and his fellow villagers and grabbed their land. The son(Dhanush) who earlier ran away from his family to start a business, returns to his village to sell his family’s farming land and start a hotel in a town. What happens when the son returns to his village? Forms the rest of the story.

Performances:

The role of Karasaami aka Kara is tailor-made for Dhanush. We have seen him doing similar roles multiple times in the past. There’s nothing special in the performance he delivered for Kara. It’s just a standard template-driven performance. Mamitha Baiju is a surprise package. She did a role which is a complete contrast to the usual youthful and joyful roles she played in her earlier films. She got a very limited role in the film but she delivered a very good performance in whatever screentime she had.

K. S. Ravikumar in the role of Kandhasaami, delivered his career-best performance. As a loving father, he did a superb job in emotional sequences. The film had many notable actors and almost all of them performed well but their efforts were undone by poor writing and aimless direction.

Technicalities:

Just like most of the Tamil movies, Kara, too has stunning visuals. The cinematographer, Theni Eswar, captured the raw and rustic rural Tamilnadu, very well with his camera throughout the film. G. V. Prakash Kumar, tried his best to lift the lifeless sequences with his background score but it did not work. Editing by Sreejith Sarang, could have been much better. At least twenty minutes of the film could have been easily edited to make it at least a bit better. Especially, the second half of the film drags on forever. Let’s talk about the writer and director’s, Alfred Prakash & Vignesh Raja, work in detail in the analysis section.

Positives:

1.⁠ ⁠K. S. Ravikumar’s Performance

Negatives:

1.⁠ ⁠Beaten to Death Storyline
2.⁠ ⁠Bland Screenplay
3.⁠ ⁠Poor Writing & Direction
4.⁠ ⁠Lengthy Runtime

Analysis:

Movie Name – Idli Kadai
Release Date – 01st October 2025
Story Line – A good samaritan father based out of a remote village in Tamilnadu runs a hotel and expects his son to continue his legacy by running the hotel after he passes away. But, he wants to move to the city and have a better life. After the father passes away, the son realises his mistake, shifts base to the village, reopens his father’s hotel and continues running it.

And, now

Movie Name – Kara
Release Date – 30th April 2026
Story Line – A good Samaritan father based out of a remote village in Tamilnadu, fights against a bank which manipulated him and his fellow villagers and grabbed their land. The estranged son returns to the village to sell the land and use that money to open a hotel in a town. After his father passes away, the son realises his mistake and fights against the bank and eventually gets the villagers’ land documents from the bank.

Both the storylines sound similar, don’t they? While watching, Kara, it is not your fault if you start to wonder why in the world, Dhanush, agreed to do two films with similar storylines consecutively. The only difference between the two films is that in, Idli Kadai, the son runs the hotel to fulfil his father’s wish and in, Kara, the son turns into Robin Hood to fulfil his father’s wish. At least, Idli Kadai, for a major part was truthful to its family drama genre. But, Kara, ended up becoming neither a family drama nor an action thriller.

The director, Vignesh Raja, previously crafted a gripping crime thriller, Por Thozhil, which keeps audiences on the edge of their seats throughout its runtime. Once again, while watching Kara, it’s not your fault if you begin to wonder whether it is the same director behind both films. It was surprising to see Vignesh Raja and his writer, Alfred Prakash, coming up with such a bland and unexciting screenplay. The writing of heist episodes and the way they were executed were laughable to say the least. There was not even a single sequence in the film which was written and executed intelligently. The Robin Hood-like hero will not have any plan to rob the bank branches. All he does is to wear a mask, step inside the branch, threaten the bank employees with a gun and rob the branches one after the other. How did the director convince Dhanush to do the film with such a bland screenplay? What was Dhanush thinking while accepting the film? There will be at least a few good episodes even in the bad films of Dhanush but Kara is an exception. There is not even a single sequence throughout the film that excites the audience.

Overall, Kara is a forgettable film from Dhanush and Vignesh Raja. The beaten-to-death storyline, boring screenplay, unexciting narration and lengthy runtime, made it a painful watch. At least the first half was watchable but the film lost the track completely in the second half and tests patience with each passing minutes. Apart from a brilliant performance from K. S. Ravikumar, the film offers nothing and is sure to become one of the biggest flops in Dhanush’s career.

Bottomline – Boring Heist

Rating – 2/5

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