ryankatz5 John candy was in this movie but he is not on the cast list. Please fix this.

John Fonte Imagine yourself as a compulsively lying geek. Now, imagine your geek-self in the late 1980s/early 1990s.This is Jim, the main character of Career Opportunities. He cannot hold a job in an era where jobs flow infinitely from a river of the Reagan heyday. As part of the generation of fresh college graduates without steady income, I envy the luxuries that Jim takes for granted.Amidst his quarter-life crisis of how Jim should be as an adult, he lands a job as a "night clean-up boy" at Target. While normally this would be seen as unimpressive, Jennifer Connelly as 21 year old Josie saves the day with her charm, striking incisors, and of course, her low-cut tops.As many of the other reviews on IMDb for this movie have stated: Jennifer Connelly makes this movie. To put it another way: there is no reason to watch this movie if the poignant Jennifer Connelly did not star. But she did, and with her voluminous bosom, she carried the film (to term).It goes without saying that her natural beauty can be construed as objectified sex appeal for this movie. I, as an open chauvinist male, agree that that was her purpose. As much as we critics mind the boorish measures that Universal Studios takes to promote this film, I honestly believe that Jennifer Connelly is okay with flashing smiles and cleavage the most of all; after all, she is the one laughing her way to the bank.And with that, the most salient theme is her physical objectification (coupling this with some visceral jazz saxophone solos really don't help). Red tops. Red necklaces. Riding mechanical ponies. These scenes were all attempts to distract my short-term memory from the pedestrian and pointless overall character of this film. For me, it worked.What is probably the most disconcerting aspect of this film is the protagonist Jim. He is an unwieldy and jejune boy. When encountered with a beautiful women, we as the audience are forced to endure the awkward bouts of puberty. Simply, we want to grab Jim by the throat and say, "MAKE A MOVE! STOP F***ING LYING." Yet, we experience his own demise.What I mean by the last line is that the film does not provide closure for the relationship between Josie and Jim (and where are we with Jim's father's late night eatings?! Surely, that contributes to the plot, right? Oh wait, that's right, I've given the film too much credit; those scenes have ABSOLUTELY NOTHING TO DO with the rest of the film). What happens is that **Connelly** saves the day, and Jim does nothing to deserve her.If you want to look for a film where obtaining a beautiful (and clearly objectified) woman is justified, then look somewhere else. Jim has done nothing to deserve her. And we as the audience are to watch this inconsistency realize itself before our eyes.And my eyes have melted. I want them back. This movie was not worth the loss of my vision. I hope you all can agree with that.

Michael Frank Whaley and a few other overlooked ones the Hughes-package (aka Brat Pack) land roles here with emerging stars the Mulroney Bros. The film has the classic Hughes devices of the solitary character posed before a background of merchandise or amusing themselves with objects that are actually merchandise of functional objects. Whatever happened to Leggs and dancing in the CD aisles? The music is reflective of the transitioning period of the late 1980's and early 1990's where hard rock, "synth pop" and alternative rock were duking it out on the charts. If you're lost on the placement of the story--in typical Hughes (R.I.P.) Midwest territories, or the aesthetics, the subtle and smooth-flowing moral lessons are easily missed (am I the only one who sees similar casting among the many leading young women in the Hughes films--Moore, Connelly, Sara?). Generally, Hughes films are about revealing the common ties among individuals who live in distinctly different social and economic strata where conflict resolves into a solidarity.I find it interesting that I watched this AFTER watching a modern "living as a boy, who is old enough to live like a man" film titled, "Failure To Launch," an attempt to close the chapter on the pandemic of young "adults" returning to the nest, while this film seemed to signal the start of the pandemic. A few unique cases here or there, then by the mid-1990's, we saw the 30-year old "men" trailing behind their mothers to grocery stores or other chores. My other perspective on the content of this film.

Jim Hintzen (heem6) I really love the ending to "Career Opportunities." A great, feel-good ending. When we're young, most of us don't realize how lucky we are just to be young and with possibilities of adventures ahead of us. But this ending shows the two characters very much realizing how lucky they are. The big band swing music just makes everything seem groovy, Frank Whaley and Jennifer Connelly pulling up in the limousine, stepping out to bask in their moment of triumph (to the amazement of the kids), Jennifer's GREAT bend at the knees/twirl and pulling him back in to the limo, the kid saying "He is so cool," as they drive off and finally - Frank and Jennifer's self-aware cool, sitting by a swimming pool in Hollywood. How does it get better than that? It doesn't. That's it. But IMDb requires me to write ten lines of text or they won't allow my review. What's that all about? What about those 7 years I spent in college learning the craft of journalism (well, yeah, I did party a lot), training my mind to condense my thoughts efficiently, to hone my words to the barest minimum for maximum effect? Were all those books I studied by Ernest Hemingway and Hunter S. Thompson for naught? Now I'm being told to fluff the word count so that I can submit AN ONLINE REVIEW?! Well, I'm willing to do it for Career Opportunities. Many of the movies I see being made nowadays are downbeat, focusing on cruelty and the brutal nature of the modern world. It's so nice to take a trip back to the 80's when the message was "Anything's possible if you've got the balls to try and a silver tongue like Frank Whaley or Bill Murray." And one thing this movie has that Ferris didn't, is that Frank has to come to grips with his major flaw, and it's only when he does that, that he become a winner. Oh, and RIP John Hughes. You gave us some great, great movies, dude.