Andrew McCarthy’s documentary Brats, based on his book Brats: An ’80s Story, offers an intimate exploration of the Brat Pack — a group of young actors who became cultural icons in the 1980s. Through candid interviews and nostalgic reflections, McCarthy delves into the nostalgia of the “Brat Pack” label, coined by journalist David Blum in a 1985 New York magazine article. This term, intended as a playful nod to the Rat Pack of the 1950s and ’60s, had lasting effects on the careers and personal lives of its members.
McCarthy reunites with his past co-stars including Rob Lowe, Demi Moore, Ally Sheedy, Emilio Estevez, Jon Cryer, Lea Thompson and Timothy Hutton, many of whom he had not seen in more than 30 years. This reunion aims to answer a central question: What did it mean to be part of the Brat Pack? The documentary’s real-time narration by McCarthy adds a sense of immediacy, making viewers feel like they are part of the journey.
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The Brat Pack, composed of actors from iconic films like The Breakfast Club and St. Elmo’s Fire, became emblematic of 1980s youth culture. However, Blum’s article, which depicted the actors as entitled and bratty, imposed an identity that many of them resented. McCarthy himself admits to struggling with the label, feeling it overshadowed his work and fueled his insecurities that highlight the contrast between public perception and his reality. While fans saw the Brat Pack as a group of close friends living glamorous lives, the actors themselves were uncomfortable with being a part of this group against their will, as they felt it trivialized their talents and constrained their careers.
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Brats explores how the term affected each actor differently. Hutton, whose Oscar win for Ordinary People in 1981 is considered a catalyst for the group’s formation, viewed Blum’s words as cynical and cheap. Estevez, often seen as the unofficial leader of the Brat Pack, believed the term harmed their professional reputations. Sheedy, whose character Allyson Reynolds in The Breakfast Club mirrored her own experiences growing up as a loner, saw the Brat Pack as a surrogate family, but resented the constriction that came with being a part of this makeshift group. Moore, who was rebuilding her career after personal struggles, initially rejected the term, but moved on more easily, perhaps due to her subsequent success in Hollywood.
The film captures the camaraderie and conflict among the Brat Pack members. Lowe and McCarthy reflect on how the term, despite its negative connotation, ultimately brought most of them closer together (though fellow members Judd Nelson wasn’t available to appear in the film, and Molly Ringwald wasn’t interested in revisiting the past). Thompson and Cryer, who the director called “Brat Pack adjacent,” had different reactions to the label. Thompson wanted to be part of it all and saw the Pack as the cool kids, and Cryer aimed to quickly distance himself from it.
Brats also touches on the broader context of 1980s teen movies, which were cultural phenomenons that featured frequent crossover among actors, resonated deeply with teenagers and saw box office success. Brats does hint that these films — mostly from John Hughes — targeted middle class white teens, and Hughes’ stories were class-focused. However, the documentary doesn’t delve deep into the topic of race or class, thus missing an opportunity for a richer discussion on how the Brat Pack films and stories affected other communities.
The film’s casual filmmaking style, with scenes shot on iPhones and visible camera crews, adds an authentic, comfortable and conversational tone. The look and feel is rustic and natural, making the audience feel like they’re on a set. McCarthy directs as he narrates, like filming a series of journal entries. When he comes in contact with his fellow actors, it’s tantamount to group therapy as the release, and catharsis, is palpable for every actor involved.
The actor-director eventually confronts Blum about the New York article and his intentions. The journalist reflects on his writing, stating that he didn’t anticipate its long-term effects. But he also has no regrets, and equates the experience to a 29-year-old man looking to build a career, and mistakes happen. McCarthy’s skeptical response suggests unresolved feelings about this, but he is finally willing to let it all go.
Brats is a heartfelt memoir and a reflection on the power of words and perception. It offers a poignant look at the Brat Pack, reminding viewers of the enduring impact of labels and the importance of understanding the people behind the public personas.
Title: Brats
Festival: Tribeca (World Premiere Spotlight)
Distributor: Hulu
Release date: June 13, 2024
Directors: Andrew McCarthy
Cast: Emilio Estevez, Ally Sheedy, Demi Moore, Rob Lowe, Lea Thompson, Jon Cryer
Running time: 1 hr 32 min