Scott T Those 80s films. The edgy without being too raunchy comedies, the romances with the great soundtracks. So many memorable ones. Baby Its You an early 80s offering that somehow eluded me, until today. The time frame was right in the wheelhouse of my fleeting youth. The stars, likable enough. So off we went...Where to begin? Spano is an attractive guy who's serviceable as an actor. And Arquette, she is a decent actress, not great - but she, to her credit, had that "it" quality, that something extra that always elevated her to the next level. She's one of those actresses who had a presence that drew you in and held you - normally. So where did this one go so very, very wrong?First, the soundtrack is memorable enough. The setting is 1966, and most of the music reflects this. Most, I say, because someone involved with this one was obviously a big Springsteen fan. So suddenly 2 or 3 of his songs pop up, songs that weren't released until several years after the film's '66 setting. Just a minor quibble, compared to what lies ahead.The emphasis of "Baby" revolves so much around the two leads that everyone else seems like a thrown in prop. No other character is really developed beyond being added for a scene or two, and with zero substance. But this doesn't begin to touch on the missteps here.If you're going to have such a heavy focus on the two leads, they better be able to carry a film. That is only going to happen with {1} likable characters, and {2} great chemistry. Its evident right from the go that this one is going for the good girl/guy from wrong side of the tracks mix we've seen so many times before. Spano's "Sheik" {yes, really} is not even good at being bad. He's just a hot mess, all over the map emotionally. Nothing about him is remotely likable. This results in Arquette's Jill being a bundle of lost confusion. Her choices, her reactions to his latest misstep, are even more befuddling than what he did to cause it. None of her decisions follow any path of sane logic. So the chemistry between the two leads is literally non-existent. As this one rolls along, and "Sheik" starts breaking down, defying school rules and authority {apparently because he can}, pulling a gun for no apparent reason, robbing a convenience store - or something - you're soon going to be wondering where its all headed, and more likely, how much longer you'll have to endure this wreck.Maybe "Sheik" and Jill could have made this film work, if they had something/anything to work with. The writing is awful, the dialogue is often agonizing, the pacing all wrong, the characters {all of them} as dull as baked dirt, every one as directionless as you'll at some point realize this entire flick to be.One quick example: "Sheik" during one of his aimless rants proclaims {not verbatim, don't hold it against me}, "There are only three things - God, Sinatra, and me!" And, well, that's as much of God as you'll ever see indicated in his life, in any shape or form.As for the ending? There's really only two possible tracks for something this unimaginative {no, not that they wind up together, or don't}. I wont give it away - not that there's much to give - but if you make it until the end, chances are you'll be left shaking your head, wondering what you just witnessed. Even more, you're going to want those two hours back.Oh, that one purpose I mentioned at the top? "Baby" should serve as a caution to any girl out there who thinks a bad boy is the way to go, as well as to any guy who wants to take that path to have his desires fulfilled: Just -- don't. Because its never going to lead to "happily ever after" - even if these writers here were far too clueless to even figure that much out.But if you're one of those folks who's traveled this road in life and wound up in a destructive relationship, only to see it dissolve, or worse yet, are still entrenched in it, then maybe this one's for you.

kirstymd Okay... let's start this review off by saying I do have the movie taped from an old HBO showing. The fact that it's not on DVD seems to have actually DEtracted it from the better rating it should be getting. As far as I know, it's still the Bruce Springsteen songs that are holding up a DVD release. Are they worth it? YES! Until you see the movie, you cannot understand the relevance of Springsteen's music to a movie set in the mid 1960s. They really do make all of the difference and to release a DVD without them would be criminal. For the movie itself... it's a wonderful slice of teenage life, whether it be the 1906s or today. Who cannot relate to Jill with her little 45 player, singing along in her room? Has losing your virginity ever seemed so realistic? And the end, where Vincent Spano goes to Rosanna Arquette's dorm room, tears it apart, leading to the confrontation on the staircase???? My best romantic moment ever in cinema, because it is so real. That scene sticks with me as being one of my favorites in cinematic history, it's that good.

fivak I always dreamed and fantasized about falling for a hood like Sheik. "Nice" girls who grew up in the 1960's and were in the honor society were supposed to achieve the questionable goal of marrying a nice boy who would earn well and buy us a nice house in the suburbs, where we would presumably have some nice children...And this, in a word, is what lends "Baby, It's You" its poignancy. High school is the one place, the last place, in which the unlikely and all-too-temporary coupling of a female "achiever" bound for suburban "niceness" and the magnetic male "underachiever" bound for urban "unniceness" can occur. Sheik/Albert Capadilupo ("Is he an Arab?" "No, Italian.") embodies all the qualities that leader-type Jill Rosen has been told time and time again do not make a good, suitable husband or match or date: he disdains academic achievement, he is "good" with his hands, he drives fast, he has underworld connections, he knows how to kiss..and possibly how to do other things. Jill Rosen, in turn, has dreamy eyes, answers questions in class, gets good grades, and has ambitions of being something very much more than a "wife," qualities which fascinate and often infuriate Sheikh.In the course of the movie, the on-again, off-again romance between them -which features all the quirkiness and unpredictability of most high-school romances, and then some- lights up, then sputters, then heats up again. My favorite movie scene of all time takes place when a sleepless maniacal Sheik barrels up US Route 1 from Miami in a series of stolen cars, then collars numerous shocked and amazed debutante types in the Student Center in order to locate Jill.Free of sci-fi special effects or surrealistic flashbacks, this is a movie for people who love and believe in "romance" in the truest sense of the word - that one brief "Camelot"-like time when two people from different backgrounds and even worlds light up the world for each other, even though they sense it will end all too soon.

MovieAddict2016 "Baby, It's You" is a love story about a young woman named Jill (Rosanna Arquette), who grows up in New Jersey during the sixties and meets a troubled and troublesome swindler named Sheik (Vincent Spano). They go out together during highschool but once college days come, Jill forgets Sheik and he becomes a Frank Sinatra impersonator for a fancy restaurant in Miami. But after he is booted from the joint and drives all the way back to New Jersey to be with her, she admits she no longer has feelings for him.Movies like this can be a bit hard to review because on a technical level they are worthless. Sometimes, though, the film itself is fun to watch--I am a sucker for old eighties comedies, the decade of low-budget comedies that disappeared into a vault somewhere and air on television at three o'clock in the morning. "Baby, It's You," however, isn't even that fun to watch, mainly because it goes nowhere for its two-hour running time. Sure, it kept my interest, and there's no doubt that it is a pretty intriguing film, but it's been done before in a better fashion--and all in all, "Baby, It's You" likes to repeat itself. A lot.Things don't move nearly as quickly as they should. The setup for the movie takes forever--and then we find out the setup wasn't a setup at all. I left wondering, What IS the point of this movie? The core message is pretty simple--a lovebird couple seperate when college comes around and one of them loses the attraction for the other. But "Baby, It's You" doesn't do this like it should--it takes side routes into too many subplots. For example, at first Jill hates Sheik. Then she goes out with him. Then she breaks up with him. Then he kidnaps her, holds a gun to her head and tells her to say she's sorry. Then they're back together. Then Sheik commits a robbery and almost gets caught. Then they seperate. Then...What is the point? Why the stupid subplots? Why would Jill love a ruthless punk who stalks and kidnaps her? This is a depressing movie, not because of what happens, but simply because it goes nowhere. "Baby, It's You" is strangely intriguing, but as a film it should have gone through a much greater thought process before they decided to put it on the big screen. After all, there is a reason that it is one of the most unknown films of all time.I did find some things in "Baby, It's You" interesting, such as how Sheik corrupts Jill, but then when he turns around to be with her again, she acts like he did early on in the film. For example: Sheik is a rich playboy criminal in the beginning who cheats on Jill and so on and so forth. Jill doesn't want to "do it" with Sheik. But after college, she turns into the promiscuous one and he turns into the moral one. She becomes a drunk, depressed soul. Is that the point of the movie? That hanging around the wrong crowd can rub off on you? Or is the point that people who fall in love aren't always in love? Or is it just meant to be a depressing love story? Who cares. And I'm not stating that two-word sentence as a question.2.5/5 stars.John Ulmer