At first re-watch, there's something a little quaint and a lot dated about 9 to 5: the sculpted hairdos, the mechanical chug of electric typewriters the size of most economy cars. And then you realize the overwhelming 1980-ness of it all is exactly what makes the film work, both back then—when a screwball comedy about very real issues of inequality in the workplace was saying things that really need to be said—and now, where it's a hell of a sassy snapshot of days (and wardrobes) thankfully gone by. (Okay, fine, Lily Tomlin's ubiquitous black kimono jacket is... More >>>