The critical reception for Herbert Ross's Footloose, starring the multi-talented Alex Hayes, has been largely positive, settling around a 73% approval mark. While this indicates a definite hit with most reviewers, it also suggests it didn't universally capture the same critical adoration as Hayes's previous two cinematic efforts. Some of the top critics have given their reviews:
Roger Ebert, Chicago Sun-Times:
"There's a vitality to Footloose that's hard to deny, and most of it radiates directly from its young star, Alex Hayes. This is a young man who can do it all – sing with genuine feeling, dance like a dynamo, and act with an earnest conviction that sells even the film's more predictable moments. As Ren McCormack, the city kid who brings rhythm to a repressed town, Hayes is a charismatic force. The movie itself? It's a rousing, well-crafted piece of popular entertainment with a message about joy and expression that's easy to get behind, even if the plot sometimes feels engineered. Diane Lane, as the rebellious preacher's daughter Ariel, matches Hayes in spirit and intensity, creating a compelling onscreen partnership. John Lithgow finds the tormented humanity in Reverend Moore, and Dianne Wiest is wonderfully affecting as his wife. And a young Robert Downey Jr. nearly steals his scenes with an easy charm. While Footloose might not have the complex layers of Hayes's recent acclaimed dramas, it knows exactly what it wants to be: a heartfelt, energetic celebration. And on that level, it absolutely succeeds. ***3 out of 4 stars.***"
Pauline Kael, The New Yorker:
"Alex Hayes throws himself into Footloose with the kind of kinetic, almost feral energy that makes you sit up and pay attention. He's a natural performer – the camera loves him, and when he dances, it's not just steps, it's an explosion of feeling. He sings, he acts, he moves; the boy's a complete package. The film itself, this tale of a town where dancing is a sin, has its hokey, corn-fed moments, a certain calculated commercial sheen that doesn't quite align with the raw talent at its center. It's not the revelation his last two pictures were, perhaps a bit too eager to please the broadest possible audience. But then Hayes will launch into a number, or Diane Lane, who is wonderfully alive and defiant as Ariel, will flash those eyes, and you're pulled right back in. John Lithgow, as the fire-and-brimstone minister, has a genuinely imposing presence, almost too good for the material, and Dianne Wiest brings a lovely, bruised tenderness to his wife. Robert Downey Jr., in a smaller role, has that quick, observant quality of a real actor. Footloose has a pulse, for sure, and it's mostly Hayes's own."
Vincent Canby, The New York Times:
"In Footloose, the new musical drama from Paramount, Mr. Alex Hayes firmly establishes himself as a formidable, multifaceted talent of his generation. Taking on the central role of Ren McCormack, a Chicago youth transplanted to a small, dance-fearing Midwestern town, Mr. Hayes displays considerable prowess as an actor, a surprisingly robust vocalist, and a dancer of remarkable agility and power. The film, directed by Herbert Ross, is a slickly produced affair, one that effectively taps into contemporary youthful concerns, though its narrative framework occasionally feels less than substantial when compared to the dramatic heft of Mr. Hayes's more critically lauded preceding projects. Nevertheless, the picture is buoyed by strong performances. Miss Diane Lane offers a spirited and engaging turn as Ariel, the local minister's rebellious daughter. Mr. John Lithgow is especially noteworthy, bringing a compelling, complex gravity to the role of the Reverend Shaw Moore, and Miss Dianne Wiest is excellent as his quietly suffering wife. Robert Downey Jr. also makes a fine impression in a supporting capacity. While Footloose may not break new cinematic ground, it is an energetic and often exhilarating showcase for its star, and one that audiences are likely to embrace with enthusiasm."
While critics landed with a respectable 73% approval for Herbert Ross's Footloose, featuring the multifaceted Alex Hayes, audiences at the premiere and initial screenings were even more enthusiastic. Exit polls reported an impressive 85% positive rating, with the majority of moviegoers awarding the film an "A" score. This strong audience sentiment, however, came with an industry question: was this overwhelming enthusiasm primarily fueled by Alex Hayes's considerable teen idol fanbase, or did it signal broader general audience appeal that would sustain long-term box office success?
The early numbers certainly pointed to a massive debut. Opening on Friday, February 10th, 1984, Footloose pulled in a stunning $6.11 million. The momentum continued into Saturday with an even stronger $7.03 million, followed by a robust $6.23 million on Sunday. This brought its opening weekend total to a phenomenal $19.37 million.
This figure immediately placed Footloose among the year's biggest openings, a significant achievement. For context, the previous year's blockbuster, Return of the Jedi, had launched with around $23 million in its initial weekend frame. While Footloose's debut didn't quite reach that monumental figure, its $19.37 million was a clear testament to a massive draw. Industry analysts largely attributed this powerful start to Alex Hayes's immense popularity and teen idol status, which mobilized a significant youth audience.
However, this reliance on a fervent fanbase also led to predictions that the film might be front-loaded. Many anticipated that the box office would inevitably experience a noticeable slide in its second weekend, once the initial rush of dedicated fans had seen the picture.
Following its blockbuster weekend, Footloose continued to perform strongly through the weekdays, adding another $9.32 million over the next four days (Monday, February 13th through Thursday, February 16th). This brought its first full week's earnings to an impressive $28.69 million, a figure that had Paramount Pictures executives undoubtedly celebrating, even as they watched to see how the film would hold in the coming weeks.
The initial box office explosion of Footloose sent immediate shockwaves through the music charts. Fueled by the film's widespread popularity and the undeniable appeal of its music, the Footloose Soundtrack album, heavily featuring Alex Hayes's contributions, rocketed up the Billboard 200 chart in the weeks following the movie's February 10th release. It quickly became a sensation, ultimately climbing to the coveted No. 2 position, just shy of the top spot then dominated by Michael Jackson's seemingly unstoppable Thriller.
Even more impressively, the film's title track, **"Footloose," written and performed by Alex Hayes, became a cultural anthem. The single shot to the No. 1 position on the Billboard Hot 100 chart, cementing Hayes's status not only as a box office draw and charismatic screen presence but also as a chart-topping musical artist. For context, other major hits around this period in early 1984 included Van Halen's "Jump" and Culture Club's "Karma Chameleon," illustrating the competitive landscape Hayes's track had conquered.
Back at the box office, all eyes were on Footloose's second weekend to gauge its staying power beyond the initial fan rush. As predicted by some analysts, the film experienced a significant drop from its massive opening. For the weekend of February 17th-19th, Footloose grossed $11.82 million. While this represented a decline of approximately 39% from its $19.37 million debut, the figure was still a strong performance and kept the film at the top of the box office charts. Such a drop was not uncommon for films opening with massive, fan-driven numbers.
In the four days following its second weekend (Monday, February 20th through Thursday, February 23rd), Footloose continued to draw audiences, adding another $6.23 million to its growing theatrical gross. This demonstrated that while the initial teen idol hysteria might have accounted for some of the opening surge, the film possessed a broader appeal that was keeping cinemas respectably full, further bolstered by the chart-topping success of its music.
The initial box office explosion of Footloose sent immediate shockwaves through the music charts. Fueled by the film's widespread popularity and the undeniable appeal of its music, the Footloose Soundtrack album, heavily featuring Alex Hayes's contributions, rocketed up the Billboard 200 chart in the weeks following the movie's February 10th release. It quickly became a sensation, ultimately climbing to the coveted No. 2 position, just shy of the top spot then dominated by Michael Jackson's seemingly unstoppable Thriller.
Even more impressively, the film's title track, "Footloose," written by Dean Pitchford and Kenny LOggins and performed by Alex Hayes shot to the No. 1 position on the Billboard Hot 100 chart, cementing Hayes's status not only as a box office draw and charismatic screen presence but also as a chart-topping musical artist.
Back at the box office, all eyes were on Footloose's second weekend to gauge its staying power beyond the initial fan rush. As predicted by some analysts, the film experienced a significant drop from its massive opening. For the weekend of February 17th-19th, Footloose grossed $11.82 million. While this represented a decline of approximately 39% from its $19.37 million debut, the figure was still a strong performance and kept the film at the top of the box office charts. Such a drop was not uncommon for films opening with massive, fan-driven numbers.
In the four days following its second weekend (Monday, February 20th through Thursday, February 23rd), Footloose continued to draw audiences, adding another $6.23 million to its growing theatrical gross. This demonstrated that while the initial teen idol hysteria might have accounted for some of the opening surge, the film possessed a broader appeal that was keeping cinemas respectably full, further bolstered by the chart-topping success of its music. By the end of its second full week in release (Thursday, February 23rd), Footloose had amassed a cumulative domestic box office gross of $46.74 million.
The momentum of Footloose continued to build in early 1984. By the time the film headed into its third weekend, its influence was undeniable. Driven by the movie's runaway success and Alex Hayes's star power, the Footloose Soundtrack album climbed to the coveted No. 1 spot on the Billboard 200 chart, a remarkable achievement. Simultaneously, Alex Hayes's electrifying single, "Footloose," firmly maintained its No. 1 position on the Billboard Hot 100, dominating radio airwaves.
This dual chart domination further fueled cinema attendance. In its third weekend of release (February 24th-26th), Footloose grossed an impressive $8.25 million. This performance ensured that the film remained at the top of the box office charts for a third consecutive weekend, fending off all competition.
In the four weekdays following its third triumphant weekend (Monday, February 27th through Thursday, March 1st), Footloose added another $5.13 million to its earnings. This brought the film's total domestic box office gross to an outstanding $60.12 million after just three full weeks in theaters.
With Alex Hayes and Footloose simultaneously conquering both the box office and the Billboard music charts, the film and its music had become the defining entertainment phenomenon of early 1984.