Movie Review: Moving (1988)

★★★★★

Richard Pryor makes the stress of moving hysterical in one of the funniest and most underrated comedies of the '80s.

Anthony P.

Ohio

When people talk about 80s comedies, names like Planes, Trains, and Automobiles or National Lampoon’s Vacation usually dominate the conversation. But tucked away in that same era is a Richard Pryor gem that doesn’t get nearly enough credit: Moving (1988). Directed by Alan Metter, this film is a perfect showcase for Pryor’s comedic genius and his ability to turn everyday frustrations into absolute chaos.

If you’ve ever been through the nightmare of relocating, packing boxes, haggling with movers, and adjusting to a new neighborhood, then you’ll instantly connect with this film. But Moving pushes those familiar headaches to cartoonish extremes, creating a comedy that’s both relatable and hilariously over-the-top.

Richard Pryor at His Funniest (and Most Relatable)

Pryor plays Arlo Pear, a New Jersey engineer who loses his job and accepts a new position in Boise, Idaho. What should be a fresh start quickly unravels into a parade of disasters: shady movers, quirky neighbors, rebellious kids, and even an unhinged ex-owner of their new house (played to perfection by Randy Quaid).

What I love about Pryor here is how he grounds the madness. He’s not just a man slipping on banana peels; he’s a father trying desperately to hold it all together while the universe seems determined to humiliate him. His ranting, his muttering, his full-on meltdowns… they feel so authentic. Anyone who’s gone through the stress of moving can watch Arlo explode on screen and think: yep, that would be me.

Randy Quaid Steals Every Scene

One aspect rarely discussed in other reviews is Randy Quaid’s role as the former homeowner who refuses to leave quietly. This subplot is wild. Quaid embodies a kind of unhinged unpredictability that makes every scene he’s in unforgettable. His character is a reminder that moving into a new home doesn’t just mean unpacking boxes; it means dealing with whatever baggage the previous owners left behind.

It’s an angle not often explored in comedies about moving, and it gives the film a darker, almost surreal edge. In a way, it feels like a cousin to Quaid’s later performance as Cousin Eddie in Christmas Vacation, but with more menace than buffoonery.

The Chaos of Family Life

Another layer that makes Moving stand out is the dynamic between Arlo and his family. Dana Carvey plays one of the movers in a bizarre, blink-and-you’ll-miss-it role, but the heart of the film is how Arlo’s wife and kids react to the upheaval. There’s teenage rebellion, marital strain, and plenty of “are we really doing this?” moments.

What feels real about these family interactions is that the comedy doesn’t just come from pratfalls; it comes from the stress of real relationships under pressure. Sure, things are exaggerated for laughs, but if you’ve ever had kids complain about leaving their friends behind or had arguments about where the couch should go, this movie will hit close to home.

Why Moving Still Works Today

While some 80s comedies feel dated, Moving still resonates because the central struggle hasn’t changed. Moving is universally stressful. Even today, with apps and technology to “streamline” the process, relocating still brings out the worst in people. That’s why watching Pryor try to manage everything only to watch it blow up in his face remains cathartic.

It’s also a great reminder of just how versatile Pryor was. He could make you laugh until you cried, but he could also inject just enough heart into his performance to make you root for him. Arlo Pear isn’t just a caricature; he’s every man who has ever tried to keep his cool while the movers scratch the furniture and the neighbors act like lunatics.

Final Thoughts

Moving may not be the first Richard Pryor film that comes to mind, but it deserves a spot in the conversation. It’s a smart, chaotic, and surprisingly heartfelt comedy about one of life’s most universal struggles. Watching it now feels like both a time capsule of late-80s humor and a timeless reflection of how absurd life can get when you’re trying to make a “fresh start.”

If you’re a fan of Pryor or if you’ve ever gone through the circus of moving yourself, this film will strike a chord. It’s messy, it’s loud, and it’s exactly the kind of comedy we at Box Review love to shine a light on.