Streets of Fire resembles an extended Jim Steinman music video—a comparison that isn’t really a stretch, given Steinman's inclination toward cinematic presentation. Steinman wrote both the opening and closing songs, including the memorable anthem “Tonight Is What It Means to Be Young,” while the soundtrack incorporates Ry Cooder’s work from another film project; it would be difficult to find something significantly better. The music is undoubtedly the strongest aspect of the movie, prompting a wish that it had been structured as a full-fledged musical. The story begins with Ellen Aim and her band, the Attackers, performing “Nowhere Fast” in concert. Despite the unfortunate moniker of the group, Ellen’s stage presence, combined with the vocal talents of Diane Lane, Laurie Sargent, and Holly Sherwood, makes for an impressive display. The performance is abruptly halted when the Bombers, a motorcycle gang led by Raven Shaddock (Willem Dafoe), interrupt and abduct Ellen. Raven takes Ellen to the Battery, a neighborhood where police rarely venture; consequently, Billy Fish (Moranis), Ellen’s boyfriend and manager, offers Tom Cody (Michael Paré) $10,000 to rescue her—though Billy is unaware that Tom previously dated Ellen. They are joined by McCoy (Amy Madigan), a tough woman with little patience for foolishness. The action unfolds in a manner reminiscent of an MTV montage; however, this stylistic choice appears intentional. The sets are detailed and elaborate, though clearly artificial, and the actors' appearances perfectly suit their characters—a straightforward approach that leaves little to interpretation. Moranis, predictably, makes the most of his lines; he has to crane his neck to make eye contact with those he speaks to while simultaneously talking down to them. McCoy remarks, “I don’t know what's more pathetic, the way you talk or the way you dress,” and Billy embodies patheticness both in appearance and demeanor. Dafoe, sporting a leather aesthetic and a Misfits-inspired hairstyle, brings a quality reminiscent of a teenage Count Orlok to his portrayal of Raven. The biggest letdown lies with Paré, and consequently, the romantic connection between Tom and Ellen. It's unclear what they find appealing in each other beyond their physical attractiveness (which suggests that Ellen’s relationship with Billy might be built on a more stable foundation), and there's little investment in whether they ultimately reunite. There is some lingering tension between them, but it doesn't excuse the movie's one truly bizarre moment. Like many films, this one employs the cliché where a hero knocks out his sidekick to protect him from harm; however, this is the only film I can recall where the supposed hero punches the woman he supposedly loves in the face. It’s true that Ellen acts like a spoiled person when she learns her current boyfriend was charged by her ex for saving her life—something even the police wouldn't bother with—but the behavior remains unwarranted, and the fact that she, essentially a live-action cartoon character, appears unharmed after regaining consciousness only compounds the issue; it’s as if violence against women were inconsequential. Billy is the one who ends up stuck with a famous girlfriend who publicly expresses longing for the man who emotionally manipulated and physically harmed her; however, he likely feels less bad about collecting his 10% as her manager.

Source on TMDB