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While traveling in a trailer through the desert to California, the retired detective Big Bob Carter stops in an isolated gas station with his family for fueling and rest. Bob is traveling with his wife Ethel, his son Bobby, his daughters Brenda and Lynn and his son-in-law and Lynn’s husband Doug and their daughter baby Katy. When they leave the gas station, the owner advises Bob to stay in the main road. However, the stubborn driver takes a shortcut through a nuclear testing site and wrecks his station wagon. With the family stranded in the middle of nowhere, Bob and Doug walk on the road trying to find some help. Bob is captured by an insane and sadistic member of a deranged evil family that lives nearby the spot. Doug returns to the trailer, and along the night the Carter family is attacked by a group of psychotic cannibal criminals. Absolutely trapped by the murderers, they have to fight to survive.

Ilsa, now a vicious warden, runs a mental-hospital for young women. A girl deliberately “checks” in to the hospital to find out what has happened to her sister who stayed there. Meanwhile Ilsa and one of the guards are forcing the inmates to have sex with male prisoners, filming them and selling it as pornoflicks.

After breaking up with his girlfriend Annie Hall, neurotic comedian Alvy Singer goes on a stream of conciousness journey through his memories of their relationship, trying to find out what caused them to part ways. He often breaks the fourth wall, speaking to the camera, entering peoples’ stories, and even using animation.

Paul Newman plays Reggie Dunlop, the coach of a pathetic minor-league American hockey team. His career at a standstill and his marriage in tatters, Dunlop has nothing to lose by taking on a new group of players who are one evolutionary step above Neanderthals. Only when the team begins winning does he decide to get behind these players, and to encourage the rest of the team to play as down-and-dirty as the newcomers. Straight-arrow team member Ned Braden (Michael Ontkean) resents this influx of gonzo talent, preferring to play clean. As the film’s multitude of subplots play themselves out, Dunlop does his best to keep the outraged Braden on the team. Slap Shot is the sort of film for which the “R” rating was invented: Its nonstop barrage of profanity and its raunchy action sequences are of such intensity that the film will probably never be shown intact on commercial television.

Martin is 17 years old, and thinks he is a vampire. OK, he doesn’t have fangs, but razor blades work just as well. He becomes well known after calling in to a late night radio show, but is he really a vampire ?

Richard Burton plays a psychiatrist who attempts to discover why young Peter Firth has taken to mutilating live horses. In probing Firth’s psyche, Burton discovers that the source of the boy’s obsession is his mother, Joan Plowright, who has raised Firth with a convoluted set of values. Even as he gets closer to the reason behind Firth’s horrendous acts, Burton discovers many previously locked-away secrets within himself. Equus was based on the play by Peter Schaffer who received an Academy Award Nomination for his adapted screenplay.

Filmed intermittently over the course of a five-year period, David Lynch’s radical feature debut stars Jack Nance as Henry Spencer, a man living in an unnamed industrial wasteland. Upon learning that a past romance has resulted in an impending pregnancy, Henry agrees to wed mother-to-be Mary (Charlotte Stewart) and moves her into his tiny, squalid flat. Their baby is born hideously mutated, a strange, reptilian creature whose piercing cries never cease. Mary soon flees in horror and disgust, leaving Henry to fall prey to the seduction of the girl across the hall (Judith Anna Roberts). An intensely visceral nightmare, Eraserhead marches to the beat of its own slow, surreal rhythm: Henry’s world is a cancerous dreamscape, a place where sins manifest themselves as bizarre creatures and worlds exist within worlds. Interpreting the film along the lines of Lynch’s claims that it’s the product of his own fears of fatherhood may make Eraserhead easier to digest on a narrative level, if need be.

Adapted from a lesser-known novel from SF/Horror author Dean R. Koontz, this claustrophobic thriller presents a computerized nemesis incorporating the murderous elements of 2001’s HAL with the world-domination goal of the title villain in Colossus: The Forbin Project. Brilliant cybernetics expert Dr. Alex Harris (Fritz Weaver) develops a revolutionary new supercomputer dubbed Proteus IV (voice of Robert Vaughn, uncredited) which is capable of almost human self-awareness and capacity for intellectual growth. Unfortunately for Alex and his wife Susan (Julie Christie), Proteus is also imbued with a very human desire to grow beyond the limitations of his own knowledge — as well as to escape the isolation of the laboratory — and taps into the home terminals of the Harris’ high-tech dream house, in which he makes Susan a virtual prisoner. As she is put through a tortuous series of physical and mental tests, the Proteus mainframe takes severe steps to prevent any interference — even resorting to the murder of Harris’ assistant (Gerrit Graham). Susan’s confusion eventually turns to dread when she begins to realize Proteus’ true intentions… to evolve beyond mere circuitry and assume a human form by impregnating her with his “seed.” Despite the lurid premise, this is probably the most conventional effort from controversial director Donald Cammell (Performance, Wild Side), and the film’s theme of the computer’s ominously pervasive role in human affairs — in this case forcing its way into our bodies as well as our lives — seems oddly prescient today. Christie’s convincing performance makes the most of a role which has her shouting at the walls and ceiling for two-thirds of the movie.

Two fantasy novels by Margery Sharp were combined for in the Disney animated feature The Rescuers. The title characters are a pair of mice, Bernard and Miss Bianca. A little girl named Penny has been kidnapped by Miss Medusa. When the human law enforcement officials fail to locate the child, Bernard and Miss Bianca take over with the help of several colorful animal companions. In classic Disney tradition, the comedy element is offset by moments of genuine terror. Voices are provided by Bob Newhart (Bernard), Eva Gabor (Miss Bianca), Geraldine Page (Madame Medusa), Jim “Fibber McGee” Jordan, John McIntire, George “Goober” Lindsay, Joe Flynn (who died in 1974, not long into the four-year production), and a host of others. It scored at the box office, more than compensating for the $8 million investment and the half-decade of work it took to complete the film. In fact, The Rescuers remains one of the most popular of the Disney cartoon films produced after the death of Uncle Walt. A heavily-computerized sequel, The Rescuers Down Under, appeared in 1990.

A candy-colored nightmare from Italian terror maestro Dario Argento, Suspiria weaves a menacing tale of witchcraft as a fairy tale gone horribly awry. From the moment she arrives in Freiberg, Germany, to attend the prestigious Tans Academy, American ballet-dancer Suzy Banyon (Jessica Harper) senses that something horribly evil lurks within the walls of the age-old institution. Ill at ease as the result of her fellow student’s peculiar behavior and increasingly terrified following a series of gruesome and spectacular murders, Suzy slowly begins to unravel the dark history of the academy. Convinced that the occult roots of the school and the horrific tale of its founding mother may hold an unthinkable secret, she begins a hallucinatory journey into the black heart of one of the most powerful witches ever known to exist. As Suzy edges ever closer to a secret that may hold the answers to all of her nightmares, the coven’s grip on her soul begins to tighten until there is seemingly no escape. Will Suzy solve the mystery of the cursed academy before the fearsome Black Queen consumes her, or will she finally reveal the secret that has forever haunted the lavish corridors of the academy and bring an end to the Black Queen’s terrifying reign?

Bruce Dern is ideally cast as Lander, a crazed Vietnam veteran, in Black Sunday. Lander joins terrorists Dahlia (Marthe Keller) and Fasil (Bekim Fehmu) in a plot to create a bloodbath at the annual Super Bowl. Piloting the ubiquitous Goodyear blimp, Lander is to ram the aircraft into the capacity Orange Bowl crowd, then fire thousands of poisoned darts into the fleeing spectators. Israeli military officer Kabakov (Robert Shaw) struggles to thwart Lander’s plan before it comes to fruition.

George Lucas’ mythological popcorn movie is a two-hour roller-coaster ride that has passed into movie legend. The story, for the tiny number of people not familiar with it, concerns a farm boy named Luke Skywalker (Mark Hamill) who discovers that the used robot recently purchased by his family plays back a message from one Princess Leia (Carrie Fisher), begging for help from Obi-Wan Kenobi. Luke asks his father’s friend Ben Kenobi (Alec Guinness) about this, and he discovers that Ben and Obi-Wan are one and the same. Kenobi tells Luke of the battle of the rebels against the ruling Empire and the spiritual energy called “The Force.” Soon Luke, Kenobi, and a mercenary named Han Solo (Harrison Ford) join forces to rescue Princess Leia from the Empire’s mammoth warship, the Death Star, controlled by evil genius Darth Vader (David Prowse, with the voice of James Earl Jones). George Lucas has frequently cited the influence of several films on Star Wars, particularly Akira Kurosawa’s The Hidden Fortress and Yojimbo and John Ford’s The Searchers, as well as the original Flash Gordon serials. After Star Wars became a success, Lucas announced his intention to turn the film into a series, originally totalling nine films (later pared back to six). Consequently, most reissue prints now feature the title Star Wars: Episode IV — A New Hope, with The Empire Strikes Back (1980) and Return of the Jedi (1983) serving as Episodes Five and Six in the serial, and Star Wars: Episode I — The Phantom Menace (1999) going back to the myth’s beginnings.

Steven Spielberg followed Jaws (1975), his first major box-office success, with this epic science fiction adventure about a disparate group of people who attempt to contact alien intelligence. Roy Neary (Richard Dreyfuss) is an electrical lineman who, while sent out on emergency repairs, witnesses an unidentified flying object, and even has a “sunburn” from its bright lights to prove it. Neary’s wife and children are at first skeptical, then concerned, and eventually fearful, as Roy refuses to accept a “logical” explanation for what he saw and is prepared to give up his job, his home, and his family to pursue the “truth” about UFOs. Neary’s obsession eventually puts him in contact with others who’ve had close encounters with alien spacecraft, including Jillian (Melinda Dillon), a single mother whose son disappeared during her UFO experience, and Claude Lacombe (celebrated French filmmaker Fran?ois Truffaut), a French researcher who believes that we can use a musical language to communicate with alien visitors. Lacombe’s theory is put to the test when a band of government researchers and underground UFO enthusiasts (including Neary) join for an exchange with alien visitors near Devil’s Tower, Wyoming. In 1980, a “Special Edition” was released. While its primary selling point was the addition of scenes inside the alien spaceship, Spielberg claimed that he also cleaned up some choppy editing in the second act.