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A small-town kid hears about the wild nights of cruising the boulevard in Van Nuys, California. He drives out there to check it out, and gets involved with drag racers, topless dancers and bikers.

It’s 1850 and newly-ordained orthodox rabbi Avram Belinski sets out on horseback from Philadelphia to San Francisco, knowing only that California’s “somewhere near New York.” Cowpoke bandit Tom Lillard hasn’t seen a rabbi before. But he knows when one needs a heap of help. And getting this tenderfoot to Frisco in one piece is going to cause a heap of trouble — with the law, Indians and a bunch of ruthless killers.

Girl(Tisa Farrow) seeking lost father turns up on Caribbean island aided by journalist and two locals, where they meet an English doctor, trying desperately to cure a plague which brings the dead back to life!

Canadian director David Cronenberg followed his graphic vampire variation Rabid with this multi-layered, speculative horror film which addresses the way the repressed demons of the psyche can force their way to the surface. Psychologist Dr. Raglan (Oliver Reed), director of the controversial Psychoplasmic Institute and author of the book “The Shape of Rage,” encourages his patients to outwardly manifest their anger and fear (aided by some experimental drugs), which then takes physical shape as actual sores, cancers, or strange new organs. One of Raglan’s more successful patients (from his point-of-view, anyway) is Nola Carveth (Samantha Eggar), who is undergoing therapy following a painful divorce from her husband, Frank (Art Hindle). When Frank discovers evidence that Nola may have injured their daughter, Candice (Cindy Hinds), he begins to suspect Raglan’s techniques but is unprepared for the most horrifying by-product of her rage: a progeny of sexless, dwarflike mutants who are born for the sole purpose of acting out her violent fantasies of revenge. Containing only enough energy to carry out their murderous tasks, the brood is dispatched to kill Nola’s parents, then a woman she believes is having an affair with Frank. By the time Frank discovers the origins of the tiny offspring, they have already abducted Candice and taken her to the institute, where Frank must confront Nola in person. Although it contains one of the most visceral and nauseating scenes in movie history (during the film’s climax), this nevertheless remains the most subtle of Cronenberg’s early horror projects, with a strong subtext about the devastating effects of divorce.

In this thriller, a baby-sitter is terrorized by an anonymous telephone caller who turns out to be a particularly persistent serial killer. When a stranger calls to ask, “Have you checked the children lately?” teenaged sitter Jill Johnson (Carol Kane) is understandably spooked. After a series of increasingly creepy calls culminates in a request for “your blood…all over me,” Jill learns from the police operator that the man is calling from inside the house. One narrow escape and two dead children later, the police capture British maniac Curt Duncan (Tony Beckley). Several years later, the killer escapes from a mental institution and plagues Tracy (Colleen Dewhurst), a hard-drinking New Yorker. Foiled by John Clifford (Charles Durning), the same cop who investigated the original case, Duncan sets his sights back on his original victim, Jill Johnson, who, now married and out to dinner with her husband, has left her own young children at home — with a baby-sitter. When a Stranger Calls helped inspire Drew Barrymore’s famous opening scene in Wes Craven’s Scream. Kane, Durning, and director Fred Walton would return for 1993’s TV-movie sequel, When a Stranger Calls Back. Beckley died a year after the original film’s release.

In this horror outing, a seemingly abandoned desert gas station turns out to be a grotesque museum filled with murderous mannequins who come to life when visitors come to call. The ill-fated “guests” are lured in by a strange siren’s song.

Joe (George Burns), Al (Art Carney), and Willie (Lee Strasberg) are three senior citizens who share a small apartment in New York City. They live off social security checks and spend their days sitting on a park bench, reading newspapers, feeding pigeons, and fending off obnoxious children. It’s a dull life, and finally Joe is driven to suggest something radical to break the monotony; why not go on a stick up? None of them have a criminal history (though Joe claims he “did some stealing during the war”), but just planning the bank robbery puts a new spring in their step. Al surreptitiously borrows some pistols from the collection of his nephew, Pete (Charles Hallahan), and the trio, disguised with novelty Groucho Marx-style glasses, pulls off their heist to the tune of 35,000 dollars. Unfortunately, the excitement is too much for Willie, who suffers a fatal heart attack the same day. At his funeral, Joe and Al decide to give the bulk of the dough to Pete and his family, and attempt to blow the rest of it on a whirlwind excursion to Las Vegas. Meanwhile, the eccentric robbery has become a colorful news story for the media and the police are closing in on the amateur criminals.

“For God’s sake, GET OUT!” was the ad campaign for the 1979 shocker The Amityville Horror. The film was based on the allegedly true story of the luckless Lutz family, who move lock, stock, and barrel into a new home, only to find that it is possessed by the demonic spirits of its previous owners. Variations of the Seven Deadly Plagues emanate from virtually every household fixture, while other forms of otherworldly mischief are suffered by the Lutz children. Enter kindly Father Delaney (Rod Steiger), who does his utmost to exorcise the house. The Amityville Horror was frequently greeted with laughs from its first-run audiences, especially after it was discovered that the “actual” events depicted in the film (based on a book by Jay Anson) were complete fabrications.

A strange cloud descends upon Klingon vessels and eradicates them with an energy bolt. The Epsilon IX space station alerts the Federation, but they too are wiped out by the entity. The starship assigned to the case is, what else, the NCC-1701. That would be the registration number for the U.S.S. Enterprise, which has been rebuilt. Thus, the entire original crew you knew from the TV show returns. Although they are prepared to face the entity, nothing will prepare them for the ride to come. The film asks the question Paul Gauguin asks in a painting bearing this name: “Where do [I] come from? What [am I]? Where [am I] going?” Trekkers, note the appearance of Will Decker, the son of Matt Decker, who killed himself in the TV episode, “The Doomsday Machine”. The film can be summed up in a single word: beautiful.

No one can escape from Alcatraz, right? Try telling that to lifer Frank Morris (Clint Eastwood). This Donald Siegel-directed nailbiter is a reenactment of Frank Morris’ 1962 attempt to bust himself and two other cons out of The Rock. Eastwood, as Morris, tilts with nasty warden Patrick McGoohan for a while, befriends several fellow prisoners, and picks the guys with whom he’ll make his escape. Among his break-out buddies are the Anglin Brothers (Fred Ward and Jack Thibeau), with whom he’d served in other lockups, and several others who’ve got their own special reasons to despise the sadistic McGoohan. Filmed on location at the newly renovated Alcatraz, Escape From Alcatraz was another box-office winner for the Eastwood/Siegel combo.

Walter Hill’s hip, super-stylized action film unfurls in a dystopian near-future, when various gangs control New York City. Each gang sports a unique moniker (’The Warriors,’ ‘The Baseball Furies,’ ‘The Rogues’), with a costume underscoring its “theme”; each, in turn, is also responsible for one geographic area. Hill sets up the landscape as a massive, violent playground - replete with bridges, vacant subway tunnels, parks, abandoned buildings and the like, all ripe for exploration and adventure. As the tale opens, the titular Coney Island has traveled to the Bronx to attend a city-wide meeting of all gangs; at that event, however, the psychotic leader of a rival gang, The Rogues (David Patrick Kelly of Dreamscape) assassinates the head of the city’s foremost gang, but The Warriors are pegged as culpable. This sends the gang fleeing through the labyrinthine city. With every thug in Manhattan in vicious, homicidal pursuit, they must also overcome all obstacles in their way. Throughout, Hill keeps the onscreen violence absurd, exaggerated and unrealistic, downplaying death to an extreme degree; despite this fact, the film sparked a massive amount of controversy and an ugly backlash for allegedly inciting violence and destruction in several theaters where it initially played. James Remar, Michael Beck and Deborah Van Valkenburgh lead the ensemble cast.

Phantasm is a surprisingly artful and imaginative horror film, an impressive film for 23-year-old director Don Coscarelli who worked with a miniscule budget to create a small masterpiece. When Mike (Michael Baldwin) spies some sinister Jawa-like creatures stealing corpses from the local cemetery, he and his older brother Jody (Bill Thornbury) explore the mausoleum, where they find that the mortician (Angus Scrimm), a towering, emaciated figure with superhuman strength, has somehow bridged the gap between Earth and the afterworld and needs fresh corpses. Among the tools of his trade is a flying Swiss army pinball that bores into the skulls of its hapless victims then extracts their brains. Their allies die off one by one, until only the brothers are left to defend humankind against the nefarious “Tall Man” and his army of shrouded dwarves. While the film does contain a fair amount of graphic violence, the gore is never gratuitous and, relative to other movies of its day, is used rather sparingly. The effects are fantastic as is the highly stylized direction; the result is a memorable chiller with more than its share of genuine shocks.

The murders by the infamous British criminal, Jack the Ripper, catch the attention of Sherlock Holmes (Christopher Plummer), but he does not receive the expected call from Scotland Yard because he is being purposefully excluded from the investigation. Instead, Robert Lees (Donald Sutherland), a psychic who volunteered information to the police about the murders, provides the Great Detective with the necessary incitement to action. As the murders proceed, it becomes clear to all concerned that it is more important to stop them than to announce their solution, and Holmes enters the fray with the help of his trusty aide, Dr. Watson (James Mason). The former mistress of a “prominent personage,” Annie Crook (Genevieve Bujold), provides crucial information leading to a final confrontation on London’s docks.