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April Fool’s Day just happens to be the birthday of rich college student Buffy (Deborah Foreman), so she invites a group of friends from Vassar over to her family’s island getaway to spend the weekend partying. Though some practical-joke shenanigans on the ferry over from the mainland lead to unexpected bloodshed and put a damper on the festivities, Buffy unleashes a flood of more benign pranks on her guests, setting a tone of giddy abandon. With plenty of randy guys and gals on hand and no parental supervision, it isn’t long before drunken escapades ensue. As the weekend progresses, however, guests begin to disappear mysteriously, and before long Buffy and friends find themselves huddling in terror in their remote getaway. The next ferry isn’t due until Monday, and the partygoers aren’t sure whether any of them will make it that long. The mostly Canadian cast of April Fool’s Day includes Leah King Pinsent, daughter of actor/director Gordon Pinsent, and Amy Steel, a veteran of the second and fourth Friday the 13th installments.

In the near future, drive-in theatres are turned into concentration camps for the undesirable and unemployed. The prisoners don’t really care to escape because they are fed and they have a place to live which is, in most cases, probably better than the outside. Crabs and his girlfriend Carmen are put into the camp and all Crabs wants to do is escape.

An intended rape victim manages to escape from her attacker but leaves her purse behind. Worried that he may visit her house and finish what he has started, she contacts the police but they are unable to help, saying that she has no proof. “If he calls, let us know and we’ll send a man round!” A fat load of good that would be. Her worst fears are realised when, alone one day in the house, her attacker visits and attempts again to rape her. Circumstances allow her not only to resist the attack but to turn the tables and lock him away. And that is where her dilemma really starts. Does she release him and risk another attack? Does she go to the police and risk being called a liar? Or does she kill him - and become as low as him?

In an attempt of resocialisation, five hopeless juvenile criminals are sent away from prison into the Everglades for a survival training under the Indian Joe. When this is successful, they move back to Miami. However this offends the former illegal inhabitants of their house, all loyal customers of drug baron Cream. The conflict leads to armed fights.

When police funding is cut, the Governor announces he must close one of the academies. To make it fair, the two police academies must compete against each other to stay in operation. Mauser persuades two officers in Lassard’s academy to better his odds, but things don’t quite turn out as expected…

At a party, a guest brings out a Ouija board, and they attempt to contact a spirit he knows. The spirit does appear, but it becomes apparent to the one who brought the Ouija board that this is an evil spirit that is impersonating his spirit, and despite warnings not to use the board alone, a woman uses it alone, and becomes harassed by the evil spirit, his goal to possess her so he can walk the earth again.

Over ten years after making the original Texas Chainsaw Massacre, Tobe Hooper returns to his deranged family of reclusive cannibals for another round of chainsaw chases and non-stop screaming. Hooper brings a real budget this time (having recently directed Poltergeist for Steven Spielberg) and the talents of veteran make-up artist Tom Savini. This means he can make things bigger, louder, and gorier than ever before — and they are. He also brings a wacky, self-deprecating sense of humor, as if deliberately flaunting Texas Chainsaw Massacre’s status as one of the first and still greatest “splatter” movies. The result is an impish take-off on the original film (and contemporary horror movies in general) that elevates its own clichés — buckets of blood and gore, droll dialogue, the screaming female lead — to the level of high camp. The movie is loosely concerned with a small-town disc jockey named “Stretch” (Caroline Williams, who does most of the screaming) and an embittered Texas Ranger named “Lefty” (Dennis Hopper). They team up and decide to put an end to the murderous activities of the Sawyer family once and for all (that is, of course, until Texas Chainsaw Massacre III). The real highlight of the film is when Stretch and Lefty find their way into the Sawyer family hideout — a ruinous, winding abattoir underneath an abandoned amusement park — and engage in a chainsaw-battle-to-the-death with Leatherface (Bill Johnson) and the rest of the clan. Jim Siedow is back from the first film as the acerbic Drayton Sawyer, the family cook and owner of the Last Roundup Rolling Grill. Chop-Top (Bill Moseley) and Leatherface do most of the movie’s dirty work.

Director Ken Russell applies his trademark excess to this surreal, experimental examination of the creative dementia which shaped Mary Wollstonecraft Shelley’s Frankenstein. The story is embellished from events which allegedly took place at the Swiss villa of Lord Byron (Gabriel Byrne) on the night of June 16, 1816. Byron’s guests include poet Percy Shelley (Julian Sands) and his future wife Mary (Natasha Richardson); Mary’s half-sister Claire (Myriam Cyr) and Byron’s leech-happy personal physician Dr. John Polidori (Timothy Spall). Byron promises them a night of horror like only a mad poet can deliver — after partaking of laudanum and other hallucinogens, the guests tell ghost stories while exploring the dark corridors of his home. From here, Russell dives headlong into madness, discarding plot structure in favor of fever-dream setpieces in which the guests confront living manifestations of their own fears and insecurities — creative, mortal and sexual, among others. The raging Romantics are also given to lengthy discourse on the nature of fear and the fine line between creative genius and insanity; by the film’s end, viewers may find themselves wondering the same thing about the director. Those who may prefer a more subdued speculation on the same theme should seek out Ivan Passer’s Haunted Summer.

Writer-director Stephen King falls short in his debut at the helm with Maximum Overdrive, an absurd tale about a radiation storm that somehow animates machines across the world, causing them to turn on their makers. The film focuses on a group of survivors held captive at the Dixie Boy Diner by a group of bad-tempered semis. Led by Emilio Estevez, the diner-goers do their impression of Ten Little Indians, waiting their turn until each gets bumped off one by one. There are holes in the plot big enough for the semis to drive through; for example, why don’t the trucks run over the diner at the start of the film rather than wait for ninety minutes? Maximum Overdrive’s only distinction is that it is, without question, one of the worst films released in the ’80s.

Admiral Kirk and his crew vow to return to Earth after rescuing Captain Spock to face criminal charges after his unauthorized mission and theft of the U.S.S. Enterprise. After rescuing two humpback whales, Kirk is found guilty of disobeying a Starfleet superior officer and is demoted to Captain and given command of the U.S.S. Enterprise-A.

In this sci-fi comedy from executive producer George Lucas, Howard the Duck is an extra-terrestrial fowl who is accidentally beamed to earth by physicist Dr. Jenning (Jeffrey Jones) and his assistant Phil (Tim Robbins). The two go looking for Howard and find him in the home of Beverly Switzer (Lea Thompson), who was rescued by the interstellar duck from some mean-looking thugs. Beverly and Phil are friends, and when the government finds out about Howard, she helps Phil and Dr. Jenning hide him from the authorities until they can zap him back home. In the meantime, several wild chases and spectacular special effects keep the picture rolling along.

Cinematographer Michael Chapman directed this John Sayles adaptation of Jean M. Auel’s best-selling ode to Cro-Magnon women. The story begins at the moment in pre-history when the last of the Neanderthal men were becoming extinct and the superior race of Cro-Magnons were starting to supersede them. Focusing on a tribe of wandering Neanderthals who adopt a young girl named, Ayla (played as an adult by Daryl Hannah). She grows tall, lithe, and smart. The Neanderthals quickly accept her into their tribe, but once a tribal member, Ayla begins to question the tribe’s male chauvinistic presumptions. Unable to conceive of why only men are given weapons, she takes it upon herself to learn how to use a slingshot. She then questions the tribe’s assumptions concerning sexual politics. She learns to count and becomes the assistant to the local medicine expert. As the seasons wear on, the tribe utilizes Ayla’s knowledge for their own good while Ayla’s continues to try the patience of the tribe with her unspeakable feminist demands.

This slapstick farce features Dusty Bottoms (Chevy Chase), Lucky Day (Steve Martin), and Ned Nederlander (Martin Short), as three silent movie cowboy stars who get the axe from their Hollywood studio. Just at that opportune moment, a woman named Carmen (Patrice Martinez) asks them to come to her forgotten little town south of the border and do some work for her, for a tidy sum. The three “stooges” agree, thinking they are going to perform their singing cowboy routine, but instead Carmen wants them to get rid of the nasty El Guapo (Alfonso Arau) who is running roughshod over the good citizens of the town. Not the kind of heroes they appear to be in the movies, they have a difficult time helping out the distressed townsfolk.