Play Misty for Me marked Clint Eastwood's debut as a director, and it gave him the then-unusual opportunity to play a regular contemporary guy in a thriller about sex, obsession, and stalking. Eastwood's Dave Garver is a self-centered California jazz disc jockey struggling with the idea of committing to his on-again, off-again girlfriend Tobie (Donna Mills). One night he meets the mini-skirted Evelyn (Jessica Walters) in a bar, and he goes home with her for what he assumes is a one-night stand. Dave discovers, however, that Evelyn has repeatedly called his show requesting that he "play 'Misty' for me," and she is not about to go gently into the night now that she has bedded him. Even though it touches on the early-'70s flashpoints of sexual liberation, studio execs expressed doubts about why anyone would want to see a movie featuring Eastwood as a deejay. Eastwood reportedly answered that he was not sure either, but he thought it was a good suspense story, and he offered his services as director for free. Play Misty for Me wound up making five times more than it cost and is a precursor to such erotic thrillers as Fatal Attraction (1987) and Basic Instinct (1992). Eastwood mentor Don Siegel appears early on as a bartender. ~ Lucia Bozzola, All Movie Guide

Hobgoblins is in the genre of such films as Gremlins and Critters, albeit on a far lesser budget. The plot consists of a young security guard who must track down diminutive creatures who kill people while making their fantasies come true. The bargain basement puppets were anything but frightening and gave the film its cheesy camp appeal.

Hobgoblins primarily received attention when it was later shown on Mystery Science Theater 3000. The episode, as usual, made unrelenting fun of the movie and of Sloane in particular, with Tom Servo attempting to use time travel to assault Sloane for making the film -- only to give Sloane inspiration for making the movie -- at the episode's conclusion. MST3K writer Paul Chaplin later commented on Hobgoblins, saying, “It shoots right to the top of the list of the worst movies we’ve ever done." (more)

In this film, the mysterious Kira (Olivia Newton-John) appears to assist and inspire a young artist, Sonny Malone (Michael Beck). When she helps him meet up with the rich Danny McGuire (Gene Kelly), the two join up together to create an artistic and business success, an unique club called "Xanadu." ~ Iotis Erlewine, All Movie Guide

This made-for-television film, an unusual collaboration between hard rock group Kiss and children's television kings Hanna Barbera, became one of NBC's highest-rated programs of 1978. The plot, reminiscent of the average episode of Scooby-Doo, begins with crazed inventor Abner Devereaux (Anthony Zerbe) getting fired from his job at California's Magic Mountain amusement park for ignoring safety standards in his quest to create bigger and better attractions. Devereaux retreats to his underground lab and plots a revenge scenario that coincides with the arrival of rock group Kiss (playing themselves) to perform a concert at the park. Using his knowledge of animatronics, Devereaux creates android duplicates of Kiss and uses them to create havoc. However, he soon discovers he's in for a fight because the group has secret talisman amulets that give them special powers. Thus, the stage is set for a superhero-style showdown between Kiss and Devereaux's squad of animatronic henchmen. Although it is a live-action effort, Kiss Meets the Phantom of the Park is cartoonish in the extreme as it dishes out plenty of bad jokes and low-budget special effects. It was a considerable ratings success, but also unfortunately branded Kiss with a "kiddie group" image that took years to shake. As a result, the members of the group consider Kiss Meets the Phantom of the Park an embarrassment. Nevertheless, it remains a cult favorite with the group's fans and aficionados of odd television. ~ Donald Guarisco, All Movie Guide

Bobbie Gentry's hauntingly enigmatic 1967 hit single served as the inspiration of this story of unrequited teenage love. In 1953, Bobbie Lee Hartley (Glynnis O'Connor) is 15 years old and in love with 18-year-old Billy Joe McAllister (Robbie Benson). Unfortunately, Bobbie's father (Sandy McPeak) and mother (Joan Hotchkis) forbid her to date until she's 16, and until then, Billy Joe and Bobbie Lee are supposed to be content with occasional meetings after church on Sunday. The teenage lovers sometimes steal away for meetings on the Tallahatchie Bridge, but while the other local boys are able to slake their frustrations with the prostitutes imported for the occasional town dances, a booze-addled Billy Joe succumbs to another sort of temptation, and his guilt first destroys his relationship with Bobbie Lee, and then leads to his self-destruction. Ode to Billy Joe was produced and directed by Max Baer,Jr., best remembered as Jethro Bodine on The Beverly Hillbillies. ~ Mark Deming, All Movie Guide

A gripping exercise in body horror and social paranoia, prolific Canadian director David Cronenberg's debut feature offers a startling look at modern isolationist society with a parasitic twist. When a scientist experimenting with a new form of organ transplants kills a young female resident of a fortress-like apartment complex before subsequently committing suicide, the investigation into her death leads to a frightening discovery. Originally conceived by the misguided scientist in a bid to aid organ transplant, an overzealous parasite quickly escapes into the complex in search of a host. One by one, the unsuspecting residents fall prey to the parasite, and the result is an aggressive horde of sex maniacs who will stop at nothing to satisfy their primal lust and pass the infection on through sexual contact. When the resident doctor learns the sinister truth behind the malevolent creation, only one man stands between an apartment complex overflowing with id-driven zombies and the outside world. Will he be able to stop the rapidly spreading parasite before it escapes into society, or is it only a matter of time until he, too, falls prey to its rapturous effects and gives in to the temptations of the flesh? ~ Jason Buchanan, All Movie Guide

A glitzy updating of Andy Warhol's Trash with aliens, this campy, stylish, but ultimately depressing film is one of the most keenly observed portraits of New York's early '80s downtown new wave scene. Anne Carlisle, who co-wrote the script, is terrific in a dual role as the wan lesbian Margaret and her arrogant gay nemesis, Jimmy. Tiny space aliens see Margaret shooting up and choose her to feed their heroin-like addiction to a substance produced in the human brain during sexual climax. Her partners end up vaporized, but since most of them treat her like dirt, Margaret doesn't mind. Meanwhile, a German scientist (Otto von Wernherr) has been tracking the plate-sized alien craft and observes it from the apartment of a horny Jewish woman (Susan Doukas); all the while, he is oblivious to her comic frustration and increasingly blatant sexual advances. Despite the sci-fi elements, considerable humor, cool music, and a gorgeous production design, this is really a film about desperation and ugliness. Other than Von Wernherr and Doukas -- who are outside the punk scene -- the characters all loathe themselves and treat each other horribly. Most of their sex involves rape, and when they die, each seems to be better off. Perhaps the bitter aftertaste of this film explains why it never really caught on as a midnight movie, but it is a dark gem and well worth seeing. ~ Robert Firsching, All Movie Guide

A '55 Chevy takes on a '70 GTO in a race across the Southwest in Monte Hellman's cult favorite. The Driver (James Taylor) and the Mechanic (Dennis Wilson) phlegmatically slouch from race to race, pitting their gray Chevy against any and all gearheads in order to make money for gas and food. They and the tag-along Girl (Laurie Bird) meet their match in "Oh Maybelline" fan GTO (Warren Oates), and they all set off on a cross-country race to Washington D.C., with the winner getting the loser's car. But it isn't the end that really counts; it is the process of getting there, as the Girl's fickleness forces the Driver to decide what matters more: endless races or her. Shot on location from a spare script by Rudolph Wurlitzer and Will Corry, Two-Lane Blacktop was trumpeted as the "film of the year" in Esquire magazine before its release. It bombed, and disputes over music rights kept it from home video until 1999, but repertory and TV screenings have gained it an avid following for its automotive detail, flashes of authentic idiosyncrasy, and artfully abstract examination of the urge to forge ahead, whether or not there is anywhere to go. ~ Lucia Bozzola, All Movie Guide

Sometimes kids like to do things to gross out or shock their parents. This is only natural, but many companies exploit this tendency by creating toys to appeal to that childish joy in the disgusting. In the late '80s, a new kind of bubblegum card, the Garbage Pail kids, featuring caricature paintings, of ugly, unclean moppets with yukky names such as Greaser Greg and Valerie Vomit, Windy Winston, and Foul Phil, each with an offensive habit, found popularity. This hastily-assembled live-action film-- billing itself as a children's comedy-- was hastily assembled to capitalize on that popularity. Featuring midgets dressed up as the bubblegum card characters, it is the story of an antique collector and his assistant who find a mysterious garbage can from outer-space. The assistant ignores his boss's stern orders not to open the can and frees the Garbage Pail Kids. Now the two must somehow get the raunchy rugrats back into the can before they gross-out the world. Appalled parents found the film, even the very idea of it, so offensive that they launched a nation-wide protest that resulted in its withdrawal from circulation. You've been warned. ~ Sandra Brennan, All Movie Guide

After profiling Monica Lewinsky, Billy Haynes, and Tammy Faye Bakker, documentarians Fenton Bailey and Randy Barbato make their feature debut with this true-life tale of the rapid climb and lurid demise of a flamboyant young club promoter in late-'80s/early-'90s Manhattan. Based on James St. James' nonfiction account Disco Bloodbath as well as on the writer/directors' own 1998 documentary, Party Monster features former child star Macaulay Culkin as Michael Alig, a Midwestern teen determined to forget his past amidst the bright lights and throbbing house music of New York City's nightlife. Introduced to the club scene by St. James (Seth Green), Alig quickly becomes an event promoter himself, dreaming up bizarrely themed dance parties in such unlikely venues as fast-food restaurants and subway cars. But this archetypical "club kid" orchestrates his own downfall when, stoned on designer drugs, he and accomplice Freez (Justin Hagan) brutally murder their small-time dealer friend Angel Menendez (Wilson Cruz). Party Monster had its world premiere in the Dramatic Competition at the 2003 Sundance Film Festival. ~ Michael Hastings, All Movie Guide

With a short 57-minute running time calculated for TV timeslots, this documentary was partially financed by Cinemax and UK's Channel 4. Staged simulations are smoothly integrated with legit footage to jigsaw together a portrait of Michael Alig, serving time for manslaughter when this film was made. Waving goodbye to South Bend, Indiana, Alig arrived in NYC, became a college dropout, and developed a reputation for promoting parties during the '80s. The Alig parties featured bizarre costumes, performance art, and a sexual slant, but they eventually began going haywire with wild drug use/abuse of heroin, crack, and animal tranquilizers, prompting the law to take note. In early 1996, drug dealer Angel Melendez vanished, and a corpse later turned up floating near Staten Island; months later, Alig and a roommate were arrested. To recount the grim details, filmmakers Fenton Bailey and Randy Barbato interviewed Alig in prison, combining this with both party videos and footage of Alig associates. Shown at the 1998 Sundance Film Festival. ~ Bhob Stewart, All Movie Guide

Steeped in the nihilistic philosophy and rebellious fashions of the British punk movement, this early feature by experimental filmmaker Derek Jarman presents an unusual look at late 1970s London. The bulk of Jubilee focuses on a loosely connected group of female outcasts, united by a hatred of convention that at times extends into dark violence. Providing contrast is the film's framing story, in which Queen Elizabeth I travels forward in time to view the future of England and finds unexpected sympathy with the female rebels. The film references both William Shakespeare and Siouxsie and the Banshees, and it alternates scenes of transgressive violence with heady discussions of English history. The film's casting alone makes it an intriguing artifact of its time, showcasing subcultural icons from musician Adam Ant to several cast members of The Rocky Horror Picture Show. ~ Judd Blaise, All Movie Guide

An innocent country farmer experiences a number of improbable misadventures that culminate in a battle against the titular beast in this broadly comic fantasy. The first solo outing of director Terry Gilliam, who served as animator and co-director on Monty Python and the Holy Grail, returns to the medieval setting that had previously served him so well, and brings along fellow Pythonite Michael Palin for the ride as reluctant hero Dennis Cooper. Cooper's journey to defeat the fearsome Jabberwock is filled with a similar combination of traditional fairy-tale narrative and irreverent humor, which at times aims to be even raunchier than classic Python fare. But while the film is too awkward and repetitive to succeed, it does boast impressively grungy medieval sets and costumes, and flashes of the visual brilliance that would characterize Gilliam's more mature works. ~ Judd Blaise, All Movie Guide

A bright, optimistic caper comedy from first-time director Wes Anderson, Bottle Rocket focuses on a group of young Texans aspiring to become master thieves. Their leader is Dignan (Owen C. Wilson, who also co-wrote the screenplay), an upbeat if naive charmer who convinces his friends Anthony (Wilson's brother Luke Wilson) and Bob Mapplethorpe (Robert Musgrave) to enter the crime business. After their first heist, a bizarrely-executed robbery of a local bookstore, the trio goes on the lam, taking up residence in a border hotel where Anthony falls in love with a maid played by Lumi Cavazos. When the three buddies decide that they need to return to the real world, they hook up with a master con-man (James Caan) who sends them on a daring -- if ill-concieved -- mission. ~ Jason Ankeny, All Movie Guide

Of rather mysterious origins, this exploitation melodrama features Millicent Hamilton (Vivian McGill), a small-town beauty queen who gets infected with syphilis while trying to obtain a career in Big City show business. Reduced to working in a burlesque show, Millicent is told by Dr. Harris (Allan Tower) that her condition is curable but that she must abstain from sexual contact with hometown boyfriend Wendel Hope, at least for the foreseeable future. With a warning against unscrupulous hacks that pry on girls in her condition, Millicent returns to home and hearth and resumes her romance with Wendel (Stanley Barton). A year later, Dr. Grenoble (W. Blake) assures her that she is now ready to become a wife and mother but her child is born unhealthy and Wendel dies. Dr. Grenoble is arrested for quackery and Millicent learns from her pediatrician, Dr. Bayard (Frank Howsen), that she still carries the disease. On the brink of suicide, Millicent hears of a new and effective cure for syphilis. Filmed on the East Coast around 1937, Sex Madness was originally released as Human Wreckage and is also known as They Must Be Told. Although the cast was completely unknown to most moviegoers, Vivian McGill, Linda Lee Hill, Ruth Edell, Charles Olcott, Richard Bengali, Jean Temple, Harry Antrim, and Allan Tower were all veteran Broadway performers while Rose Tapley, who plays the heroine's mother, had been an early silent screen star. Young male lead Stanley Barton later changed his name to Mark Daniels and was under contract to MGM in the early to mid-'40s. ~ Hans J. Wollstein, All Movie Guide