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Contrary to popular rumor, this 1987 collection of comedy skits is not about a group of female employees from Amazon.com on a mission to the lunar surface. It's a series of unrelated spoofs and sketches designed to resemble an aimless night of TV channel-surfing, and the satirical targets include grade-Z science fiction films of the 1950s, sex films of the 1930s, hospital soap operas, and Playboy video centerfolds. There's a charity drive in which legendary bluesman B.B. King pleas for donations to help "Blacks Without Soul," and Ed Begley Jr.

The quintessential movie spoof that spawned an entire genre of parody films, the original Airplane! still holds up as one of the brightest comedic gems of the '80s, not to mention of cinema itself (it ranked in the top 5 of Entertainment Weekly's list of the 100 funniest movies ever made). The humor may be low and obvious at times, but the jokes keep coming at a rapid-fire clip and its targets--primarily the lesser lights of '70s cinema, from disco films to star-studded disaster epics--are more than worthy for send-up.

200 years after the conclusion of Alien 3, the company is able to resurrect Ripley (Sigourney Weaver) through the process of cloning and the scientists successfully take the Queen Alien out of her. But, Ripley's DNA gets mixed up with the Queen's and she begins to develop certain alien characteristics. The scientists begin breeding the aliens, but they later escape. Soon the Xeno-morphs are running amok on the ship, which is on course to earth. The Queen then gives birth to a deadly new breed of alien, which could spell disaster for the entire human race.

The 1982 sequel to Airplane! is basically more of the same class-clown ironies but with a more forced feeling to the jokes. In the first film, veterans such as Peter Graves, Robert Stack, and Lloyd Bridges were feeling their way through self-parody, and the air of experimentation was part of the fun. By this film, however, everybody knows what's up, and the assuredness of new cast members Raymond Burr, William Shatner, and Chuck Connors is almost counterproductive. Still, there's lots to laugh about.

Rob Lowe doesn't want to get serious. Demi Moore doesn't want to get used. Together, they're an unforgettable couple in the sexy contemporary comedy, About Last Night... After drinks at a favorite Chicago hang-out, Danny Martin (Lowe) and Debbie Sullivan (Moore) head to Danny's place to indulge in the predictable singles quest - the one-night stand. Their affair is casual, sensual and supposedly over until something surprising happens. They want to see each other again.

Set in New York City in 1961, 61* is a film directed by Billy Crystal for baseball lovers. Zooming in on Yankee players Roger Maris and Mickey Mantle, the film follows these two opposites as they attempt to break Babe Ruth's 1927 home run record. In heated competition, the two players each try to score over 60 home runs and set the new world record. While the fans align themselves with one player to be the winner, the players choose the other, igniting the playing field with tension, excitement, and anticipation.

Nick Nolte and Eddie Murphy make one of the most unusual and entertaining teams ever in Walter Hill's roller-coaster thriller, 48 Hrs. Nolte is a rough-edged cop after two vicious cop-killers. He can't do it without the help of smooth and dapper Murphy, who is serving time for a half-million-dollar robbery. This unlikely partnership trades laughs as often as punches as both pursue their separate goals: Nolte wants the villains; Murphy wants his money and some much-needed female companionship.

Michael Radford's adaption of George Orwell's foreboding literary premonition casts John Hurt and Suzanna Hamilton as lovers who must keep their courtship secret. Aside from criminalizing sex and interpersonal relationships, the ruling party in their country Oceania both fabricates reality and reconstructs history for the sake of oppressing the masses. They brainwash their citizens via large, propaganda-spewing TV monitors installed in their living rooms, which also inspect everyone's activities.

Groundbreaking on several counts, not the least of which was an innovative use of animation and stereophonic sound, this ambitious Disney feature has lost nothing to time since its release in 1940. Classical music was interpreted by Disney animators, resulting in surreal fantasy and playful escapism. Leopold Stokowski and the Philadelphia Orchestra provided the music for eight segments by the composers Tchaikovsky, Moussorgsky, Stravinsky, Beethoven, Ponchielli, Bach, Dukas, and Schubert.

More ambitious in scope than any of its other animated films (before or to come), Disney's 1940 Fantasia was a dizzying, magical, and highly enjoyable marriage of classical music and animated images. Fantasia 2000 features some breathtaking animation and storytelling, and in a few spots soars to wonderful high points, but it still more often than not has the feel of walking in its predecessor's footsteps as opposed to creating its own path.