This summer marks the 40th anniversary of several iconic films, such as Back to the Future, Cocoon, The Goonies, and Fletch. The year 1985 was bustling with box office hits, which inadvertently pushed many equally commendable films into the background. While rewatching these beloved classics is always a treat, it’s also the perfect opportunity to explore underrated films that deserve a second chance. Some of these movies have developed a cult following, while others have faded into obscurity. Regardless of their current status, these films share one commonality: they remain enjoyable and worthy of appreciation even after four decades.

Cat’s Eye

Horror anthologies can offer thrilling experiences when executed properly, yet they often struggle with maintaining a consistent tone across various segments. Cat’s Eye, a compelling trilogy penned by Stephen King, intertwines the stories through the adventures of a cat who possesses a psychic connection to a young girl threatened by a murderous troll. Although the film experiences some ups and downs, it features strong adaptations of two stories from King’s 1978 collection Night Shift. Additionally, the cat vs. troll narrative was specially crafted for the film to spotlight Drew Barrymore, who had recently starred in the lackluster King adaptation Firestarter. While it may not have launched Barrymore’s career at the time, now it exudes a charming cheesiness that makes it an enjoyable watch. Plus, how can you complain about a film that culminates in a climactic showdown between a tabby cat and a diminutive monster?

Ladyhawke

The 1980s were not short on epic fantasy films, but few can match the unique charm of Ladyhawke, which stars Michelle Pfeiffer and Rutger Hauer as star-crossed lovers cursed to be apart: she transforms into a hawk by day, while he becomes a wolf by night. With Matthew Broderick portraying a witty pickpocket, the film is helmed by renowned director Richard Donner, known for classics like Superman and The Omen. Both Pfeiffer and Broderick were fresh off major successes (Scarface and WarGames), yet their involvement in this fantasy adventure may have contributed to Warner Bros.’ struggles in marketing the film effectively. Watch Ladyhawke this summer and reminisce about a time when studios eagerly embraced the challenge of producing such delightfully unconventional projects.

Stick

By the mid-1980s, Burt Reynolds had established himself as a prominent figure in the film industry, known for portraying wisecracking heroes with memorable names like Gator, Smokey and the Bandit, and Sharky’s Machine. With his solid directorial instincts and ability to choose compelling source material, there was every reason to expect his adaptation of Elmore Leonard’s Stick to be a delightful, pulpy film. However, after Reynolds submitted his version, Universal’s Sid Sheinberg demanded extensive changes, resulting in a final product that was significantly different from Reynolds’ original vision. Consequently, Leonard disavowed the film, further diminishing its commercial prospects at a time when Reynolds’ star power was already waning. Despite its flaws, the film features a stellar cast, including Candice Bergen, Charles Durning, and George Segal. While the decade produced superior steamy action thrillers, Stick remains a unique experience worth exploring, showcasing tough characters, their romantic interests, and the treacherous double-crosses that ensnare them.

Read More: 25 ’80s Movie Sequels That Shouldn’t Have Been Made

Gotcha!

It’s essential to acknowledge the accomplishments of Anthony Edwards, who, despite never being regarded as a traditional leading man, cultivated an impressively diverse filmography in the 1980s. His roles ranged from the socially awkward character in Revenge of the Nerds to the ill-fated Goose in the original Top Gun. In between, he starred in Gotcha!, a Cold War action-comedy featuring a college student whose vacation in Paris turns chaotic after he encounters a captivating femme fatale, played by Linda Fiorentino, who embroils him in a web of life-threatening intrigue. With its exotic European backdrops, absurd plot devices, and a thrilling climax revolving around a paintball-like game, one wonders why Gotcha! didn’t achieve greater success. Factors likely include the relatively unknown status of both Edwards and Fiorentino, alongside a saturated market of similarly themed films. Nonetheless, this film deserves recognition; plan a double feature with Top Secret! and relish in the humor that helped audiences cope with the Cold War anxieties leading up to Rocky’s climactic victory over Drago.

Creature

Not every film can achieve the iconic status of Alien, regardless of their aspirations to replicate its success (just look at the myriad Alien sequels and prequels for evidence). This challenge was particularly evident during the mid-1980s, a time when practical effects reigned supreme. Films with limited budgets often struggled to mask their financial constraints. Creature exemplifies this struggle, as it was produced by a fledgling effects company fresh from the disappointing Jaws 3D. Their experience gained from this project eventually led them to work on Aliens the following year, but with a modest budget of around $1 million, their capabilities were severely limited. Despite its lack of visual flair, Creature compensates with a chilling atmosphere and the gravitas brought by Klaus Kinski, who adds an enigmatic weight to the film that many of its contemporaries lacked. As the genre shifted towards direct-to-video releases, Creature serves as a nostalgic reminder of the era when Alien-inspired thrillers graced our local theaters.

Ordeal by Innocence

The recent success of Glass Onion has reignited interest in classic Agatha Christie-style whodunits, inspiring a resurgence of her works on the big screen, especially with Kenneth Branagh’s adaptations of Poirot’s mysteries. However, older adaptations, such as Ordeal by Innocence, remain worthy of attention. Starring Donald Sutherland as a paleontologist who becomes embroiled in a friend’s wrongful murder conviction, the film showcases a talented cast that includes Faye Dunaway, Christopher Plummer, and Ian McShane. With a score featuring compositions from Dave Brubeck, the film delivers 90 minutes of engaging entertainment. Additionally, its release by Cannon Films, known for their unique brand of B-movie schlock, adds an extra layer of intrigue, making it a fun exploration of 1980s cinematic excess.

D.A.R.Y.L.

When asked to name an ’80s film featuring an adorable protagonist who turns out to be a military-grade robot needing to be hidden from his warlike creators, most will immediately think of Short Circuit. However, the year prior introduced audiences to D.A.R.Y.L., starring Barret Oliver as the titular “Data-Analyzing Robot Youth Lifeform.” After being liberated by his creator, Daryl is adopted by an unsuspecting couple, believing himself to be an ordinary boy suffering from amnesia—until his extraordinary abilities begin to manifest. Although the plot unfolds without any unexpected twists, the film captures the essence of a time when Hollywood was enamored with the notion that computers could perform miraculous feats, culminating in dramatic standoffs between everyday citizens and government agencies. Fans of this nostalgic era will find plenty to enjoy in D.A.R.Y.L..

The Stuff

<pLike many of the finest sci-fi and horror films, The Stuff operates on dual levels. For viewers seeking satirical commentary, it presents a subversively entertaining critique of American consumerism. For those simply wanting to witness the chaos that ensues as characters become obsessed with an irresistibly sweet substance that takes the form of a snack food craze, the film does not disappoint. Unfortunately, its poor box-office performance can be attributed to marketing strategies that downplayed the film’s comedic aspects, which is unfortunate. Beneath its Body Snatchers-esque plot lies a wealth of humor aimed at our cultural obsessions, alongside memorable cameos from iconic figures like Abe Vigoda and Clara Peller, known for her iconic “Where’s the beef?” commercials.