Mel Brooks’ 1974 Western parody Blazing Saddles...

Mel Brooks’ 1974 Western parody Blazing Saddles (KCOP Sunday at 8 p.m.) is a piece of cowboy camp that never fails to make strangers “smile when you say that” right from the full-throated Frankie Laine title song to Brooks’ deranged antics as Gov. Lepetomane.

In the 1981 An American Werewolf in London (KCAL Sunday at 9 p.m.), director John Landis juxtaposes humor and gore in so thoroughly outrageous a way that from one moment to the next you can’t tell whether you’re going to laugh or to cringe. David Naughton and Griffin Dunne are a couple of nice guys from New York hiking through the north of England--and are soon to regret it.

Down and Out in Beverly Hills (KTLA Monday at 8 p.m., again on Saturday at 6 p.m.), Paul Mazursky’s inspired 1986 reworking of the old French play filmed by Jean Renoir in 1932 as “Boudu Saved from Drowning,” drops Nick Nolte’s gloriously iconoclastic vagabond into the nouveau riche household of businessman Richard Dreyfuss and his wife Bette Midler, the Beverly Hills housewife supreme.

The first (1984) Karate Kid (KTTV Monday at 8 p.m.) is one of those movies in which everything works right from the start. Director John Avildsen and writer Robert Mark Kamen capture a rhythm and naturalness in pacing, dialogue and action that sustains this irresistible heart-tugger throughout. Slight, dark-eyed Ralph Macchio, newly arrived from Newark, N.J., to Reseda, learns how to handle the bullies when he’s tutored in karate by kindly yet strict Noriyuki (Pat) Morita, who was Oscar-nominated.

Police Academy (KCOP Tuesday at 8 p.m.) spawned so many dreadful sequels it’s hard to remember how funny this 1984 comedy was, offering one belly laugh after another. Leading the pack is Steve Guttenberg.

The 1986 Extremities (KCOP Friday at 8 p.m.) is a serious, non-exploitative, carefully done adaptation of William Mastrosimone’s 1982 off Broadway hit. It is the story of a woman (Farrah Fawcett), twice the victim of a would-be rapist, who turns the tables on her attacker; however, it’s not clear what we’re supposed to discover from this fierce dramatic exercise we don’t already know.