The National Film Preservation Board is a committee charged with selecting 25 films each year to be preserved in The Library of Congress' National Film Registry. The films selected each year vary widely in every imaginable facet, whether it be era, genre, format, style, or quality, but each one is selected based on the criteria of being "culturally, historically, or aesthetically significant."

The 2015 selections were recently announced, with films dating from 1894's Edison Kinetoscopic Record of a Sneeze (a five second film by Thomas Edison of a man sneezing, and the first film to ever be copyrighted) to 1997's L.A. Confidential. There are many notable and exceptional films added this year (The Shawshank Redemption and previously mentioned L.A. Confidential both especially stand out). However, there are two that are not only entirely deserving of their place, but highlight an era in such distinct ways that they serve as a lens in which to look at how we look at films from this time as a whole.

I am speaking, of course, about Ghostbusters and Top Gun.

Both of these films are absolutely deserving of inclusion in The National Film Registry for very different reasons. Ghostbusters is a no-brainer, really. It was a commercial and critical hit, and still holds up as undoubtedly one of the most classic comedies ever to this day. In a sea of comedies from the 1980s, it truly stands as one of the very best.

Top Gun, however, is a more interesting choice. It is far from a perfect film. In fact, the laughable aspects of the film are equal, if not greater, to the parts that hold up. Commercially, the film was very successful, but the same cannot be said for how it fared critically. However, Top Gun is still one of the most memorable films of its era, which is where its importance really comes from. This is why its selection for the registry is deserved. For all its failures in terms of filmmaking, it is still a huge cultural landmark.

What makes both of these films' selections interesting is that both are in the midst of being revived after years of rumors and attempts. These are far from the first films from the '80s to get sequels, reboots, or reimaginings in recent years, but what makes these ones both so interesting is how important the world of the 1980s was for both original films, begging the question of how these new films will adjust to a new time frame.

In this new era of Ghostbusters, they're no longer going to rely on word of mouth and commercials to keep their ghost hunting business afloat. Instead, are they going to be a viral hit, with people pulling out their iPhones and posting videos of them each time they go on a job? Are they going to understand how to use social media and create effective hashtags for their business (#WhoYaGonnaCall and #IAintAfraidOfNoGhosts are both kind of unwieldy)?

How will the Top Gun reboot deal with taking place in a new era, where pilots are being replaced by drones? Are they going to touch on how public perception of the government and war is changing? What does Maverick think about the NSA's spying programs in a post-Cold War America?

These may seem like silly or unimportant questions to ask, and in many ways they are. However, when it comes to reboots of franchises like these, they're important. Part of what makes both of these films work as well as they do is how comfortably the work within the time they were made, and one of the easiest ways to disrupt that is by doing a bad job bringing them into a new era. For comedies like Ghostbusters, trying to be too timely with references and jokes frequently feels forced, like it was written with a buzzword in mind then the joke was written around it. For action movies like Top Gun, the typical thing to do is to make everything as gritty as possible and completely forsake storytelling.

Look no further than Mad Max: Fury Road or Creed (two of the best films of the last year) as recent examples that were incredibly effective because they utilized what made their predecessors work so well as the foundation to bring new things in. On the other side of things we have reboot films like Point Break and Total Recall that show just how dangerous it is to revisit an existing franchise. Hopefully, the filmmakers behind these upcoming reboots will see the same things in the originals as The National Film Preservation Board did when they decided to include them in The National Film Registry, and use those as their jumping off points.

At the very least, I know that I will be sorely disappointed if these reboots don't bring back two of the best and most memorable theme songs in film history.