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In Italy, the American writer Sam Dalmas (Tony Musant) witnesses an attempt of murder of the owner of an art gallery, a couple of days before his foreseen return to the United States of America. He decides to stay with his girlfriend Julia (Suzy Kendall) and help the police in the investigation, while the serial killer stalks Julia and him.

Billy Jack is a half-Indian/half-white ex-Green Beret who is being drawn more and more toward his Indian side. He hates violence, but can’t get away from it in the white man’s world. Pitting the good guys, the students of the peace-loving free-arts school in the desert vs. the conservative bad guys in the near-by town, the movie plays definitive late-60s themes/messages: anti-establishment, make love not war, the senseless slaughter of God’s creatures, the rape of society (figuratively and literally), two-sided justice, racial segregation and prejudices, and basic socialist ideals.

Wil Andersen finds himself with a herd of cattle which he has to get to market before the winter sets in, but he has no men to help him. He turns to a group of young school boys as his last hope to get the job done. There is no better training for these boys than hands-on as they don’t know what they are in for. They set out as schoolboys but return as Cowboys

By this time, Gojira, defender of the Earth, has become a national phenomenon, akin to the Loch Ness Monster, especially with children, ingrained into the Japanese conciousness. However, the Japanese people still don’t realize that destroying the earth will summon the millennias-old protector. A young boy finds a dangerous monster that thrives on toxic waste that he names Hedorâ, a pun on the Japanese word for sludge, “hedoro.” In his dreams, he wishes for Gojira to defeat Hedorâ and, hopefully, persuade people to stop polluting the earth. Gojira, coincidentally, fights the monster because of the destruction to the environment.

Kowalski, works for a car delivery service. He takes delivery of a 1970 Dodge Challenger to take from Colorado to San Fransisco, California. Shortly after pickup, he takes a bet to get the car there in less than 15 hours. After a few run-ins with motorcycle cops and highway patrol they start a chase to bring him into custody. Along the way, Kowalski is guided by Supersoul - a blind DJ with a police radio scanner. Throw in lots of chase scenes, gay hitchhikers, a naked woman riding a motorbike, lots of Mopar and you’ve got a great cult hit from the early 70’s.

A Russian epic, the movie traces the life of surgeon-poet Yury Zhivago before and during the Russian Revolution. Married to an upper-class girl who is devoted to him, yet in love with an unfortunate woman who becomes his muse, Zhivago is torn between fidelity and passion. Sympathetic with the revolution but shaken by the wars and purges, he struggles to retain his individualism as a humanist amid the spirit of collectivism.

U.S. President Merkin Muffley is on the hot line to Moscow with some rather embarrassing news for the Soviet premier: “Hello, Dimitri….I’m fine….Now then, you know how we’ve always talked about the possibility of something going wrong with the bomb….The bomb, Dimitri. The hydrogen bomb….Well, now, what happened is that, uh, one of our base commanders…he went a little funny in the head….and he went and did a silly thing….He ordered his planes to attack your country.” A comedy about an accidental nuclear attack? One that ends with total annihilation, thermonuclear apocalypse? Preposterous! Stanley Kubrick thought otherwise. In the end his thinking prevailed. The mad saga revolves around a psychotic Strategic Air Command officer, Gen. Jack D. Ripper, who lets loose his B-52 bomber squadron on the Soviet Union. Ripper takes this unilateral action because of his paranoid belief that Communists are sapping and contaminating “all our precious bodily fluids” as part of their plan to take over the world.” Unbeknownst to Ripper, his attack will trigger the Russian’s ultimate weapon, the Doomsday Machine, a diabolical retaliatory device set to blow up the planet.

A thief (Duke Anderson) just released from ten years in jail, takes up with his old girlfriend (Ingrid) in her posh apartment. He makes plans to rob the entire building. What he doesn’t know is that his every move is recorded on audio and video tape, although he is not the subject of any surveillance.

A group of adolescent boys, placed in a summer camp by their otherwise too busy parents, find themselves unable to fit in and are soon branded as bedwetters by their fellow campers and unsympathetic counselor. After their counselor exposes them to what they perceive as a cruel slaughter of corralled bison, these misfits are soon drawn to a common purpose to break free of their camp and free the bison. On their way to free the bison, individual flashbacks reveal the relationships each has with his own family and give insight to their reasons behind wanting to set the bison free. Karen and Richard Carpenter’s singing of the title song occurs now and again throughout the movie to underscore the the drama.

Anne Welles, a bright, brash young New England college grad leaves her Peyton Place-ish small town and heads for Broadway, where she hopes to find an exciting job and sophisticated men. During her misadventures in Manhattan and, later, Hollywood, she shares experiences with two other young hopefuls: Jennifer North, a statuesque, Monroe-ish actress who wants to be accepted as a human being, but is regarded as a sex object by all the men she meets, and Neely O’Hara, a talented young actress who’s accused of using devious means by a great older star (Helen Lawson) to reach the top, pulling an “All About Eve”-type deception in order to steal a good role away from her.