Two young children are stranded in the Australian outback and are forced to cope on their own. They meet an Aborigine on “walkabout”: a ritualistic banishment from his tribe.

Summer 1900: Queen Victoria’s last and the summer Leo turns 13. He’s the guest of Marcus, a wealthy classmate, at a grand home in rural Norfolk. Leo is befriended by Marian, Marcus’s twenty-something sister, a beauty about to be engaged to Hugh, a viscount and good fellow. Marian buys Leo a forest-green suit, takes him on walks, and asks him to carry messages to and from their neighbor, Ted Burgess, a bit of a rake. Leo is soon dissembling, realizes he’s betraying Hugh, but continues as the go-between nonetheless, asking adults naive questions about the attractions of men and women. Can an affair between neighbors stay secret for long? And how does innocence end?

Wealthy J.W. Grant hires Henry Fardan, Jake Sharp, Hans Ehrengard, and Bill Dolworth, each a specialist in his own field, to go into Mexico to bring back his wife, who has been kidnapped by the revolutionary Raza. Fardan and Dolworth, old comrades of Raza’s, know both the territory and their foe, but a surprise awaits when they locate the captive Mrs. Grant.

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.