In the swinging sixties three girls discover they have the same boyfriend who has been playing around with them all while vowing fidelity to each. To teach him a lesson he won't forget, the... See full summary »
Goldie returns from five years at the state pen and winds up king of the pimping game. Trouble comes in the form of two corrupt white cops and a crime lord who wants him to return to the ... See full summary »
A Green Beret returns home from the Vietnam war to find that a gang of murderous bikers has killed his fiancee. He calls on several of his Green Beret buddies to come and help him take revenge on the gang.
In a surprising twist, Jesse and Frank James come across as good guys as they go about their outlaw ways. Jesse is a devilish scoundrel with an eye for the ladies while Frank concerns himself with more practical matters.
Based on the true story of '60s thrill-killer Charles Schmidt ("The Pied Piper of Tucson"), Skipper Todd (Robert F. Lyons) is a charismatic 23-year old who charms his way into the lives of ... See full summary »
Robert F. Lyons,
Max Flatow is a precocious, social miscreant who has a way with home-made explosives. When he tires of these, he runs away from home only to emerge seven years later as Max Frost, the world's most popular entertainer. When Congressman John Fergus uses Frost as a political ploy to gain the youth vote in his run for the Senate, Frost wills himself into the system, gaining new rights for the young. Eventually, Frost runs for the presidency. Winning in a landslide, he issues his first presidential edict: All oldsters are required to live in "retirement homes" where they are forced to ingest LSD, taking the 60s catch phrase "Never trust anyone over 30" to its most extreme consequences. Written by
Rick Gregory <email@example.com>
Which came first, Robert Thom's Esquire novella or his screenplay? Doesn't matter - the premise of "the youth vote" (as if it were monolithic, a consistent mistake during the Sixties) working to overthrow the establishment and creating a fully functional dystopia was a winner from the first word. Immaculately filmed despite the shoestring budget and remarkably well-acted by an amazing cast, the New York Times referred to it as the only film that year to "get it" in terms of the impact of youth culture. Academy award nomination for editing, largely from clipping what appears to be Monterey Pop footage and overlaying our presidential candidate, Max Frost. A delight then, a delight now. Nothing can change the shape of things to come.
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