A vicious Kansas City slaughterhouse owner and his hick family are having a bloody "beef" with the Chicago crime syndicate over profits from their joint illegal operations. Top enforcer Nick Devlin is sent to straighten things out.
A harrowing look at the 1960s and early 1970s through the eyes of Katherine Alman, a wealthy debutante who slowly, but inexorably spirals down into a fight for the causes that shook a ... See full summary »
It's 1944 in the small town of Gregory, Texas. Divorcée Nita Longley has been brought into the town by the telephone company to work as its switchboard operator, a job which requires her to... See full summary »
What would you do if someone you loved sat down with you one night and calmly told you that they were going to end their life before morning? This is Thelma Cates' dilemma. Her daughter, ... See full summary »
Biographical story of Loretta Lynn, a legendary country singer that came from poverty to worldwide fame. She rose from humble beginnings in Kentucky to superstardom and changing the sound and style of country music forever.
An attractive young hitchhiker named Ginger meets and and takes up with a lonely, middle-aged advertising executive who is recently divorced. He is inspired by her free-spirited independence while she is drawn to his old-fashioned romanticism.Written by
ANOTHER MIDDLE-AGED MAN FALLS IN LOVE WITH A YOUNG WOMAN.
Joe Maroney (Monte Markham), divorced for three months, is driving in New Mexico from Albuquerque to his home in Santa Fe when he picks up a hitchhiking free spirit, Ginger Brown, played by Sissy Spacek, and the two subsequently become romantically absorbed with each other as New Year's Eve nears, whereupon Joe's former Army comrade Charley (Mark Miller) and, coincidentally, Charley's former wife Sugar (Susan Oliver) join them with many complications as the product. Hoydenish Spacek is appealing and brings life to scriptor/producer Miller's lines, but bland Markham's metabolic rate seems to be constant throughout and Oliver, a talented actress, is given loathsome dialogue and exaggerates it, without doubt to her satisfaction, while the direction is listless and the screenplay lacks imagination, with only Spacek's reactions, although not always precisely matching her circumstances, shining through this frippery.
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