Two couples betray the decadence which lurks beneath the surface of high society: Steve, wealthy but ignorant, is engaged in a kinky relationship with Helen, a posh socialite living in ... See full summary »
Fontaine Khaled is the wife of a wealthy but boring businessman. She spends his money on her nightclub, the hobo, and partying. She hires a manager, Tony, to run her club, but it is ... See full summary »
Alfie returns, up to his old womanizing ways, until he meets his match in a sophisticated magazine editor Abby. His pursuit is complicated by his encounter with Norma and the fact that a ... See full summary »
A small-time soccer referee gets the chance of a lifetime when he gets to referee a major-league game. He becomes a celebrity because and suddenly finds himself having to choose between his... See full summary »
Luigi Filippo D'Amico
After a rich old man dies in a suspicious car accident in Acapulco, his widow wants his insurance company to pony up five million dollars. A hotshot investigator Decker (Charles Grodin) and a charming model (Farrah Fawcett) come in to check it out.
Disco was on its deathbed even as Joan Collins boogied in her mules during her 70s comeback (The Stud, The Bitch). So, what new moves could she try as the 80s dawned? Rejecting the idea of leading a troupe of bodypoppers, she simply remade her previous disco films in the ballet milieu. All the crucial elements are there: Joanie playing a tough cookie, lithe young things taking their clothes off, and once-respected character actors (hello, William Franklyn) standing around looking embarrassed.
Kitsch fans will particularly relish the performance of Cherry Gillespie (ex-Pans People, and "Disco Girl" in The Bitch. Or was it the Stud?)
Paul Nicholas is in it, some time after he got his kit off in "Hair", and before his glory days advertising Farah slacks and Rougemont Castle British wine.
Do not watch when sober, it's quite dull in such circumstances.
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