Set in 1974, an authentic and uplifting tale of two friends whose horizons are opened up by the discovery of black American soul music.
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The Naughty Stewardesses follows the typical pattern of a Roger Corman “nurse” film (very popular at the time), only with stewardesses. The plot follows the exploits of four sexy flight attendants, and each of them disrobes in front of the camera and/or engage in intercourse at one point. There’s raunchy action with a captain and a lass aboard his plane (in which a small child looks on to get a first hand sex ed class), and a wild party where a nude dude is actually a cake (he gets slobbered by one of the stewardesses!).
Bob Adams, ace newsreel cameraman, is told by his boss, “Get the picture—we can’t screen alibis.” He heads for Samari, a desert hot-bed of tribal unrest in Africa, to do just that, which includes getting footage of El Kadar, bandit and rebel leader. He gets his pictures but only after a romance with the Colonel’s daughter Pamela, saving his wimpy, hacked-off brother Don from being a dupe of the gun-runners, and run-ins with spies and throat-cutting tribesman. For a finale, he saves the British Army.
A man gets out of prison after 15 years for stabbing his wife to death, and his social worker becomes convinced he was innocent. As she researches his case, and interviews other people who were involved, she begins to fall in love with him, as her friends warn her that he’s dangerous.
A Canadian doctor finds her sympathies sorely tested while working in the conflict ravaged Palestinian territories.
Simon Ashby is a wealthy psychotic who is is coddled by his aunt in their palatial mansion outside of London. One day, Ashby’s long lost brother mysteriously arrives at the house, but events prove that he is an impostor, sent by Keith Kossett, son of the attorney for the family estate, who has been dipping into the family trust fund.
In what would cause a fantastic media frenzy, Clifford Irving sells his bogus biography of Howard Hughes to a premiere publishing house in the early 1970s.
Cast out of his insular community, a damaged and down on his luck man teeters between a life of crime and the path to redemption.
Mikio (Masato Sakai) is a married man and works hard for the company where he is employed. Then one day Mikio is diagnosed with depression. Mikio’s wife is Haruko (Aoi Miyazaki). They have been married for 5 years. Haruko draws comics for work, but they do not sell well. She mainly relied on Mikio for support. Meanwhile, Haruko did not notice any changes in her husband. She begins to blame herself for not noticing any signs. Mikio’s depression derived from his work. His company has been pressing him to quit the company. After Mikio quits his job his condition improves, but the dynamics of their relationship changes.
One fateful night in a small English regional theatre during World War II a troupe of touring actors stage a production of Shakespeares King Lear. Bombs are falling, sirens are wailing, the curtain is up in an hour but the actor/manager Sir who is playing Lear is nowhere to be seen. His dresser Norman must scramble to keep the production alive but will Sir turn up in time and if he does will he be able to perform that night? The Dresser is a wickedly funny and deeply moving story of friendship and loyalty as Sir reflects on his lifelong accomplishments and seeks to reconcile his turbulent friendships with those in his employ before the final curtain.
England is torn in civil strife as the Royalists battle the Parliamentary Party for control. This conflict distracts people from rational thought and allows unscrupulous men to gain local power by exploiting village superstitions. One of these men is Matthew Hopkins, who tours the land offering his services as a persecutor of witches.
A widow with three children hires a handyman to fix her house during a major storm. When not doing home repairs, he shares his philosophy of believing in the power of the universe to deliver what we want.