Hans a young German journalist arrives in London to write an article about au-pair girls, but is requested by friends to investigate the whereabouts of their teenage daughter Greta.

A successful rock lyricist becomes romantically involved with a girl he picks up hitchhiking only to learn that she is only fourteen. Her parents take action against him.

After their parents divorce, one daughter lives with her mother in England while the other lives with her father in Portugal. After the untimely death of her mother, the one daughter stands to inherit a large sum of money and also a number of documents containing information that will incriminate her father, who was a crooked judge. While her father wants the documents, her sister wants the money and they will each stop at nothing, even murder, to get what they want.

A naive couple leave their small town for success in London's adult entertainment culture.

Spy escapades riddled with double crosses and triple crosses were all the rage in the '60s and '70s, and this is Peter Collinson's belated addition to the genre. An uninspired and very routine espionage yarn, set (and filmed) in Israel, The Sell-Out is preposterously hard-to-follow at times but it would be wrong to dismiss it as a complete failure. It may not be especially good, but the performances are competent enough and the climactic chase sequence is moderately exciting.
Elderly ex-spy Sam Lucas (Richard Widmark) lives in Jerusalem with the sexy but much younger Deborah (Gayle Hunnicutt). He likes to think he has left the spy business behind, and he now runs a successful antiquities store. However, he is forced back into action when he receives a call for help from his old protege Gabriel Lee (Oliver Reed). Lee defected to the East some years previously, but has now become the target on a clandestine CIA-KGB death list. His only chance of getting out of Israel alive is to plead for the help of his old pal Lucas, even though it will mean re-igniting long-buried tensions and emotions.
There have been so many films of this ilk that The Sell-Out struggles to come up with anything fresh or interesting. Widmark is likable as the reluctant hero and Reed gets to put in some moody posturing as the enigmatic defector. Director Collinson cuts back on the hard-hitting violence that characterises many of his earlier films (there's violence in this one, but nothing in the same league as Fright or Open Season). The Sell-Out is a very formulaic film, never so bad that you feel like turning it off but never so good that you feel the urge to watch it again. Everyone involved has done better.... and worse.

八十年代早期，Hammer影业公司为英国电视台拍了一部电视连续剧——《步步惊心》。本剧播出了13集。与恐怖电影不同的是，剧中主角往往是难逃恐怖的魔爪——从虐待狂的店主到女巫甚至撒旦教派等等。剧集的标志是它浓重的黑色讽刺、恐怖的主题音乐和将恐怖情节与日常生活的混合。

A singer holes up at a sinister estate to write new songs for his act. The ghost of his murdered wife begins to haunt him, then the person who actually killed her shows up at the mansion.