1978 film by Norman Jewison

Crazy Joe perfectly melds two cultural aspects of a fantastic seventies genre, the crime thriller. With a New York location and loads of terrific American character actors in addition to Italian direction, production and veterans of Italian poliziotti, this film stands out on many levels. Peter Boyle is chillingly effective as Joe, a power hungry Family soldier who desperately wants his own piece of the action with his brother and a small, but loyal army. He wages a war in New York to the dismay of the Capo di tutti capi and ultimately winds up in prison on a federal charge of liquor distribution. Once out, Crazy Joe plots his next move with his new partner, members of the Black Mob. What makes Crazy Joe stand out are the tons of familiar faces from movies of the era. Rip Torn, Luther Adler, Charles Cioffi, Carmine Caridi, Louis Guss, Eli Wallach, all appear in this movie. Even small roles are handled by well-known faces. Michael Gazzo (Godfather 2) plays a cook who still can't speak English despite being in NYC for years and years. Herve Villechaize of The Man With The Golden Gun and Fantasy Island fame is seen briefly as one of Joe's soldiers. There are veterans of Polizotti films (Fausto Tozzi) and Enzo the baker from the Godfather makes an appearance (Gabriele Torrei) to devastating effect.The gritty locations, bloddy violence, period music, and dialogue are all top-notch. A must for all organized crime film buffs.

True story about the cat and mouse game between the FBI trying to find a Soviet mole in their ranks and Robert Hanssen, one of the top FBI agents and said mole

For years Yellowbeard had looted the Spanish Main, making men eat their lips and swallow their hearts. Caught and convicted for tax evasion, he's sentenced to 20 years in St. Victim's Prison for the Extremely Naughty. In a scheme to confiscate his fabulous treasure, the Royal Navy allows him to escape and follows him, where saucy tarts, lisping demigods and some awful puns and punishments await.

Bickford Waner, an apparently naive young man from Fort Worth, arrives in the tiny Texas town of Dime Box and takes on a variety of menial jobs. He's befriended by Reese Ford and his wife Molly, but before long Molly has seduced Bickford. Only with the arrival of Bickford's former girlfriend Janet Conforto is it revealed that Bickford is actually the notorious train robber Kid Blue. Humiliated by a scandal arising from his affair with his friend's wife, Bickford gives up on going straight and plots a crime.

这是一部出色的好莱坞侦破影视片。剧情描写了一个退役警察担任电台“夜鹰热线”节目主持人后，凭着他丰富的经验和高度的责任感，协助过去的同事们共同破案，打击罪犯的故事。全片引人入胜的地方在于剧本富有想象力和创造力，把侦察、爱情、惊险、动作、悬念、奇异共冶一炉，使观众惊喜交集，欲罢不能。
故事发生在加利福尼亚州的旧金山市。30岁出头的杰克•克里扬（注：配音时译作杰克•基连的读音）是旧金山市警察局的一名优秀警探。他头脑灵敏，足智多谋，胆大心细，精明强干，被上司认为是局里最有前途的警员之一。然而在一次与匪徒激烈枪战中，他误伤最要好的搭档。这残酷的打击使他痛不欲生、一蹶不振，黯然离开警局，整天借酒浇愁。
年轻美貌的广播电台台长德温•金向沉溺于痛苦深渊里的克里扬伸出了拯救之手。这位广播界的“女强人”正在和台里最好的华裔工程师及制作人 比利•波筹划夜间热线电话节目，想请一名有经验的警察做节目主持人，以回答并告知听众如何保护自己、不受犯罪分子的侵扰等问题。他们发现了杰克•克里扬，终于说服他试一试。节目开播了，由于人们习惯称夜间巡逻的警察为“夜鹰”，节目便取名为《夜鹰热线》。
很快，《夜鹰热线》节目成为全城谈论的话题。每到节目播出时，无论是平民百姓，还是警员侦探，都会不约而同地打开收音机。他们有的向电台提供罪犯的线索，有的严阵以待，随时预备出击擒拿凶犯。《夜鹰热线》成了市民警探的好帮手，犯罪分子的克星。
一个自称“天使”的变态杀手在深夜拨通了《夜鹰热线》电话，明目张胆地告诉克里扬下一个攻击目标，这使许久找不到连环血案的警方大为惊喜，克里扬过去的上司、好友卡尔•泽马克中尉与他密切合作，他也施展了侦破才华，与罪犯殊死搏斗，从“天使”手中救出被绑架的德温•金。
由此，克里扬驱散心头愁云，重新找到自己的社会价值。 警察局同事们都认为克里扬仍然是名出色的警探，克里扬本人也试图重操旧业。然而他最终放弃了这个机会，迎着德温•金和比利•波的微笑，克里扬走进了播音室，从容地戴上耳机，面对听众一个接一个的热线电话，开始了新的一期的《夜鹰热线》。

A conservative Midwest businessman ventures into the sordid underworld of pornography in search of his runaway teenage daughter who’s making hardcore films in the pits of Los Angeles.

On the sunless moon Io, Marshall William T. O’Niel goes toe-to-toe with the corrupt manager of a mining colony and his gang of roughnecks while investigating a rash of worker suicides.

Chinatown, San Francisco, 1928. Former private detective Dashiell Hammett, a compulsive drinker with tuberculosis who writes pulp fiction for a living, receives an unexpected visit from an old friend asking for help.

After solving their last mystery at Spooky Island, the Mystery Inc. gang is back in Coolsville, where they are being honored with their very own exhibit at the Coolsonian Criminology Museum. However, when a masked villain steals costumes of classic monsters on display and brings them to life, the gang must come out of retirement to solve the case.

Bill, a wealthy businessman, confronts his junkie daughter's drug-dealing boyfriend; in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at a bar. There he runs into a drunken factory worker named Joe, who hates hippies, blacks, and anyone who is "different", and would like to kill one himself. The two start talking, and Bill reveals his secret to Joe. Complications ensue.

Bill McKay is a candidate for the U.S. Senate from California. He has no hope of winning, so he is willing to tweak the establishment.

A prison guard begins a tentative romance with the unsuspecting widow of a man whose execution he presided over.

A tough Russian policeman is forced to partner up with a cocky Chicago police detective when he is sent to Chicago to apprehend a Georgian drug lord who killed his partner and fled the country.

1994 film by John Pasquin

The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.

In a totalitarian future, in a nightmare metropolis, inhabited only by criminals and police, Erik Lonnrot, a gifted detective, investigates a series of strange murders and disappearances that seem to implicate a insane crime lord. (Re-released in 1996 as a feature film, 86 minutes.)

A young neurosurgeon inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. In the castle he finds a funny hunchback, a pretty lab assistant and the elderly housekeeper. Young Frankenstein believes that the work of his grandfather was delusional, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind.

A transit worker pulls commuter Peter off railway tracks after he's mugged, but—while he's in a coma—his family mistakenly thinks she's Peter's fiancée, and she doesn't correct them. Things get more complicated when she falls for his brother, who's not quite sure that she's who she claims to be.