Hapless driving instructor and former Gunnery Sergeant Rafferty, living in squalor near Hollywood, California, doesn't put up too much of a fight when two ladies hitch a ride and attempt to kidnap him in their attempt to get to New Orleans; while initially put off, Rafferty finds he's charmed by the kooky pair of misfits and the three of them drive to Las Vegas, Nevada and later Tucson, Arizona, where their bond eventually unravels.

A divorced mother, her young son and her new boyfriend set out on a road trip through Death Valley and run afoul of a local serial killer.

Reynolds plays an ex-soldier-of-fortunish character in Vegas, taking "Chaperone" jobs, fighting with the mob, and trying to get enough money together to move to Venice, Italy.

Just after World War I, Major Foster is incorporating new recruits into his French Foreign Legion platoon when he is sent to his former remote outpost located in the French Morocco to protect an archaeological excavation from El Krim, a Rifian leader who intends to unite all local tribes to fight the colonial government…

This, the second adaptation of Raymond Chandler's novel, is much closer to the source text than the original - Murder, My Sweet (1944), which tended to avoid some of the sleazier parts of the plot - but still concerns private eye Philip Marlowe's attempts to locate Velma, a former dancer at a seedy nightclub and the girlfriend of Moose Malloy, a petty criminal just out of prison. Marlowe finds that once he has taken the case, events conspire to put him in dangerous situations, and he is forced to follow a confusing trail of untruths and double-crosses before he is able to locate Velma.

The Culpepper Cattle Co. is a worthy example of a certain kind of early-1970s Western: deglamorized, unromantic, and frankly violent. This one begins in familiar terms, as a greenhorn lad joins a cattle drive, surrendering himself to the extremely focused leadership of boss Frank Culpepper. The episodes that follow are engrossing and colorful, and the drive gets more interesting when a quartet of lethal hombres join the ride. The business of frontier justice--which here usually means shooting strangers just to be on the safe side--is worked out in refreshingly unheroic ways. Clearly director Dick Richards (making his debut in a relatively brief directing career) is responding to the revisionist era, and specifically to the films of the great Sam Peckinpah.