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With an almost innumerable number of subplots, it's not exactly a comedy, but it does have its own moments of "screwballism". Moments that make you want to shake your head in incredulity. Moments that make you wonder, "What on Earth were the writers thinking?" Moments that make you wonder, "What on Earth was Mr. Lionel Barrymore thinking, agreeing to an almost complete loss of his dignity?" Moments that you just have to smile at and laugh off. Either that or grab the remote and click the power button, but I just happen to be one of the former class. It's a very ridiculous entry into the long-running MGM series, and one that might even merit some sneering and a very low opinion on the part of some film connoisseurs. But if, like me, you're inclined to be forgiving toward films like this, then maybe you won't mind. One of the flaws here is that, since the central plot deals with some unfinished business from the earlier film "Calling Dr. Gillespie", the actor who originally played the psycho of the story is replaced by one not nearly as creepy or effective. One of the silliest scenes that stood out to me is when some inmates at a prison decide to riot and make a break for it. Their get-away vehicle is an old pickup truck with an unreasonably small bed. One of their hostages is Dr. Gillespie, and I'd love to know what was going through their heads as they're preparing to make a break for it. Was something like "Oh, great idea! Let's take Gillespie and throw him in the back of the pickup!"? Well, that is what they did, and I hope they left his wheelchair in a handicapped spot! Would I recommend? If you're already a dedicated fan of the series, go right ahead. If not, proceed with caution and an open mind.
After handing in a report on the treatment of Chinese colonial labor, Kaji is offered the post of labor chief at a large mining operation in Manchuria, which also grants him exemption from military service. He accepts, and moves to Manchuria with his newly-wed wife Michiko, but when he tries to put his ideas of more humane treatment into practice, he finds himself at odds with scheming officials, cruel foremen, and the military police.
The Trevino family tries to overcome the irresponsible behavior of Don Cruz, an erratic father with numerous defects that contrast with his son Silvano, a young kid man that is incapable of passing judgment on his own father.
An elderly man falls in love with a beautiful young woman, without knowing that she is in love with his son.
The simple life and the values of loyalty and solidarity of the poor people in the environment of professional boxing, is the plot of this film, where Pepe el Toro shows the effort and tragedies that are experienced in this profession.
J.D. Cahill is the toughest U.S. Marshal they've got, just the sound of his name makes bad guys stop in their tracks, so when his two young boy's want to get his attention they decide to rob a bank. They end up getting more than they bargained for.
Just outside her apartment, Ana finds Dina, a naked, mysterious and confused young woman. Ana invites Dina in and calls a couple of persons so that they can meet her. Pamela and Raymundo, human traffickers, show up to negotiate the buying of Dina, who claims that she comes from the future and that she is actually on a mission to investigate how far human evil has grown in Mexico by the year 2015. The young woman provokes an unsolvable dispute between the traffickers, who end up dead.
A young woman just released from a mental institution returns home to her mansion and faces a new set of horrors.
Depression-era bank robber John Dillinger's charm and audacity endear him to much of America's downtrodden public, but he's also a thorn in the side of J. Edgar Hoover and the fledgling FBI. Desperate to capture the elusive outlaw, Hoover makes Dillinger his first Public Enemy Number One and assigns his top agent, Melvin Purvis, the task of bringing him in dead or alive.
Edmond Dantés's life and plans to marry the beautiful Mercedes are shattered when his best friend, Fernand, deceives him. After spending 13 miserable years in prison, Dantés escapes with the help of a fellow inmate and plots his revenge, cleverly insinuating himself into the French nobility.
After being discredited as a coward, a 19th century seaman lives for only one purpose: to redeem himself. Preserved by the Academy Film Archive in partnership with Sony Pictures Entertainment in 2000.
