During a Cavalry massacre at an Indian village, two brothers, searching for their captured sister, rescue a white woman long ago kidnapped by the Cheyenne. They ride for their lives, haunted by the chant of the tribal Death Song.

This anthology telefilm aired on NBC on November 8, 1969, and tells three strange tales: "The Cemetery," directed by Boris Sagal; "Eyes," directed by Steven Spielberg; and "The Escape Route," directed by Barry Shear. This film also served as a backdoor pilot for the TV series of the same name, which premiered on December 16, 1970.

True story recounting the crash of Eastern Airlines, Flight 401, which crashed in the Everglades while on approach to Miami in December 1972. Accurate in many respects, the movie goes through the events leading up to the crash, the crash itself, and the rescue effort afterwards.

A young couple in a car exactly like Starsky's is killed by hitmen and word is out on the street that there's a contract out on Starsky and Hutch. This is a TV-pilot that was an ABC Movie of the Week and later turned into the TV-series.

International spies Napoleon Solo and Illya Kuryakin travel around the globe in an effort to track down a secret formula that was divided into four parts and left by a dying scientist with his four of five daughters, all of whom live in different countries. His widow, Amanda, is murdered at the beginning by the counter-spies of the organization THRUSH. Evil THRUSH agent Randolph also wants the formula, and is aided by his karate-chopping henchmen.

In a daring robbery, some $300,000 is taken from the Italian mob. Several mafiosi are killed, as are two policemen. Lt. Pope and Capt. Mattelli are two New York City cops trying to break the case. Three small-time criminals are on the run with the money. Will the mafia catch them first, or will the police?

Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007 Author: TimothyFarrell from Worcester, MA "Wild in the Streets" comes from the same school of film making that spawned other attempts to connect to the counterculture such as "Skidoo" and "Candy". The difference between this and the aforementioned films is that "Wild in the Streets" is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike "The Trip" and "Psych-Out" (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire. The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of "grooviness". The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). "Wild in the Streets" isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch "The Trip" or "Psych-Out" however. (6/10) -from imdb