A hotel owner, in competition with a rival owner, finds a cache of lost treasure on the bottom of the bay after trying to drown himself which turns his life upside down.

1967 film by Brunello Rondi

1965 film by Giovanni Grimaldi, Bruno Corbucci

Mike returns home in order to leave his gunfighting days behind him and settle down on a farm with his old sweetheart but things do not go as planned. Finding Jane murdered, Mike is set upon and left for dead by her 7 killers who also steal his life savings of $10,000; all in $50 dollar bills. They leave only seven dollars and Mike vows to track down every man, paying him back with a solitary dollar and death.

Bandits ambush Capt. Roy Dexter of the U.S. Cavalry while he and his men escort a fortune in Confederate gold coins. Only Dexter survives the attack. He's subsequently sentenced to life in prison on the false belief he masterminded the ambush. Escaping from prison, Dexter sets about tracking down and exposing the true culprits.

Angela is not happy about her daddy's choice for a new wife and does everything she can to destroy her stepmother-to-be.

Nine members of an extremely rich and hateful family have decided to have a reunion on a remote island in the Mediterranean. No sooner than their arrival, old grudges, resentments, and feuds make themselves known, along with allusions to some more macabre events in their past. But when their boats are sabotaged, thus stranding them without any connection to the mainland, it becomes clear that someone is not willing to let old wounds heal, a fact made all the more clear as bodies start to pile up...

A cop recruits a criminal and his cohorts to help track down a violent crime lord who has kidnapped the ill daughter of a rich family.

In a small Scottish village, horribly murdered bodies keep turning up. Suspicion falls upon the residents of a nearby castle that is haunted by a curse involving a killer cat.

After the death of her mother under strange circumstances, a teenage girl quickly begins to suspect that her recently widowed stepfather may be involved.

A manufacturer from Milan goes on vacation with his wife Clara and his teenage daughter. In the same hotel stays Fabio Lorenzi, a writer without inspiration and with a depressive crisis, who years before had been Clara's lover.

In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed. Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created. Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does. The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration. But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.