A prospector, a trapper and their sled dog battle the Klondike elements on their journey to get to the gold country.

A free-spirited Bostonian recently arrived in the West teams up with a crusty Wyoming cowboy to stop a land baron's attempts to drive out a group of small ranchers and take over their property.

Danny, Shooter, Fatback, and the Kid. They learned a trade in the army. Killing.

Sexual indiscretions are used as a basis for blackmail.

Based on a true story, this film depicts the life of Ted Bundy, the serial killer. In 1974, after having murdered several young women, he leaves Seattle for Utah, where he is a law student and where other girls disappear. It takes the cooperation of a number of police forces to work efficiently on this case. Soon, but not soon enough, the police eliminate endless possibilities and close in on him. Bundy is tried in the media and his good-boy attitude brings him sympathy but also the hatred of many.

Panic grips a small community after a tanker truck crashes through a fence at a wild animal park, freeing dozens of dangerous beasts.

Monte Walsh is an aging cowboy facing the ending days of the Wild West era. As barbed wire and railways steadily eliminate the need for the cowboy, Monte and his friends are left with fewer and fewer options. New work opportunities are available to them, but the freedom of the open prarie is what they long for. Eventually, they all must say goodbye to the lives they knew, and try to make a new start.

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.