The Ship of Monsters

A sequel to "Un rincón cerca del cielo". Pedro Gonzalez first gets into trouble as part of a criminal gang and then works honourably to become rich. Money is his undoing allowing him to become a womanizer and drinker, almost losing his wife. Finally he rejoins her, they have a son and he pays for his mistakes.

Three childhood friends; when they grow up, the poor boy is shut out from the possibility of romancing the girl because of class issues. He leaves town, learns to play pro-level poker, wins a fortune, then goes home to ruin his rival's life.

Two rowdy saddle-tramps are hired to guide a caravan of orphans through the desert.

Three young ladies become the owners of a rough and tumble cowboy bar that they're not well-equipped to manage.

Law officer goes undercover as member of gang of murderous highwaymen.

Paloma is bound and determined to kill the heck out of the guy that dishonored her sister, but mistaken identities and stuff.

Plutarco Satan returns, this time he's pitted against a rival evil organization intent on owning the very formula rumored to turn any metal into gold! Dr. Satan must go toe to toe with the vampiric black magician Yei Lin, in order to keep it out of their hands. The cost of failure? His eternal rest!

An acquaintance from Venezuela visits the owner of a Mexican ranch, causes upheavals in the love-life of the foreman.

After a quarrel with her boyfriend on New Year's Eve, Mane (Pinal) drives her car from Mexico City to Cuernavaca to meet her parents in their country house. The car breaks down in the highway and Mane has to ask for help. Mechanic Cruci (Infante) arrives and, after testing the car, offers Mane a ride on his motorcycle. Back in Mane's house, she invites him some drinks to celebrate New Year's Eve. They get drunk and, the morning after, Mane's parents arrive and find them sleeping together. Not knowing what happened, Mane and Cruci are forced to get married against their will.

Sequel to "Los bandidos de Rio Frio," reopening all the subplots from the first movie to make each of the narrative arcs swing unmistakably to justice.