Following the outbreak of a virus that wipes out the majority of the human population, a young woman documents her family’s new life in quarantine and tries to protect her infected sister.

One morning, when Riley (Chantel Little) should be at classes, her mother Angie (Maissa Houri) hears a cellphone ringing from her bedroom, soon to discover Riley left her phone behind. She answers what is Riley’s best friend Mackenzie’s (Willow Mcgregor) third attempt to reach someone. After Angie asks if Riley is with her, she realizes Mackenzie was about to ask the same thing. Shortly after, Angie checks the main closet and finds Riley’s shoes are still there. Did she leave in the middle of the night or vanish into thin air? Riley’s circles paint a picture of the events surrounding her disappearance while exploring leads in what becomes a harrowing mystery of twists, turns, and answers that poses the question: Was it better to not know what really happened after finding out the truth?

Twenty-five years after a streak of brutal murders shocked the quiet town of Woodsboro, a new killer has donned the Ghostface mask and begins targeting a group of teenagers to resurrect secrets from the town’s deadly past.

When petty criminal Luke Jackson is sentenced to two years in a Florida prison farm, he doesn’t play by the rules of either the sadistic warden or the yard’s resident heavy, Dragline, who ends up admiring the new guy’s unbreakable will. Luke’s bravado, even in the face of repeated stints in the prison’s dreaded solitary confinement cell, “the box,” make him a rebel hero to his fellow convicts and a thorn in the side of the prison officers.

An artist with a rather unusual art-style literally uses all the men she likes for her artworks. Bodies begin to pile up in abandoned alleyways and the case is handed out to a homicide detective to bring in the artistic serial killer.

It’s London, 1892 and Defendant 47 is on trial but can’t remember who he is. He only can remember a few details, where he’s been lately and glimpses of the past. Defendant 47 slowly starts remembering that he’s mathematician who runs a photography studio. He now remembers that his preferred subject were children. Through them, he met Ellen Rhodes, the one who will only bring him to a dark end.

Not Available

In the clandestine research tower of a ruthless Japanese security and arms company, Saisei Security, scientist MALI awakens employed mercenaries killed in combat, their death giving rise to a new, vicious breed of zombie… ZOMBIE NINJAS. Trapped amongst unsuspecting civilians, including former tactical operative DILLON (Adam T Perkins), the ZOMBIE NINJAS commanded by a ferocious leader (Soa ‘The Hulk’ Palelei) are unleashed in the inner city high-rise. They soon face off with the covert response mission deployed to fight back. This elite black ops team underestimates the brutality of their encounter, which ultimately tests their loyalty and friendship, resulting in a frightful assault between these two highly skilled lethal forces and DILLON thrust in the middle fighting for survival.

A modern, dark-humored tale of greed, romance, and lost innocence in consumer-crazed, alienated society that functions as a harsh critique of society today without taking itself too seriously.

Not Available

An American backpacker gets involved with a ring of drug smugglers as their driver, though he winds up on the run from his employers across Munich’s high-speed freeways.

Orson Welles’s “Mr. Arkadin” tells the story of an elusive billionaire who hires an American smuggler to investigate his past. Welles missed the editing deadline, so the producer handed over the editing to others. Following two Spanish-dubbed versions, released in Madrid in March 1955, the first English-language version was released in London in August 1955 as “Confidential Report” but was never released in the US. The fourth version, called “the Corinth version”, was discovered in 1961 and was released in the US in 1962. Finally, in 2006, “the Criterion edit” was released; likely to remain the one closest to Welles’ intentions.