In 1990s Scotland, a group of Catholic school girls get an opportunity to go into Edinburgh for a choir competition, but they’re more interested in drinking, partying and hooking up than winning the competition.
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On the verge of a nervous breakdown, Maxwell meets a talking sloth in his dreams and becomes obsessed with saving the animal’s habitat in his waking life by returning to his first passion of music.
A modern nightmare nearly becomes reality in this tension-filled story about an “incident” at a nuclear power plant. Jane Fonda stars as Kimberly Wells, an ambitious TV reporter covering a story on energy sources, who is present at the nuclear plant when a startling accident occurs that nearly causes the meltdown of the reactor. A newsreel cameraman accompanying Wells (Michael Douglas) captures the incident on film but the television station won’t air the footage. Though the plant’s corporate heads are quick to deny the possibility of any real danger, Jack Godell (Jack Lemmon), the plant’s veteran engineer, discovers faulty equipment at the plant. Attempting to tell others about his findings, an attempt is made on his life. In desperation, he forcibly takes control of the power plant and invites the media to hear his ceremony. But the corporation is determined to stop him in a taut and shocking climax!
War Inc. is set in the future, when the fictional desert country of Turaqistan is torn by a riot after a private corporation, Tamerlane, owned by the former Vice President of the United States, has taken over the whole country. Brand Hauser, a hit man who suppresses his emotions by gobbling down hot sauce, is hired by the corporation’s head to kill the CEO of their competitors.
Sharky gets busted back to working vice, where he happens upon a scandalous conspiracy involving a local politician. Accompanied by an all-star jazz soundtrack, Sharky’s new “machine” gathers evidence while Sharky falls in love with a woman he has never met.
Our story takes place in the fertile, San Joaquin Valley. Fueled by gin and sheer determination, Elizabeth James (Ms. Liz) operates her third generation dairy farm outside the region’s domineering co-ops. To help keep the place afloat, she’s employed five renegade ranch hands. These boys have put a pin in responsibility and opted to stretch out the party as long as possible. Unfortunately, women, booze, and fisticuffs can only lead to one outcome: trouble. With the dairy farm reporting its third straight deficit year, Ms Liz is attracting some unwanted attention. Delbert Furgeson, the owner of the area’s largest co-op, is pushing to buy her out. This only incenses the prideful Ms Liz and starts a volatile feud between the two. Sharing the narrative are the ranch hands.
Sparks fly after Ali and Ava meet through their shared affection for Sofia, the child of Ali’s tenants whom Ava teaches. Ali finds comfort in Ava’s warmth and kindness while Ava finds Ali’s complexity and humour irresistible. As the pair begin to form a deep connection they have to find a way to keep their newfound passion from being overshadowed by the stresses and struggles of their separate lives and histories.
The story focuses on a group of thirtysomething guys who head up to the Hamptons to a buddy’s bungalow to throw a bachelor party for another friend. Once there, a group of middle-aged, overweight hookers (who look nothing, NOTHING like the girl on the cover. . . not even a little bit!) stop by randomly and give the boys a show. Unfortunately, they’re possessed by some type of evil/demonic force and they started to kill the guys off (mostly during sex) one by one.
Modern 3 hour mini-series adaptation of the classic novel by Ira Levin focusing on young Rosemary Woodhouse’s suspicions that her neighbors may belong to a Satanic cult who are hell bent on getting one thing: the baby she is carrying.
In New York City, a young writer’s unfaltering belief in true love is put to the test by a beautiful girl with a troubled past.
Indian scout Tom Jeffords (James Stewart) is sent out to stem the war between the Whites and Apaches in the late 1870s. He learns (through an uncomfortably close encounter) that the Indians kill only to protect themselves, or out of retaliation for white atrocities.
