Emily James, now 27 years old and considered a relic in the world of figure skating, gets an improbably shot to reclaim skating glory when a young coach sees greatness in her. Together, they find their love of skating goes beyond the ice.
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In a not too distant future, a totalitarian state run by ‘The Director” (Seagal) controls all aspects of life. All enemies of the state are dealt in the harshest way. Most of them are executed by the secret government’s assassins. The best operative is code-named “Condor” (Messner) – an elite agent and hit man for the government. However, in his latest assignment, “Condor” fails to kill an opposition leader, and finds himself on the run from the very same government agency that he works for. This sets in motion a chain of events with unforseen consequences for all involved.
When James Downey returns home to Newfoundland for his mother’s funeral, he is faced with all the haunting family issues he thought he had left behind. He channeled his own inner demons from an abusive father into being a police officer but his cousin Danny’s childhood trauma has exploded into a cycle of drugs, crime and violence. James must confront his tortured past, decide who he really is, and deal with his cousin before it’s too late.
The Nazi occupation of Tunisia strains the bonds of friendship between a Muslim woman and a Sephardic Jewess who are both preparing for their marriages.
Confronted by Apartheid and a father who was Minister of Censorship, Ingrid Jonker searched for a home, searched for love. With men like Jack Cope and André Brink she found much love, but no home. Later, in his first speech to the South African Parliament Nelson Mandela read her poem “The Dead Child of Nyanga” and addressed her as one of the finest poets of South Africa.
Unhappily married, Julia Sturges decides to go to America with her two children on the unsinkable Titanic. Her husband, Richard also arranges passage on the luxury liner so as to have custody of their two children. All this fades to insignificance once the ship hits an iceberg.
A hip and happenin’ all girl rock group head to LA to claim lead-singer Kelly’s inheritance and make it (and make it) in LA. Soon the girls fall into a morass of drugs and deceit as their recording success soars. It takes several tragedies to make them stop and think… but is it too late?
Two schoolboy delinquents learn a lesson that they will never forget when a teacher at the end of his tether decides to abduct them.
A big new home, a lovely wife and a new job seem to steer Henrik firmly towards the middle age and a bourgeois lifestyle. There is, however, a substantial amount of boyish prankster still in him – sometimes a little bit too much. Director Martin Lund’s understated, offbeat humour often evokes Bent Hamer’s delightful studies of lone males (O’Horten, Kitchen Stories)
3 years after the ultimate life-or-death game with Teiai Group, Kaiji was entrapped by Teiai and again back in the underground, forced to do hard labour. One day, Kaiji wins a bet to get out of the underground with 1 million yen, and promises the other workers that he will save them. But to do so, he only has 14 days and needs 200 million yen! Kaiji meets his former rival Tonegawa and learns that there is a chance to turn the tables in the game. It was a monster casino machine that will make 1 billion yen if you win…
The illiterate General of Canton, General So, advocates a lazy, happy lifestyle of sex and money. His spoiled and also illiterate son, Chan (Stephen Chow), is his most faithful disciple. For the love of a woman, Chan attends the national exams for Martial Arts Scholar in Peking. Chan is victorious on the physical test, but before he is to be crowned, he is found to have cheated on the written exam. The Emperor sentences Chan to be a beggar. Initially Chan is unable cope with his new role, but with some mystic help, he takes on the position as King of the Beggars Association. Leading this motley crew into battle against an evil warlord in the Emperor’s entourage, Chan rescues the Emperor, and gains respect for the beggars.
