A 13-year-old girl and her two friends fall asleep watching a monster movie and are literally sucked into its world.
Feature length adaptation of the cult British zom-com web series following the adventures of three inept survivors of a zombie apocalypse through a video blog they maintain to ease the boredom of day to day survival.
A gay teenager desperately attempts to hold on to the only companion he has left. A rough, dirty, and realistic take on the breaking point of a relationship between two boys living on the streets.
Five friends embark on a 1,200 mile journey along the US-Mexico border from El Paso to the Gulf of Mexico to learn first hand what effect a border wall will have on the natural landscape and the wild animals roaming the land.
In I Can't Give You Anything But Love, Baby, Broderick Crawford plays a sentimental gangster who abducts songwriter Johnny Downs and forces him to write a love ballad. It is Crawford's hope that the song will reach out and touch his long-lost childhood sweetheart. I Can't Give You Anything But Love, Baby was based on James Edward Grant's short story Trouble in B Flat; echoes of the basic premise later resurfaced in the 1957 "A" picture The Girl Can't Help It.
It is fruit-picking season in the plain and pickers come from all over and live in a camp for several weeks. Among the many pretty girls are Kissa, a natural vamp who delights in exciting men; Margo who is hard and tough, and Josine who is tender and romantic. They work in a feverish atmosphere and inflamed by the summer heat, youthful passions run riot, and the girls' sensual behavior cause rivalry among the men. Lorry driver Armand applies the same degree of ardor to his love-making as to his work, and his biggest rival is the boss' son, Berto, a strutting rooster who is very proud of his American car. After work each day, Kissa queens it in the cabaret on shore, and derives great pleasure in arousing jealousy between the men.
Opening with the testimony of a politically exiled Basque author reminiscing on a childhood where he was forced to “hide his language as something ugly”, Faire la parole then keeps apace with some young people from the French and Spanish Basque Country: Nora, who saw the newspaper where she worked closed by the Guardia Civil in 2003, then Aitor, Ana and Ortzi. The last three, still teenagers, lend a summery and easy-going tone to the film, which is magnificently framed by Eugène Green’s long-time cameraman, Raphael O’Byrne. The dialogue that settles in between the younger members and those in their thirties has a rare quality, as if the difference of language – which each has had to impose on their family or on their national entourage – had almost tacitly created a secret community. Starting with the political stakes (regional languages versus centralism), the story hikes over the mountains with these new friends brought together by the filmmaker.
When Hollywood film studios reject her because she's too young, an Arkansas woman sets out to build a career as an actress on her own.
The police become involved when the callers to a 1-900 number begin turning up dead after a visit from the beautiful operator.
Everything changes for Alex, a troubled teenage boy, when he is awoken one night by someone claiming to be his brother, who disappeared years earlier.
Lost among the facades of unknown buildings, from the window facing the street, I perceive the distracted city.
Manoel de Oliveira plays his film in three stages: the first part - a play, the second can be roughly defined as a silent film (with the behind the scenes read excerpts from Beckett works), but in the end the director brilliantly performs the same material of the avant-garde exercise. Surprisingly, a joke, repeated three times, each time everything sounds fresh and develops into an almost verbatim adaptation of the biblical "Book of Job" - a spectacular point in a parable about how hard to empathize with other people's misery, when you have your own.
Z, a Seattle bicycle cop, tries to make sense of the world while patrolling the city streets.
Waifs, homeless, derelicts, almsmen, others, forgettens, outcasts, unwanteds. The Hotel of Waifs; a temporary resting place far from home, an amusement in a pale fun fair, an enthusiastic trip on roundabout ways of soul.
Three estranged foster brothers rediscover the ruins of their childhood kingdom 'Oxenfree'...and face down the monster living within.
Archiving Test Dept’s history from the 1983 performance in Canon Street Station through to the Second Coming in Glasgow, which was the most monumental and total show Test Dept produced. This show also could be said to have influenced part of Danny Boyle’s opening ceremony for the Olympic games in London in 2012.
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