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Through good times and bad, Stella and Delilah have always had each other. Now, Stella’s so busy building a life that she’s forgotten how to really live. But Delilah is about to change all that. What starts as a quick trip to Jamaica, end as an exhilarating voyage of self discovery as Stella learns to open her heart and find love – even if it’s with a man 20 years her junior.
Slaking a thirst for dangerous games, Kathryn challenges her stepbrother, Sebastian, to deflower their headmaster’s daughter before the summer ends. If he succeeds, the prize is the chance to bed Kathryn. But if he loses, Kathryn will claim his most prized possession.
In an ethereal, high-ceilinged room, women stand, waiting. Perhaps it’s Purgatory and they’re dead. In the room, two young women, one an actress and the other a psychologist, watch the last few days of their lives on a TV screen. Both are having affairs with married men, each has a long encounter with her lover’s wife, and both these scenes take place in a ladies’ room, one backstage at a play that’s about to preview, the other at an opera house during the first act. The relationships between each pair of younger and older women take surprising turns, and in the room with the TV, a sylph asks probing and challenging questions of the two young women as they watch.
In an alternate version of 1949 Japan in which World War II never happened, the Japanese capital of Teito is home to both an ultra rich upper class and the dirt poor masses. The city is thrown into a state of panic when a phantom thief called “The Kaijin (Fiend) with 20 Faces” (K-20 for short) begins to use his mysterious abilities to steal from the rich and give to the poor. One day a circus acrobat named Heikichi Endo (Takeshi Kaneshiro) is framed for K-20’s crimes and becomes determined to clear his name. He teams up with K-20’s next target, a wealthy duchess named Yoko Hashiba (Takako Matsu) and her detective fiancé (Toru Nakamura), to take K-20 down once and for all.
Matt, with the assistance of his new friend Riley, is moving out to Los Angeles California to fulfill his dream of making movies. Everything is off to a good start! That is until Matt’s childhood best friend Chaps decides to crash the road trip and invite himself along. When old friends don’t mix well with new friends, jealousy enters the picture. And if that wasn’t enough to put a damper on the road trip, a menacing hitchhiker turns their world upside down leading to a maddening chase that spins wildly out of control.
Before Sam Axe teamed up with Michael and Fiona, he was Commander Axe, U.S. Navy SEAL. The Fall of Sam Axe tells the story of how Sam went from respected Naval Commander to the man of mystery we’ve come to know on Burn Notice. On what will turn out to be Sam’s last military mission, he is sent to the jungles of Colombia to investigate claims of a vicious terrorist organization known only as the “Espada Ardiente” (Flaming Sword). His mission: to determine whether U.S. military aid is necessary to deal with the threat. But when he arrives, things are more complicated than he’d imagined. He receives word that the rebels have targeted a small civilian clinic deep in the jungle. Sam must now save the clinic’s doctors and patients from certain death. However, nothing is as it seems and the Espada Ardiente may not be the biggest threat Sam Axe faces.
The true story of a brilliant but politically radical debate team coach who uses the power of words to transform a group of underdog African American college students into an historical powerhouse that took on the Harvard elite.
Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.