Two recap specials that focus on Team Urameshi's matches in the Dark Tournament and four separate volumes focusing around one of the main characters; Yusuke, Kurama, Hiei, or Kuwabara.
The Royal Shakespeare Company act (and sing and dance!) Shakespeare's play about two sets of identical twins, separated at birth and brought together by circumstance.
Pretty Bloody: The Women of Horror is a television documentary film that premiered on the Canadian cable network Space on February 25, 2009. The hour-long documentary examines the experiences, motivations and impact of the increasing number of women engaged in horror fiction, with producers Donna Davies and Kimberlee McTaggart of Canada's Sorcery Films interviewing actresses, film directors, writers, critics and academics. The documentary was filmed in Toronto, Canada; and in Los Angeles, California and New York City, New York in the US.
While scuba diving, Jill's boyfriend Dustin finds a doubloon necklace and the diary of Morganna, a pirate who sailed the coast 200 years ago. With the diary is a treasure map that takes them and their friends Susan and Joe to a mountain cabin. Before setting out in search of the treasure, the four hold a séance using instructions they find in the diary. It brings Morganna and her mate, Captain Tygus, back to life. It's a race for the treasure. Morganna and Tygus will stop at nothing. What about the necklace?
Amy's dreams of a happy life with her partner, John and their new unborn baby. Her dreams become a nightmare of death and decay when a visitor from another world comes to Earth seeking an unusual food source: fetuses fused with it's own alien DNA.
This poignant human drama is phrased as a "small sonata" in three movements -- a novel approach by director and writer Micheline Lactôt to tell the story of two teenage girls. In the first movement, Chantal (Pascale Bussieres) rides the same bus every day and slowly develops an infatuation with the bus driver. Their interactions are expressed through gestures and glances and facial expressions, but not words. Just as Chantal is getting old enough, and maybe courageous enough to actually say something to the driver, fate steps in and she loses her chance. In the second movement, Louisette (Marcia Pilote) hides out on a fishing boat and is discovered by a Bulgarian fisherman who treats her with kindness and consideration and they spend a special evening together -- without being able to speak a word in the other's language. In the third movement, Chantal and Louisette become friends, and as kindred spirits they share a sense of loss and hopelessness.
A matriarch past the point of a nervous breakdown, her two daughters that don't give a damn, and the heat-seeking missiles of resentment they toss at each other.
A documentary about F.W. Murnau.
Do tej pory w życiu Varga Veuma praktycznie nie było kobiet, ale gdy znany prywatny detektyw poznaje Wenche Andresen zaczyna wierzyć, że wreszcie znalazł kogoś odpowiedniego. Niestety Wenche staje się główną podejrzaną w sprawie o morderstwo. Przekonany, że tak piękna i delikatna istota nie mogła popełnić zbrodni postanawia udowodnić, że jest niewinna.
An archival investigation into the imperial image-making of the RAF ‘Z Unit’, which determined the destruction of human, animal and cultural life across Somaliland, as well as Africa and Asia.
Through the course of several accidents and chance encounters, Hanoch and Ruben will meet and each of them will have to face a page of his personal history, a page that they both need to turn for good.
Ruth Butler, a clerk in an emporium, marries Jimmy Rutledge and thereby greatly displeases his mother, the owner of the emporium, because of Ruth's lowly origins. Renaud Graham, one of Mrs. Rutledge's friends, becomes interested in Ruth, forces his way into her apartment, and attempts to make violent love to her. Jimmy walks in on their embrace and, suspecting the worst, leaves Ruth. In the family way, Ruth finds refuge in a boardinghouse where she meets Al Bryant, an aspiring writer. Ruth tells Al her life story, and he makes it into a bestselling novel and then into a play. Jimmy sees the play and comes to his senses, winning Ruth's forgiveness.
Anton and Erika started out as friends for five years and got into a romantic relationship for seven years. Anton is a commercial director while Erika is a former band member and becomes his stay-at-home partner. The day finally comes when he asks her to marry him.
Max Andreev postanowił rozpocząć życie od zera, więc udał się na wyspę w Azji Południowo-Wschodniej. Wydawało się, że teraz już nic nie zakłóci jego idealnego życia, ale pewnego dnia odwiedził go stary przyjaciel z dawnego życia w stolicy. Okoliczności rozwijają się w taki sposób, że Max wraca do swojej ojczyzny, gdzie będzie musiał stać się częścią czegoś nowego. Wydawało się, że już dawno zrozumiał wszystkie swoje błędy i nigdy więcej ich nie powtórzy. Wkrótce jednak będzie musiał zmierzyć się ze swoją przeszłością, której nie mógł odpuścić...
When Max (Eric Stoltz), urged on by "Risk Management," a self-help book for the hapless, decides to approach his fellow ferry-commuter Rory (Susanna Thompson), he hopes simply saying hello might change his life for the better. But Rory only accepts contact by contract. Max finds he can play along. As the two negotiate a whirlwind relationship on paper, Rory slowly lets down her guard; but when her unresolved personal life intervenes in the form of Donald (Kevin Tighe), Max must manage a little more risk than he bargained on.
A roller-coaster ride through the history of American exploitation films, ranging from Roger Corman's sci-fi and horror monster movies, 1960s beach movies, H.G. Lewis' gore-fests, William Castle's schlocky theatrical gimmicks, to 1970s blaxploitation, pre-"Deep Throat" sex tease films, Russ Meyer's bosom-heavy masterpieces, etc, etc. Over 25 interviews of the greatest purveyors of weird films of all kind from 1940 to 1975. Illustrated with dozens of films clips, trailers, extra footage, etc. This documentary as a shorter companion piece focusing on exploitation king David F. Friedman.