Sarai Golden sets out on a mission to change her fate. She will do whatever it takes to land a job she is considerably under qualified for. Even if it means she does it in a not so conventional manner.
Ahmad Jalali Farahani works as a journalist in Iran. On 27 December 2009, he sees an innocent man being killed on the street, but neither Ahmad or his colleagues dare write about the murder. The journalists are hard-pressed and struggle daily against censorship and control, and even the otherwise conservative newspaper Tehran Emrooz gets to know the wrath of President Ahmadinejad, when it is ordered closed after the publication of one single critical picture.
“NARUTO to BORUTO THE LIVE 2019”, a special event for the 20th anniversary of the first publication of “NARUTO” series in Weekly Shonen Jump!! Featuring live performances by artists performing the theme songs of both “NARUTO” and “BORUTO: NARUTO NEXT GENERATIONS”, anime cast members reading original story episodes, and more.
A student grieving the loss of her parents joins an extracurricular club and becomes entangled in a romance with a classmate who has secrets.
A recently widowed, now single father struggles to raise his sixth-grade son with autism. The pressure of his job and coping with the loss of his wife proves to push him nearly to the breaking point.
1989: 64th and last year of the Showa era. A girl is kidnapped and killed. The unsolved case is called Case 64 ('rokuyon'). 2002: Yoshinobu Mikami, who was the detective in charge of the Case 64, moves as a Public Relations Officer in the Police Affairs Department. His relation with the reporters is conflicted and his own daughter is missing. The statute of limitations for the Case 64 will expire in one year. Then a kidnapping case, similar to the Case 64, takes place. The rift between the criminal investigation department and police administration department deepens. Mikami challenges the case as a public relations secretary.
Pretty Joy and her friend come to Moscow to shoot a commercial. A taxi driver, who recruits girls for an underground organization run by a distant descendant of Rasputin, suggests they visit the Rasputin Museum. During the tour, the girls are hypnotized by the evil character, who hypnotizes his victims before using their charms to seduce the rich tourists.
The powerful evil wizard Tarabas gets knowledge about a prophecy that a king's child will defeat him. So he sends out his army of dead soldiers to kidnap all royal children. When the soldiers attack Fantaghiro's castle to steal the babies of her sisters, the battle seems to be lost until she discovers the secret to defeat the solders but by doing that she loses Romualdo. Now Fantaghiro must find the evil wizard Tarabas and convince him to break the spell and bring back Romualdo.
A young woman becomes the eighth wife of the wealthy Bluebeard, whose first seven wives have died under mysterious circumstances.
When Crystal Wyatt was 16 her father passed away. From that time her life would never be the same. Crystal is banished from the family ranch, and starts a new life as a singer in a San Francisco nightclub.
Star is a young graffiti writer, the best in his city, Paris. His reputation attracts him as much into art galleries than in the police precincts. Accused of vandalism, he faces jail. Despite the threat, he decides to go to Rome with his crew in search of the meaning of his art.
Bootlegger/cafe owner, Johnny Franks recruits crude working man Scorpio to join his gang, masterminded by crooked criminal defense lawyer Newton. Scorpio eventually takes over Frank's operation, beats a rival gang, becomes wealthy, and dominates the city for several years until a secret group of six masked businessmen have him prosecuted and sent to the electric chair.
A young man on a bicycle is turning a corner in front of an apparently abandoned building when he begins to hear the ringing of a cell phone. (A prequel to the first version of Ju-on, 2000.)
הכומתות הירוקות הוא סרט קולנוע משנת 1968 בכיכובם של ג'ון ויין, ג'ורג' טאקיי, דייוויד ג'נסן וג'ים האטון. התסריט מבוסס באופן רופף למדי על ספרו של רובין מור, "הכומתות הירוקות". על-אף שהסרט הופק על ידי אחד האולפנים הגדולים בהוליווד, מדובר בסרט תעמולה מובהק, שמומן בחלקו על ידי הפנטגון.הסרט שנעשה בשיאה של מלחמת וייטנאם (בתקופת מתקפת הטט), מבקש להעביר מסר אנטי קומוניסטי ברור. אווירת ההתנגדות למלחמה שהחלה לצבור אז תאוצה בקרב הציבור האמריקאי, היא שהניעה את ויין ליצור סרט התומך במלחמה וברעיון שעמד מאחוריה.ויין עצמו היה תומך ותיק ונלהב של המלחמה. הוא ביקר ביחידות צבאיות ונפגש עם חיילים בוייטנאם והחליט ש"הכומתות הירוקות" יהווה מחווה לחיילים המשרתים שם. הסרט, שבוים על ידי ויין, מצדיק את מעורבותה של אמריקה ב"מסע צלב גלובלי כנגד ההשתלטות הקומוניסטית על העולם". נקודה זו מודגשת לאורך הסרט באמצעות הצגת כלי נשק מתוצרת ברית המועצות וסין שנמסרו לשימוש חיילי צבא צפון-וייטנאם והוייטקונג.
Short documentary about the Great Depression's impact on film, specifically Berkeley musicals.
A high school track star's wedding plans are capsized by venereal disease and a bad, beautiful new girl in town. His coach and a physician steer him into the light again.
Antarctic station "Vostok" threatens conservation due to lack of fuel. Volunteer squad is called to take fuel, but will soon begin "Polar autumn" in Antarctica. No one has walked this way, when the temperature drops below 71 degrees Celsius and freezes fuels.
A pastiche of the long-running syndicated comic strip Dilbert by neofascist simp Scott Adams, Cboyardee's short video animations Dilbert 1-3 became popular on YouTube for their surreal storytelling, uncanny visuals, and dissonant, serene, proto-Vaporwave MIDI soundtracks. Dilbert 3 explores an undercurrent already present in the actual Dilbert comic strips. As the blurb for Adams' 1996 non-fiction management tome, "The Dilbert principle : a cubicle's-eye view of bosses, meetings, management fads & other workplace afflictions," states, “Millions of office dwellers tack Scott Adams’ comic strip to their walls when murdering the boss is not an acceptable option.” In Dilbert 3, director Cboyardee (reportedly the internet handle of Eric Shumaker) explores the conflict of sublimation in the Dilbert figure; a white cisgender man who appears existentially horny for the social impotency of the Post-Fordist workplace.