Bill, a wealthy businessman, confronts his junkie daughter’s drug-dealing boyfriend; in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at a bar. There he runs into a drunken factory worker named Joe, who hates hippies, blacks, and anyone who is “different”, and would like to kill one himself. The two start talking, and Bill reveals his secret to Joe. Complications ensue.
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At three years old, a chatty, energetic little boy named Owen Suskind ceased to speak, disappearing into autism with apparently no way out. Almost four years passed and the only stimuli that engaged Owen were Disney films. Then one day, his father donned a puppet—Iago, the wisecracking parrot from Aladdin—and asked “what’s it like to be you?” And poof! Owen replied, with dialogue from the movie. Life, Animated tells the remarkable story of how Owen found in Disney animation a pathway to language and a framework for making sense of the world.
Phoenix cop Ben Shockley is well on his way to becoming a derelict when he is assigned to transport a witness named Gus Mally from Vegas. Mally turns out to be a belligerent prostitute with mob ties and incriminating information regarding a high-placed figure.
IT’S NOT A DATE tells the story of Carly and Milo, a couple in their twenties on their first date. Although “It’s not a date” but more of a casual meet at a local club; it begins as a classic girl meets boy saga with casual conversation that escalates to a night of passion. It evolves, NOT into a romantic partnership or a parting nod, to “bad chemistry” but instead with Carly. Frustrated with a life full of bad dates and believing that Milo is the worse of them she takes Milo on a detour into insanity so extreme he wishes “It’s not a date.”
Former FBI Agent Will Graham, who was once almost killed by the savage Hannibal ‘The Cannibal’ Lecter, now has no choice but to face him again, as it seems Lecter is the only one who can help Graham track down a new serial killer.
Twelve-year-old Nick lives with his Uncle Murray, a Mr.Micawber-like Dickensian character who keeps hoping something won’t turn up. What turns up is a social worker, who falls in love with Murray and a bit in love with Nick. As the child welfare people try to force Murray to become a conventional man (as the price they demand for allowing him to keep Nick), the nephew, who until now has gloried in his Uncle’s iconoclastic approach to life, tries to play mediator. But when he succeeds, he is alarmed by the uncle’s willingness to cave in to society in order to save the relationship.
Page Eight is lovingly turned, with elegant writing, a flawless cast and a heartfelt message from writer/director David Hare about the danger zone where spies and politicians meet. The tension builds gently as we follow the fortunes of Johnny Worricker, a jazz-loving charmer who works high up at MI5 as an intelligence analyst. It’s a part made for Bill Nighy and he purrs out bon mots with a weary panache that women 20 years younger find irresistible. One such is his neighbour, Nancy Pierpan (Rachel Weisz), in a Battersea mansion block. The question for Johnny is whether her interest in him is genuine or hides something darker. As his boss (Michael Gambon) puts it: “Distrust is a terrible habit.” Questions of trust, honour and friendship rumble through the play. The characters exchange oblique repartee as a plot about a damning dossier unwinds. It’s not to be missed.
In the second film of the Lone Wolf and Cub series, Ogami Itto battles a group of female ninja in the employ of the Yagyu clan and must assassinate a traitor who plans to sell his clan’s secrets to the Shogunate.
Iris invites her friend Jack to stay at her family’s island getaway after the death of his brother. At their remote cabin, Jack’s drunken encounter with Hannah, Iris’ sister, kicks off a revealing stretch of days.