Jenna, a former professional dancer, uses ballet to help a hockey player get back on the ice.
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In an effort to tap into his original talent, a wheelchair-bound author moves to a rural town, where he befriends a single mother and her three kids, who help reignite his passion for writing.
When the Lemon Drop Kid accidentally cheats gangster Moose Moran (Fred Clark) out of his track winnings, the Kid promises to repay Moose the money by Christmas. Creating a fake charity for “Apple Annie” Nellie Thursday, the Kid tricks his gang into donning Santa suits and “collecting dough for old dolls” like Nellie who have nowhere to live. Radio personality Marilyn Maxwell assists as the Kid’s girlfriend, while William Frawley and Jay C. Flippen play the lovable, gruff crooks that fall for the Kid’s Santa scam.
Summer 1998 – the opening stages of Le Tour de France are relocated to Ireland. Belgian rider Dom Chabol (late 30s) has been one of the best “Domestiques” (support riders) on the Tour for the last 20 years. It’s a sacrificial role – setting pace, blocking wind, and providing support to enable the team’s sprinter to victory – winning is not an option. But Dom secretly harbours a desire to wear the yellow jersey – just once before his career is over. At the start of what will likely be his last Tour, Dom is unceremoniously dropped from the Team he has dedicated his life to. His best mate Sonny, the team masseur, fails to reassure him about his future. But a chance liaison with Lynn, a young Irish doctor, softens the blow, and Dom starts to accept – and even enjoy – the idea of civilian life. But as he gears up to go home and to face his estranged sister, a massive doping error knocks another teammate off the Tour and Dom is thrown back in the saddle…
A lonely Parisian woman comes to terms with her isolation and anxieties during a long summer vacation.
When the newlywed wife of a Minnesota police chief accuses a new officer on his force of raping her several years earlier, it sets the stage for a tense confrontation in this riveting story. Penelope Ann Miller and Reed Diamond star as Kathy and Doug Clifson, a hard-working couple whose lives are torn apart when a new officer, John McCrane, joins the force. Kathy recognizes him as the man who raped her when she was a teenager, and while other women soon come forward saying that McCrane also raped them, the police force closes ranks to protect one of their own.
Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.
Falling Overnight tells the story of twenty-two year old Elliot Carson on the day before he has risky surgery to remove a brain tumor. Facing what could be his last night, Elliot’s path intersects with Chloe Webb, a young photographer who invites him to her art show. Elliot welcomes the distraction and as the night descends, Chloe takes him on an intimate and exhilarating journey through the city. But as morning approaches, and Chloe learns of Elliot’s condition, the magic of the evening unravels, and they must together face the uncertainty of Elliot’s future.
Powerful short film, which explores human existence at the most fundamental, personal level – what it means to be a conscious individual. Set hundreds of years in the future, a derelict spacecraft, controlled and powered by a human brain, floats aimlessly in the outer reaches of space. Trapped in the cold, mechanical prison of the vessel, the brain, which has no recollection or concept of self, miraculously begins to experience disjointed images of its former life – images it cannot understand. Yearning for freedom and yet unable to move, the brain devises a plan to build itself a mechanical body from parts of the ship. Maybe then it will understand the images it is seeing – maybe then it will feel alive.
A young NASA JPL scientist is abducted by extraterrestrials but when no one believes his story he becomes obsessed with finding proof which leads him on a journey of discovery.
Beautifully constructed, 1001 Nights stays true to the lush and mysterious backdrop of the well known and age old story. Tezuka remolds the story into an escapist fantasy where a 60s-era working man is transported back to an era of entirely fictitious Arabian details. Seemingly at odds with itself, 1001 Nights consistently unfolds in a way that combines Playboy graphics, Arabian rug design and traditional Japanese scroll paintings. Sound like a strange mix? You bet and along the way we experience some of the great cultural juxtapositions that makes Tezuka the unpredictable style it is. Source: MAL
The greedy nephew of eccentric Matilda Reid seeks to have her judged incompetent so he can administer her wealth; but she will be saved if her three long-lost adopted sons appear for a Christmas Eve reunion. Separate stories reveal Michael as a bankrupt playboy loved by loyal Ann; Mario as a seemingly shady character tangling with a Nazi war criminal in South America; Jonathan as a hard-drinking rodeo rider intent on a flirtatious social worker. Is there hope for Matilda?
