A psycho- sexual thriller following a couple that buys an old motel in the desert looking for a new beginning, but what seemed at first as an escape is soon a thrilling ride through a mysterious world when Ray discovers a two way mirror and witnesses a horrifying murder. In a twisted game of cat and mouse, Ray must race to save his wife and himself from a gruesome secret connected to the motel and the strange people who visit there.
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Ooejo agricultural high school is located in Hokkaido. Most students are from families involved in agriculture and their dreams are to continue working in agriculture. Meanwhile, Yuugo (Kento Nakajima), who graduated from a prestigious middle school, applied to the Ooejo Agricultural High School just because the school has a dormitory. Yuugo, who grew up in the city, finds himself in an unfamiliar environment at Ooejo Agricultural High School, surrounded by nature and animals. Yuugo is also the only one who doesn’t know what type of career he wants to pursue. Yuugo becomes impatient. He goes through struggles everyday, but he he also gets to know the other students and rural life in general. He begins to grow as a person.
D’Artagnan travels to Paris hoping to become a musketeer, one of the French king’s elite bodyguards, only to discover that the corps has been disbanded by conniving Cardinal Richelieu, who secretly hopes to usurp the throne. Fortunately, Athos, Porthos and Aramis have refused to lay down their weapons and continue to protect their king. D’Artagnan joins with the rogues to expose Richelieu’s plot against the crown.
When the Switchblade, the most sophisticated prototype stealth fighter created yet, is stolen from the U.S. government, one of the United States’ top spies, Alex Scott, is called to action. What he doesn’t expect is to get teamed up with a cocky civilian, World Class Boxing Champion Kelly Robinson, on a dangerous top secret espionage mission. Their assignment: using equal parts skill and humor, catch Arnold Gundars, one of the world’s most successful arms dealers.
Gregg’s first day at his new job starts off strangely, as he discovers his cubicle is covered in a sea of Post-Its left behind by his predecessor, who he soon discovers did not leave on amicable terms. His co-workers don’t seem quite normal either, standing aimlessly or endlessly chatting nonsense on the phone or gossiping by the coffee machine. Grown men cry in this office and as Gregg tries to stay on top of his new job, fighting a toy car that runs around the office, arguing with a janitor, and trying, repeatedly, to send out an all important fax; things gradually go from bad to worse in this corporate wasteland. As day turns into night, Gregg begins to realize this is no ordinary workplace. It can be very lethal…
Set in post hurricane New Orleans. A brutal Mexican drug lord (Armando LeDuc) busts out of jail to retrieve the $15 million that his girlfriend is hiding. But detective Raymond (Kris Kristofferson) and McCoy (Sheldon Robbins) will try their best to put him back to where he belongs.
Derrick De Marney finds himself in a 39 Steps situation when he is wrongly accused of murder. While a fugitive from the law, De Marney is helped by heroine Nova Pilbeam, who three years earlier had played the adolescent kidnap victim in Hitchcock’s The Man Who Knew Too Much. The obligatory “fish out of water” scene, in which the principals are briefly slowed down by a banal everyday event, occurs during a child’s birthday party. The actual villain, whose identity is never in doubt (Hitchcock made thrillers, not mysteries) is played by George Curzon, who suffers from a twitching eye. Curzon’s revelation during an elaborate nightclub sequence is a Hitchcockian tour de force, the sort of virtuoso sequence taken for granted in these days of flexible cameras and computer enhancement, but which in 1937 took a great deal of time, patience and talent to pull off. Released in the US as The Girl Was Young, Young and Innocent was based on a novel by Josephine Tey.
Follow the story of Jesus in this slapstick satire. With a name like “Jesus, the Total Douchebag” the movie should only be seen by people who enjoy blasphemous comedy, and as such, the comedy is focused on targets that are usually exempt. Director Bill Zebub explains, “Indie movies should revel in their freedom. They are not confined to the same boundaries as the big budget movies. They should give what Hollywood can’t.”