A female police detective returns to work after suffering PTSD from a previous case, only to have her teenage daughter kidnapped by an emotionally disturbed parolee.
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Nickie Ferrante’s return to New York to marry a rich heiress is well publicized as are his many antics and affairs. He meets a nightclub singer Terry McKay who is also on her way home to her longtime boyfriend. She sees him as just another playboy and he sees her as stand-offish but over several days they soon find they’ve fallen in love. Nickie has never really worked in his life so they agree that they will meet again in six months time atop the Empire State building. This will give them time to deal with their current relationships and for Nickie to see if he can actually earn a living. He returns to painting and is reasonably successful. On the agreed date, Nickie is waiting patiently for Terry who is racing to join him. Fate intervenes however, resulting in misunderstanding and heartbreak and only fate can save their relationship.
Three 40-something women in a small English town meet weekly for a ritual of gin, cigarettes, and sweets — and swapped stories arguing which of them has the most pathetic love life. Kate is headmistress at the local school; her best friends are the town’s police chief and a cynical, thrice-divorced doctor.
Durell and LeeJohn are best friends and bumbling petty criminals. When told they have one week to pay a $17,000 debt or Durell will lose his son, they come up with a desperate scheme to rob their neighborhood church. Instead, they end up spending the night in the presence of the Lord and are forced to deal with much more than they bargained for.
Camp Blood is under new ownership as the updated “Camp Blackwood”. Locals hope to bury the infamous clown killer’s past, and release the victims from their torment. But when a pastor with ties to the previous grounds takes his church group out to make contact with restless spirits, wrath is all they are doomed to find. The clown killer is back, and this time he has an enemy of equal evil. His former cult followers have turned, as well as a vengeful witch, who will stop at nothing to see these titans of terror collide, and destroy anyone in their path.
An accident occurs in an ultra-secret government biological weapons laboratory spreading a sinister bacteria.
Narappa is forced to flee into the forest with his younger son, Sinappa, after Sinappa murders an upper caste landlord to avenge his older brother’s death. And now Narappa must make more sacrifices and navigate a deeply unjust justice system to give his son a chance at future.
Manny, Joel and Jonah tear their way through childhood and push against the volatile love of their parents. As Manny and Joel grow into versions of their father and Ma dreams of escape, Jonah, the youngest, embraces an imagined world all his own.
Elizabeth’s engagement plans are thrown into disarray when her fiancée’s free-spirited brother David returns home. David’s unexpected influence prompts Elizabeth to question her life decisions.
Spencer Reinhard, Warren Lipka, Eric Borsuk and Chas Allen are four friends who live an ordinary existence in Kentucky. After a visit to Transylvania University, Lipka comes up with the idea to steal the rarest and most valuable books from the school’s library. As one of the most audacious art heists in U.S. history starts to unfold, the men question whether their attempts to inject excitement and purpose into their lives are simply misguided attempts at achieving the American dream.
Actor Stephen Tobolowsky has acted in over 200 TV shows and films over the past 40 years, possessing one of the most dazzlingly diverse filmographies on the planet. But even more compelling than the stories he’s been apart of onscreen are those he tells offscreen. In ‘The Primary Instinct,’ Stephen plays himself and uses the art of storytelling to take the audience through a riveting and moving journey about life, love, and Hollywood. Along the way, he just may answer one of the questions that’s dogged humanity since the beginning of time: Why do we tell stories in the first place?