A famous and successful TV prankster finds himself the victim of the ultimate prank when he is set up for a murder he did not commit.
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A serial killer is loose on the streets of Atlantic City. His ten victims are prostitutes, his methods are ruthless and yet his motives are unknown. Two embattled homicide detectives, Mayfield and Jesse, are in a race against time to catch this killer. They have just a few hours to utilize all of their resources and prevent murder number eleven. But with very few leads, very little support, and luck playing against them they are in for a long night because being wrong is unforgiving and number eleven is already gone.
During the campaign for reelection, the crooked politician Paul Madvig decides to clean up his past, refusing the support of the gangster Nick Varna and associating to the respectable reformist politician Ralph Henry. When Ralph’s son, Taylor Henry, a gambler and the lover of Paul’s sister Opal, is murdered, Paul’s right arm, Ed Beaumont, finds his body on the street. Nick uses the financial situation of The Observer to force the publisher Clyde Matthews to use the newspaper to raise the suspicion that Paul Madvig might have killed Taylor.
Australian small-town cop Gary (Eck) enjoys his nearly pastoral existence, with traffic violations providing the major excitement to his normally low-key days. While away from work, Gary spends a good deal of time fantasizing about local news reporter Julia (Kirstie Hutton), who would just as soon relocate to the thriving metropolis of Sydney. Soon, however, a motorcyclist is found decapitated, with a construction worker, a sailor, and a cowboy and Indian also meeting the same fate. With some murderous weirdo with some sort of Village People fixation terrorizing the town, Gary — with the help of big-wig city detective and Don Johnson-wannabe Tony Charles (Mir) — begins to realize that a cop is the last remaining victim to be murdered in order for the killings to be complete. …
A disgruntled, middle-class sex-doll housewife goes on a murderous rampage upon discovering that her abusive used-car salesman husband is cheating on her. Two inept cops investigate the grisly murders in order to put an end to the mayhem.
Katia (Kostrzewa), a young Polish woman adrift in London, meets Bob (Brake), an American tattoo artist. Katia is drawn to his mysterious aura and the taboo culture of body modification, but Bob has a dark, secret desire to leave his mark on the world and little does Katia know that her fascination with him will put her life in danger.
A young woman bound in the front seat of a parked car watches helpless as her captor methodically digs a grave in the desert ground. The bloody lifeless body of her boyfriend lies framed in the rear-view mirror, a fate she will fight at all costs to avoid for herself. But this is only the beginning of a brutal struggle where survival could be worse than death.
Tommy Gibbs is a tough kid, raised in the ghetto, who aspires to be a kingpin criminal. As a young boy, his leg is broken by a bad cop on the take, during a payoff gone bad. Nursing his vengeance, he rises to power in Harlem, New York. Angry at the racist society around him, both criminal and straight, he sees the acquisition of power as the solution to his rage.
Day of the Dead is a horror film which is nominally a quasi-remake of George A. Romero’s classic zombie film of the same name, which was the third in Romero’s Dead series. The film is directed by Steve Miner (who also directed Friday the 13th Part 2 & 3 and Halloween H20: 20 Years Later) and written by Jeffrey Reddick.
When strange lights descend on the city of Los Angeles, people are drawn outside like moths to a flame where an extraterrestrial force threatens to swallow the entire human population off the face of the Earth. Now the band of survivors must fight for their lives as the world unravels around them.