Alan, a balding film director, loses his fiancé’s dog at a gender reveal party on the morning of an important shoot. A critic named Nick gives candid observations on a series of incomplete shorts that Alan has spent his own money making. As the pursuit of the lost dog and the chaos of the short films begin to blend, Alan grows desperate for the day to be over.
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An elderly gentleman comes to a young woman’s aid by pretending to be her uncle. Comedy.
A dad forms a bitter rivalry with his daughter’s young rich boyfriend.
Ambulance-chasing lawyers takes on the case of a convicted murderer who, just being released after doing 27 years in jail, claims he was innocent
Mr. Wilson’s ever-present annoyance comes in the form of one mischievous kid named Dennis. But he’ll need Dennis’s tricks to uncover a collection of gold coins that go missing when a shady drifter named Switchblade Sam comes to town.
If Columbia could make an acceptable movie star out of opera-diva Grace Moore, then RKO Radio could do the same with Lily Pons. At least that was producer Pandro S. Berman’s reasoning when he cast Pons in the 1935 musical romance I Dream too Much. The actress plays Annette, a rural French musical student who marries struggling American composer Jonathan (Henry Fonda). Possessed of a splendid singing voice, our heroine rises to fame on the opera stage, while poor Jonathan continues struggling, supporting himself as a tour guide. Annette eventually saves her marriage by transforming her husband’s “masterpiece,” a rather turgid modernistic opera, into a light-hearted musical comedy. Lucille Ball, who’d later co-star with Henry Fonda in The Big Street and Yours, Mine and Ours, has a funny minor role as a gum-snapping tourist. Though Lily Pons was at least 10 years older than Fonda, they make an attractive and believable screen couple, adding credibility to this somewhat contrived yarn
In this sequel to “New Money,” Quam, a security guard turned multimillionaire, lives the good life with his fortune until he falls victim to fraud.
Johnny Mack Brown essays the title role in Universal’s Fighting Bill Forgo. Returning to his home town, Bill Fargo takes over the operation of his late father’s newspaper. He quickly gets swept up in political intrigue fomented by political boss Hackett (Kenneth Harlan), who has a cute habit of rubbing out any and all honest candidates for the sheriff’s office.
An ominous dream convinces 77-year-old Dayanand Kumar that his end could be near. He takes the news to his son Rajiv, knowing he wants to breathe his last in the holy city of Varanasi and end the cycle of rebirth, by attaining salvation. Being the dutiful son he is, Rajiv is left with no choice but to drop everything and make the journey with his stubborn father. Daya and Rajiv check into Mukti Bhawan (Hotel Salvation) in Varanasi, a guesthouse devoted to people who want to die there. But as the days go by, Rajiv struggles to juggle his responsibilities back home, while Daya starts to bloom in the hotel. Rajiv gives his father a shot at salvation but as family bonds are tested, he finds himself torn, and not knowing what he must do to keep his life together.
A mobster named Jimmy the Tulip agrees to cooperate with an FBI investigation in order to stay out of prison; he’s relocated by the authorities to a life of suburban anonymity as part of a witness protection program. It’s not long before a couple of his new neighbors figure out his true identity and come knocking to see if he’d be up for one more hit, suburban style.
A writer of BAD detective novels is in full writers’ block. He pretends to be the alibi of a beautiful woman who was arrested for murder at first thinking her innocent, but as she shows more and more interesting abilities (such as knife throwing) he begins to doubt his first assessment.
