When a globe-trotting, workaholic father trying to visit his daughter on a last minute layover in Los Angeles discovers that she’s disappeared, he forces her awkward, nervous ex-boyfriend, still nursing a broken heart, to help him find her over the course of one increasingly crazy night.

A story of a fragmented friendship finding new ground, director Daniel Stine’s feature film debut Virginia Minnesota begins with a young woman at a crossroads. Her direction in life a question mark, Lyle (Rachel Hendrix) heads off on an impromptu road trip, running into a former friend, Addison (Aurora Perrinau). Addison is also adrift, and the two find themselves on the road together. Separated by a childhood trauma, Addison and Lyle must face their shared history in order to move on as adults. Through the trip they learn not only the influence of their lost friendship on their current lives, but how their new bond will shape their future as young adults.

A broke puppeteer returns home for the holidays and gets caught up in a treasure hunt with her paintball-obsessed best friend, her tango-dancing grandmother and a childhood sweetheart.

A mild-mannered bank executive (Aaron Eckhart) mentors a teenage con artist and tries to make a career change as a doughnut merchant.

The movie depicts the three months before Choong-nyung (the future Sejong the Great) becomes king. The Annals of the Joseon Dynasty, which follows the history of the Joseon Dynasty between 1413 and 1865, leaves out records of this crucial period. While future generations would come to know him as King Sejong, the legendary figure who created the Korean alphabet and advanced the country’s scientific research and law, Prince Choong-nyung was originally dismissed as a reclusive bookworm. When his older brothers Yangnyeong and Hyoryeong fail to impress their father King Taejong, the king makes a royal command for Choong-nyung to become the next ruler of the kingdom instead.

Struggling actor John Person agrees to drive a blue suitcase from Los Angeles to the small town of Baker, Calif., and hand it over to a mysterious cowboy in return for having his credit card debt of $27,000 paid off. Upon his arrival, John can’t find the cowboy but receives an ominously head-shaped package he’s supposed to hang onto. While waiting, John gets close to Ruthie, whose psychotic boyfriend, Randy, keeps threatening to kill him.

Rattled by sudden unemployment, a Manhattan couple surveys alternative living options, ultimately deciding to experiment with living on a rural commune where free love rules.

When two couples learn that the fertility clinic didn’t swap their eggs after all, they resolve to move in together and raise their kids collectively.

Dayo Wong stars as top agent Mr. Chan, who suddenly finds himself removed from duties after his partner Wonder Child unintentionally offended a policewoman, Ms. Shek. But when a financial officer goes crazy due to drugs, Mr. Chan is called back in to solve the case, which he accepts even though this means partnering up with Ms. Shek. The two have some ups and downs while working together, eventually leading to romance.

Complex plots? This director didn’t want them. Expensive, famous stars? Didn’t need them. Glorious sets and costumes? He could take them or leave them. With his choreographer Hsu Hsia, John Lo Mar liked making lean, mean, fighting movies, and fans rejoiced. Here Wu Yuan-chin stars as “the Kid,” a monk whose education in the aptly named “Crazy Lo Han Fist” finds him battling a cruel bandit’s son and befriending an abused prostitute. From then on, it’s one fight after another in another John Lo Mar martial arts marvel.

When an overenthusiastic Maya accidentally embarrasses the Empress of Buzztropolis, she is forced to unite with a team of misfit bugs and compete in the Honey Games for a chance to save her hive.

Jailed under a tough cop, an uneducated politician decides to spend his time studying for high school while his scheming wife has plans of her own.