Sergeant Boyd’s police search to find a sniper who has been shooting hookers.
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A crime writer gets involved in a murder investigation.
NYPD detectives Christopher Danson (Johnson) and P.K. Highsmith (Jackson) are the baddest and most beloved cops in New York City. They don’t get tattoos, other men get tattoos of them. Two desks over and one back, sit detectives Allen Gamble (Ferrell) and Terry Hoitz (Wahlberg). You’ve seen them in the background of photos of Danson and Highsmith, out of focus and eyes closed. They’re not heroes, they’re “the other guys.” But every cop has his or her day and soon Gamble and Hoitz stumble into a seemingly innocuous case no other detective wants to touch that could turn into NYC’s biggest crime. It’s the opportunity of their lives, but do these guys have the right stuff?
Ray and Gilbert’s fishing trip takes a terrifying turn when the hitchhiker they pick up turns out to be a sociopath on the run from the law. He’s killed before, and he lets the two know that as soon as they’re no longer useful, he’ll kill again. The two friends plot an escape, but the hitchhiker’s peculiar physical affliction, an eye that never closes even when he sleeps, make it impossible for them to tell when they can make a break for it.
A visually spectacular dystopian take on an Arab world torn apart by social disorder.
Like every day, Marcelo gathers her children on the floor of his ex-wife. As each day play “to see who gets there first” them down the stairs, him in the elevator, a diversion that your ex-partner does not like. But when one day Marcelo plays the downstairs children are not. They are not anywhere. The fear begins to emerge when a phone call will catapult the horror: a kidnapper puts a price for the release of their children
Lee Blanchard and Bucky Bleichert are former boxers-turned-cops in 1940s Los Angeles and, when an aspiring young actress turns up dead, Blanchard and Bleichert must grapple with corruption, narcissism, stag films and family madness as they pursue the killer.