Martial artist Ron Hall stars in this dark vampire thriller reminiscent of BLADE. Ambitious cop Derek (Hall) is dogged by a phobia that is unfortunate in his line of work. Having witnessed his father’s murder as a young child, he is deathly afraid of blood, but when he takes the law into his own hands to catch underworld counterfeiter Gustoff Slovak, he is forced to face his fear. The operation blows up in his face, resulting in a massacre that leaves Derek the only one of his team to survive. Derek reaches the shocking conclusion that Slovak is actually a vampire, and joins forces with the last in a long line of vampire hunters, Master Kao, who agrees to train Derek in his ancient art. However, in order to combat Slovak–whose past intersects with Derek’s own in disturbing ways–Derek must become that which he hates the most: a vampire.

In 1831, Irishman Charles Adare travels to Australia to start a new life with the help of his cousin who has just been appointed governor. When he arrives he meets powerful landowner and ex-convict Sam Flusky, who wants to do a business deal with him. Whilst attending a dinner party at Flusky’s house, Charles meets Flusky’s wife Henrietta who he had known as a child back in Ireland. Henrietta is an alcoholic and seems to be on the verge of madness.

A young mouse named Fievel and his family decide to migrate to America, a “land without cats,” at the turn of the 20th century. But somehow, Fievel ends up in the New World alone and must fend off not only the felines he never thought he’d have to deal with again but also the loneliness of being away from home.

In a savage land where zombies roam freely – Lieutenant Colonel Sawyer is armed with machine guns, body armor and courage. He is on a mission to give his family a burial at sea. To reach the coast, he must enter a quarantined infected zone and fight through hordes of bloodthirsty zombies. There he encounters a group of survivors including a young woman who is a target of both the male survivors and the ravenous zombies. To protect the last non-infected humans and complete his mission, Colonel Sawyer must face the Dead, the Damned and the Darkness.

Traumatized by her past Christmas is not at the top of Sarah’s list this time of year however waltzing through life’s unexpected emergencies she is taught the Christmas Dance.

As if their pre-arranged date, organized by their traditional Indian parents, wasn’t uncomfortable enough, Ravi and Rita are forced to shelter in place together as COVID-19’s reach intensifies. Hopefully for their sake, opposites do indeed attract.

Sumptuous filming of the journey of a shipwrecked Japanese expedition from the Pacific Ocean across Siberia to the court of Catherine the Great of Russia. A Russo-Japanese co-production of a unique event in history which was the hit of Cannes and other film festivals but did not receive wide distribution despite its huge scope, high production values, and very human story of culture clash.

The true story of a British effort to trick the Germans into weakening Sicily’s defenses before the 1943 attack. A dead soldier is dressed as a British officer and outfitted with faked papers showing that the Allies were intending to invade occupied Greece. His body is put into the sea where it will ultimately drift ashore and the papers be passed along to German Intelligence.

A multi-dimensional interface between a comic book artist, a novelist, and a film director. Each lives in a separate reality but authors a story about one of the others.

A group of people gathers back in the post-war ruins of a luxurious Munich hotel they inhabited at one point or another years before; each trying to cope with the tragic consequences of the war and their own actions.

Years after moving to a remote town, ex-cop Pipa is pulled back into the dark world she thought she’d left behind when a corpse appears on her property.

Many times during his presidency, Lyndon B. Johnson said that ultimate victory in the Vietnam War depended upon the U.S. military winning the “hearts and minds” of the Vietnamese people. Filmmaker Peter Davis uses Johnson’s phrase in an ironic context in this anti-war documentary, filmed and released while the Vietnam War was still under way, juxtaposing interviews with military figures like U.S. Army Chief of Staff William C. Westmoreland with shocking scenes of violence and brutality.