Working through some difficult decisions, Mitchell family matriarch Phylis and patriarch Bill, have summoned their two grown sons – TV star, Mike Mitchell and Brandon Mitchell – home for the holidays. It is their hope that bringing the family together to recreate the Christmas house, will help them find resolution and make a memorable holiday for the entire family and community. As Brandon and his husband Jake make the trip home, they are anxiously awaiting a call about the adoption of their first child. Meanwhile, Mike reconnects with Andi, his high school sweetheart.
You May Also Like
Miguel and Johnny know each other since childhood. They are dedicated to skate and have fun. To earn easy money and continue skating, they sell their own blood to a clandestine contact in a hospital. The activity becomes business until a large transaction is not as they imagined.
Stanislas Hassler blazes the development of modern art in his gallery, packed with works of surprising shapes, colours and textures, and where exhibitions turn into media events. Gilbert Moreau is one of the artists whose sculptures are on display in the gallery. His wife, Josée, is intrigued by the stern Stanislas, who devotes his free time to photography in an apartment that highlights his sophisticated artistic tastes. But besides enlarged pictures of calligraphic samples, Stanislas is amassing a collection of photographs that reveal a disturbed character. So why would Josée endanger her mature relationship with Gilbert for the morbid observation of Stanislas’s hidden personality?
Three best friends endure heartbreak, humiliation & hangovers to find a date to the wedding of a lifetime.
After losing her job and learning that her husband has been unfaithful, a woman hits the road with her profane, hard-drinking grandmother.
Joanna Crane lives a double life. During the day she works as fashion designer but during the night she is the high class prostitute China Blue. As she is accused for industrial spying, Bobby Grady is hired to shadow her. However, they fall in love. Meanwhile a psychopathic preacher starts stalking her.
Spurred by a white woman’s lie, vigilantes destroy a black Florida town and slay inhabitants in 1923.
Paul Morse is a good guy. When his friends throw him a wild bachelor party, he just wants to keep his conscience clean — which is why he’s shocked when he wakes up in bed with a beautiful girl named Becky and can’t remember the night before. Desperate to keep his fiancée, Karen, from finding out what may or may not be the truth, he tells her a teensy lie. Soon his lies are spiraling out of control and his life is a series of comical misunderstandings.
Wind From the East is a product of Jean-Luc Godard’s involvement, during the late 60s and early 70s, with a collective filmmaking experiment known as the Dziga Vertov Group. The film is, typically of the films he made during this period, about ideas and simultaneously about how best to express those ideas through the medium of film. The film deals with the situation of a strike and, during its first half, methodically analyzes the different components of the strike: the workers, the radical students who encourage the strike while not quite being able to communicate in the same terms as the workers, the union delegates and other middlemen who preach moderation and compromise, the employers who demand the immediate resumption of work, the police state that suppresses the strike on behalf of capitalism.
A couple fall in love but then the groom discovers that he suffers from erectile dysfunction.
In the mid to late 90’s, the Reykjavik crime and drug scene saw a drastic change from a relatively small and innocent world into a much more aggressive and violent one.. The film tells the story of this change through the fictional gang of pushers that took control of Iceland’s underworld.
Legendary New York graffiti artist Lee Quinones plays the part of Zoro, the city’s hottest and most elusive graffiti writer. The actual story of the movie concerns the tension between Zoro’s passion for his art and his personal life, particularly his strained relationship with fellow artist Rose
Sexually abused as a young girl, Kate “Ma” Barker (Shelley Winters) grows into a violently powerful woman by the 1930s. She lovingly dominates her grown sons, and grooms them into a pack of tough crooks. The boys include the cruel Herman (Don Stroud), who still shares a bed with Ma; Fred (Robert Walden), an ex-con who fell in love with a fellow prisoner; and Lloyd (Robert De Niro), who gets high on whatever’s handy. Together they form a deadly, bizarre family of Depression-era bandits.