The bar in an old Pennsylvania steel town, housed with many of life’s losers and disillusioned men, is the main setting for this slice-of-life film. Michael Madsen is the bar owner, who is deep in debt to the town’s book-maker and loan shark Burt Young. Chris Penn is one of the bar’s main inhabitants as he hides from his failing marriage to Mary Stuart Masterson. The bartender’s sister (Virginia Madsen) is about to be married, and her former fiancĂ© (Tom Sizemore) shows up in town, after leaving her at the altar years before. Con man James Belushi runs a con on Perry to steal the money for the wedding caterer. As every plot in this multi layered story seems to be at it’s worst, things look up because of an unlikely hero.
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An inspirational true story. On what seemed like any other day, Elders Travis Tuttle (Corbin Allred) and Andrew Propst (Maclain Nelson) are approached by Nikolai (Nikita Bogolyubov) to teach a friend. But then the missionaries experience the unimaginable – they are kidnapped, beaten, and held for ransom. While their families, friends, and the world pray for their safe release, Tuttle and Propst are tested physically, emotionally, and most of all spiritually.
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A TV reporter and cameraman are taken hostage on a tugboat while covering a workers strike. The demands of the hostage-takers are to collect all the nuclear detonators in the Charleston, SC area so they may be detonated at sea. They threaten to detonate a nuclear device of their own of their demand isnt met.
Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.