After his best friend dies, Charlie hits the road and stumbles into Lighthouse Hill, a village where residents seem to know a lot more about him than they should.

For Norman and Ethel Thayer, this summer on golden pond is filled with conflict and resolution. When their daughter Chelsea arrives, the family is forced to renew the bonds of love and overcome the generational friction that has existed for years. Norman must find his way through his anger and fear of growing old, while Chelsea struggles to rebuild their relationship. Ethel’s consistent support of her “Knight in shining armor” is inspirational in its simplicity. This is a movie to ponder and always keep in your heart.

Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.

Sam Maddox, a troubled girl whose father committed suicide, has earned a reputation at her high school for being a bit promiscuous. When Sam begins seeing brilliant, MIT-bound Henry Sinclair, the two opposites really attract. Although Sam doesn’t realize it, Henry is in the grip of an insane romantic obsession, and he will kill anyone who tries to put an end to his star-crossed – and increasingly deadly – romance.

The story takes place in LA, in the house of four housemates, three women, MJ, Frankie and Amanda, and an homosexual, Banks. MJ is the kind of girl to whom money means everything and to whom others mean almost nothing. Frankie is a social worker and Amanda, a painter. Banks is an unfortunate actor. The problem is that Frankie is deeply in love with Taylor, and he loves her back, but he’s sleeping with MJ, for sex. MJ will become more and more jealous of Frankie as days flow…

An expose of the lives and loves of Madison Avenue working girls and their higher ups.

Rebellious, quick-witted Erica Vandross is a 17-year-old firecracker living with her single mom, Laurie, and her mom’s new boyfriend, Bob, in L.A.’s San Fernando Valley. When Bob’s mentally unbalanced son, Luke, arrives from rehab to live with the family, Erica finds her domestic and personal life overwhelmed. With Luke and her sidekicks Kala and Claudine in tow, Erica acts out by exposing a high school teacher’s dark secret.

History comes gloriously to life in Disney’s epic animated tale about love and adventure in the New World. Pocahontas is a Native American woman whose father has arranged for her to marry her village’s best warrior. But a vision tells her change is coming, and soon she comes face to face with it in the form of Capt. John Smith.

An absurdist, surrealistic and shocking pitch-black comedy, which moves freely from nightmare to fantasy to hilariously deadpan humour as it muses on man’s perpetual inhumanity to man.

Members of a Yorkshire branch of the Women’s Institute cause controversy when they pose nude for a charity calendar.

When Juli meets Bryce in the second grade, she knows it’s true love. After spending six years trying to convince Bryce the same, she’s ready to give up – until he starts to reconsider.

Set during the early part of his reign, Ivan faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people. Sergei Eisenstein’s final film, this is the first part of a three-part biopic of Tsar Ivan IV of Russia, which was never completed due to the producer’s dissatisfaction with Eisenstein’s attempts to use forbidden experimental filming techniques and excessive cost overruns. The second part was completed but not released for a decade after Eisenstein’s death and a change of heart in the USSR government toward his work; the third part was only in its earliest stage of filming when shooting was stopped altogether.