The fierce psychological confrontation between a detective and a killer who confessed to multiple murders.
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Jerry Maguire used to be a typical sports agent: willing to do just about anything he could to get the biggest possible contracts for his clients, plus a nice commission for himself. Then, one day, he suddenly has second thoughts about what he’s really doing. When he voices these doubts, he ends up losing his job and all of his clients, save Rod Tidwell, an egomaniacal football player.
Upon taking a new job, young lawyer Rick Hayes is assigned to the clemency case of Cindy Liggett, a woman convicted of first degree murder and sentenced to death. As Hayes investigates the background for her case, the two begin to form a deep friendship, while all the while the date for her execution draws nearer.
Substance-addicted Hollywood actress Suzanne Vale is on the skids. After a spell at a detox centre her film company insists as a condition of continuing to employ her that she live with her mother Doris Mann, herself once a star and now a champion drinker. Such a set-up is bad news for Suzanne who has struggled for years to get out of her mother’s shadow, and who finds her mother still treats her like a child. Despite these problems – and further ones to do with the men in in her life – Suzanne can begin to see the funny side of her situation, and it also starts to occur to her that not only do daughters have mothers, mothers do too.
When cattle mysteriously start dying of anthrax in a small Alberta ranching community, an RCMP officer tries to keep the peace as ranchers lay the blame on a local agricultural research center. A reporter encourages the angry ranchers – led by the Mountie’s mother-in-law – to stage a sit-in at the research center. When an eccentric old rancher dies after being exposed to a deadly strain of anthrax, the protesters are quarantined. No one notices that the reporter has disappeared – along with several vials of the deadly bacteria. The RCMP officer begins his own investigation, gleaning information from a U.S. government agent. He finds himself racing against time to recover the stolen anthrax.
Josh meets a young woman who shortly afterwards collapses and is rushed to hospital in an ambulance. He follows after her only to find that there is no record her being admitted, and he soon learns that her room mate also vanished after being picked up by the same ambulance. Convinced of a conspiracy, Josh proceeds to investigate, despite the discouragement of the police.
In a hot summer, the lives of the children are about to be changed forever when two girls are found raped and murdered. The children know who the suspect is but knowing that the adults will never believe them, they decide to keep quiet. When one of their friends sister disappear, they know they have to take the matter into their own hands.
In 1983, Oliver Nicholas, at thirteen, is well-poised to enter the precocious teenage world of first-sex, vodka and possible-love in New York City when he is traumatized by the stroke of his housekeeper (and only true maternal figure), a sixty-five-year-old Chilean woman named Aida. What was supposed to be an exhilarating and somewhat fearful rite of passage – diving into the exciting, fast-paced world of first experiences – quickly becomes skewed by an incomprehensible depression, and a house of interior horrors. Surrounded by women – his untraditional, Spanish, photographer mother (more interested in the role of confidante than mother) his sister, a comedic, door-slamming tormentor, marked by her parent’s divorce; and Aida, his silver-haired emotional focal point on the verge of death in Lenox Hill Hospital – Oliver struggles to maintain his role as “man of the house” and his sanity.
When sweet and impressionable single mother Nicole (Amber Goldfarb) is set up with Jonathan (Damon Runyan), a charismatic and handsome professor, she’s immediately swept off her feet and able to give love a chance again. But as the romance blossoms, Nicole begins to question whether Jonathan is in fact the tragic widower he portrays himself to be or whether she’s fallen in love with a master manipulator.
A washed up Vegas lounge singer, Jack Satin (Hamilton von Watts), has no money, no job, and delusional aspirations of fame. When Jack is forced to leave Vegas, he packs up his old Cadillac and hits the road for Atlantic City. But his car dies in the desert and Jack is left stranded in the small town of Lost Springs. There, Jack meets jazz legend turned mechanic, Doc Bishop (Robert Guillaume), who helps him with his car trouble. Although Jack is far from the stage, he begins to find himself feeling at home in the small town. When he meets local bar owner, Lauren Wells (Melissa Joan Hart), Jack starts to see there is more to life than chasing fame and fortune. Doc encourages Jack to explore his true love of music, while Lauren provides the audience he has always wanted. But as Jack realizes this town has more to offer him than the bright lights of the big city, his Vegas past catches up with him — what unfolds is comedy at the crossroads of life.