A young man disappears amid talk of violence and demagoguery, leaving behind an obscure cache of letters, postcards, and notebooks.
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When a college student who grew up a ward of the state finds out he inherited a large estate, he and his friends decide to assess for themselves his new wealth. Unfortunately, they quickly discover his long lost family was anything but normal. Between incest and murder lies his future, if he can survive long enough to embrace his destiny. The old adage proves true. Nothing in life is free.
Mickey Spillane plays his own creation, street-thug-turned-PI Mike Hammer, in this 1963 adaptation of his novel. The film opens with Hammer on the downside of a years-long bender, scooped out of the gutter by a bitter cop intent on prying information from a dying man. Inspired to clean up his act by the secrets he hears, Hammer hits the streets on a personal crusade to find the love of his life. Future Bond girl Shirley Earton costars as a glamorous society widow who goes slumming with Hammer.–Sean Axmaker
Canadian Lt. General Romeo Dallaire was the military commander of the UN mission in Rwanda and this movie is personal and, all too true, story of his time there during the genocide of 1994. It is not quite as moving as the earlier Hotel Rwanda and is less geared to drama and emotional manipulation, but it is still grim and upsetting.
It is based on the true story of Michael Francke, who was the Head of Corrections for the state of Oregon before being murdered. Just before his murder, Francke visits his brother and informs him of a drug ring involving his prison colleagues. When Michael is killed, his brother begins his own investigation into the murder, leading him to more lies and deceit.
A professional poker player whose astounding luck at the table fails to translate into his lonesome love life attempts to win the World Series of Poker while simultaneously earning the affections of a beautiful Las Vegas singer.
Marcus Burnett is a hen-pecked family man. Mike Lowry is a foot-loose and fancy free ladies’ man. Both are Miami policemen, and both have 72 hours to reclaim a consignment of drugs stolen from under their station’s nose. To complicate matters, in order to get the assistance of the sole witness to a murder, they have to pretend to be each other.
Four Lions tells the story of a group of British jihadists who push their abstract dreams of glory to the breaking point. As the wheels fly off, and their competing ideologies clash, what emerges is an emotionally engaging (and entirely plausible) farce. In a storm of razor-sharp verbal jousting and large-scale set pieces, Four Lions is a comic tour de force; it shows that-while terrorism is about ideology-it can also be about idiots.