John Vandermark (Cumming) has taken in a struggling writer, Sebastian St. Germain (Boreanaz), who overstays his welcome. When John discovers that Sebastian has simply been using him, he turns the tables on his young tenant in an effort to make him work off his rent debt. When Sebastian dies accidentally in the process, John tries to make it up to him by helping him get his book published posthumously. When the book is published, John can’t help but take credit for the work of genius… and Sebastian comes back to haunt him.
For nearly twenty years after his boxing career ended Merle Hench works for Murdoch, the capo of a San Fernando mob outfit. Merle spends his days cracking heads and collecting debts, it is not a job he enjoys. Cool, calm and collected, soft spoken even, Merle’s an anachronism, a man out of place and out of time. His Boss thinks Merle has outlived his usefulness and is expendable. So they set him up to take the fall for a multi-million $ heist of a rival mob boss. A habitual gambler on a 20 year losing streak, Merle’s luck turns as he survives the trap and winds up with a piece of the take and the girl. Merle might have been content to just disappear and spend his windfall with Jacqueline. But the betrayal of his loyalty for 20 years snapped something inside. Merle Hench, otherwise known as the Butcher is slow to anger yet quick to act, he’s learned to live and let live to keep on going, but not this time. Everyone thought his nickname was a joke, what they didn’t know was that Merle had a dark side, a secret past that earned that awful name. Merle finds himself in the cross-fire of a gang war, with all the guns aimed at him. It’s an all-out race to win his freedom, win the girl and win redemption. They tried to bury him twice, but twice he got away. Underestimating Merle Hench is their biggest mistake and their final career move.
Ray is a promising pre-med student at MIT, home briefly (he thinks) before leaving again for a prestigious internship. His plans evaporate when his callous father insists he stay home to care for his mother after an accident, while the father travels on sales calls. The ensuing days are spent struggling to run the large suburban household alone, masturbate undisturbed, and keep his mother happy. The boredom and Vodka tonics kick their Oedipal urges into overdrive, and the girl next door only adds to his confusion.
Two American students go to Italy after graduating from art school, one to work in restoration of paintings, the other because she’s inherited her father’s castle. When the restorer visits her friend at the castle, they invite the players of a traveling sideshow to dinner, and are slipped drugs, leading to an orgy of abandon. The woman who owns the castle keeps having visions of a young woman who has been stabbed in the castle. After talking to her nanny, she finds that the “vision” woman is her father’s sister, who was murdered brutally as the consequence of a 15th Century curse put on her family, and that she is the next in line, and the troupe they have entertained is a part of the curse.
Major Lloyd Gruver, a Korean War flying ace reassigned to Japan, staunchly supports the military’s opposition to marriages between American troops and Japanese women. But that’s before Gruver experiences a love that challenges his own deeply set prejudices… and plunges him into conflict with the U.S. Air Force and Japan’s own cultural taboos.
Tom Hardy (Bruce Willis) is a fifth-generation cop. When his father (John Mahoney) dies during the chase of a serial killer, Hardy further complicates matters by implicating his partner and cousin Jimmy (Robert Pastorelli) in a police brutality case. Two years after Jimmy is believed to have committed suicide, women from Hardy’s past start to turn up dead, and his father’s alleged killer is found. Believing that the alleged killer is a patsy, Hardy conducts his own illegal investigation into his father’s own death, and the women’s deaths as well. In a riveting climax, Hardy and the killer ultimately lock horns in a showdown that ties all the loose ends on both cases.
Paris 1913. Coco Chanel is infatuated with the rich and handsome Boy Capel, but she is also compelled by her work. Igor Stravinsky’s The Rite of Spring is about to be performed. The revolutionary dissonances of Igor’s work parallel Coco’s radical ideas. She wants to democratize women’s fashion; he wants to redefine musical taste. Coco attends the scandalous first performance of The Rite in a chic white dress. The music and ballet are criticized as too modern, too foreign. Coco is moved but Igor is inconsolable. Paris 1920, Coco is newly wealthy and successful but grief-stricken after Boy’s death in a car crash. Igor, following the Russian Revolution is now a penniless refugee living in exile in Paris. Coco is introduced to Igor by Diaghilev, impresario of the Ballets Russes. The attraction between them is instant and electric. Coco invites Igor along with his wife – now sick with consumption – together with his four children and a menagerie of birds to stay at her new villa, Bel Respiro, in Garches.
Regan’s comedy style is a slice of life or observational style humor. Some of the best bits are about how socially awkward he is, and some of the faux pas that he has pulled. The best part about Regan is that on stage he seems to have pulled together such a conversational act, that it seems like you are listening to that really funny guy that you work with.
Inspired by court transcripts and actual events, THE JAMMED is a social thriller about trafficking and the sex slave trade in Melbourne. When a Chinese mother arrives in Melbourne to find her missing daughter, she enlists the help of Ashley Hudson. Ashley reluctantly agrees to help search, and is soon drawn into the dark underworld of this cultured city as she tries to rescue three girls from a trafficking syndicate. As the story unravels the sinister workings of illegal prostitution and governmental deportation is filled with twists and surprises.