When Kirby Lane’s SUV breaks down in the middle of the desert, she must overcome the dehydration, coyotes, and lurking undead to find her way home.
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Page Eight is lovingly turned, with elegant writing, a flawless cast and a heartfelt message from writer/director David Hare about the danger zone where spies and politicians meet. The tension builds gently as we follow the fortunes of Johnny Worricker, a jazz-loving charmer who works high up at MI5 as an intelligence analyst. It’s a part made for Bill Nighy and he purrs out bon mots with a weary panache that women 20 years younger find irresistible. One such is his neighbour, Nancy Pierpan (Rachel Weisz), in a Battersea mansion block. The question for Johnny is whether her interest in him is genuine or hides something darker. As his boss (Michael Gambon) puts it: “Distrust is a terrible habit.” Questions of trust, honour and friendship rumble through the play. The characters exchange oblique repartee as a plot about a damning dossier unwinds. It’s not to be missed.
Though a childhood bout with polio left him dependent on an iron lung, Mark O’Brien (John Hawkes) maintains a career as a journalist and poet. A writing assignment dealing with sex and the disabled piques Mark’s curiosity, and he decides to investigate the possibility of experiencing sex himself. When his overtures toward a caregiver scare her away, he books an appointment with sex surrogate Cheryl Green (Helen Hunt) to lose his virginity.
Otto Preminger directs this comedy-drama based upon the novel by Lois Gould and adapted by Elaine May (under the pseudonym Esther Dale). Julie Messinger (Dyan Cannon) is an intense woman who hides her wild emotions and desires under her conventional facade. Her husband Richard (Laurence Luckinbill) checks into the hospital for a simple mole removal that goes seriously wrong. The stellar cast includes James Coco, Jennifer O’Neill, Ken Howard, Louise Lasser, Nina Foch, Sam Levine, Doris Roberts and Burgess Meredith.
Tom Ripley is a calculating young man who believes it’s better to be a fake somebody than a real nobody. Opportunity knocks in the form of a wealthy U.S. shipbuilder who hires Tom to travel to Italy to bring back his playboy son, Dickie. Ripley worms his way into the idyllic lives of Dickie and his girlfriend, plunging into a daring scheme of duplicity, lies and murder.
Set in a magnificent villa near a sun-drenched St. Tropez, lovers Jean-Paul and Marianne are spending a happy, lazy summer holiday. Their only concern is to gratify their mutual passion – until the day when Marianne invites her former lover and his beautiful teenage daughter to spend a few days with them. From the first moment, a certain uneasiness and tension begin to develop between the four, which soon escalates in a dangerous love-game.
The loons are back again on Golden Pond and so are Norman Thayer, a retired professor, and Ethel who have had a summer cottage there since early in their marriage. This summer their daughter Chelsea — whom they haven’t seen for years — feels she must be there for Norman’s birthday. She and her fiance are on their way to Europe the next day but will be back in a couple of weeks to pick up the fiance’s son. When she returns Chelsea is married and her stepson has the relationship with her father that she always wanted. Will father and daughter be able to communicate at last?
The story, set in the heady post-war 50s into the early 60s , revolves around a love triangle between Tomoko, long playing the mistress to married older writer Shitto (Kaoru Kobayashi) and the new stud who comes into her life, Ryota Kinoshita (Gou Ayano). Tomoko (Hikari Mitsushima) is sick and tired of her relationship with writer Shingo, who is married and has children. Shingo is a talented writer, but has yet to be recognized by the public. Tomoko then enters into a sexual relationship with younger man Ryota Kinoshita, but Tomoko is not satisfied.
The comedy of the year. This wannabe magical romance-drama is one of the most illogical films ever and the actors, if not director Kam Kwok-Leung, may be aware of it. Featuring CGI tears and paintings of corn-eating monkeys. The highlight: Chang Chen pretending to be Korean.