A behind-the-scenes look at the making of "Dracula" (1979).
The life of legendary Brazilian musician Alfredo da Rocha Vianna Filho, better known as Pixinguinha.
Platinum hitmakers Matchbox Twenty hit the stage and tell the tales for the groundbreaking VH1 series, "Storytellers." Starting with their 1996 debut, "Yourself or Someone Like You," Matchbox Twenty has built a devoted following that continues to grow with each new record and tour. Filmed at New York City's Chelsea Piers, Matchbox Twenty perform their many hits including a stripped-down version of the timeless "3 A.M." with Rob Thomas at the piano. Songs: Bent, Mad Season, Black and White People, Push, If You're Gone, Crutch, Lonely Weekend, You Won't Be Mine, Rest Stop, 3 AM.
A tormented woman believes a rare planetary alignment is actually a cosmic message from her distant interstellar home.
When a man has insomnia, he thinks he can't fall asleep, but why can't he fall asleep, does he hear something disturbing that keeps him awake? Or is there something else?
The distant relative is a scheming woman who installs herself as the guardian of the two orphan girls and then tries to gain possession of their ranch. Cowboy friends of the orphan girls expose the schemer and her accomplice.
Dan's ham-fisted attempts to get 'new' mother Mia into bed with hilarious, emotional and musical consequences.
As a wealthy retired surgeon nears the end of his life, he begins to distribute his wealth to those in need, stating that "all that I have belongs to God." His nephews bring him to court to determine his mental competence in the hopes of stopping him from disposing of all his money.
Binsar, a final year law student, son of Saelan, owner of the Metromini Bus business, recently lost his bus due to traffic violations. Binsar is involved in a complicated love affair with the spinster Sofia, the nephew of the famous Turpin's lawyer. Binsar and Sofia try to return their love in the midst of their respective problems.
Sylvia Rosch is a woman with dangerous obsessions. Camouflaged by perfectly rehearsed masquerades, she wages a merciless campaign of revenge. Anyone who gets too close will succumb to an insidious murder. The marriage swindler's preferred victims are men worth millions. Barbara Lahn and Til Wegner from the BKA are facing a huge challenge. They are supposed to collect evidence against the angel of death.
At a critical moment in the history of the written word, as humanity’s archives migrate to the cloud, one filmmaker goes on a journey around the globe to better understand how she can preserve her own Romanian and Armenian heritage, as well as our collective memory. Blending the intellectual with the poetic, she embarks on a personal quest with universal resonance, navigating the continuum between paper and digital—and reminding us that human knowledge is above all an affair of the soul and the spirit.
When a female barn-owl's home - an old disused barn - is demolished, she has to seek a new place to live. On the way, flying through forests and across grasslands, she encounters most of the common owl species in Central Europe.
1934 drama of man's inhumanity to man, starring William Farnum and Anita Louise, directed by Edwin Carewe, screenplay by Harold Sherman. This film was meant to denounce Hitler prior to US involvement in WWII
Priest nags a crusty old man into reconciling with his daughter-in-law and granddaughter after the death of his son.
Don’t be misled by the title and put your lube away: True Gore II (aka Empire of Madness) (1989)–M Dixon Causey’s follow-up to the eponymous first entry–has virtually no true gore in it at all. Instead, the first half is a compilation of faux-snuff vignettes akin to something you’d find in a SOV horror collection like Snuff Perversions 1 & 2, Snuff Files, The Dead Files, Violations I & II, or even more recent titles like Murder Collection Volume 1. The second half is in turn a send-up of satanic panic style videos like Law Enforcement Guide to Satanic Cults, Devil Worship: The Rise Of Satanism, and countless others shat out during the 80s/90s. The vignettes are hilariously inept to the point where it seems clear that Causey was parodying the shockumentary form. Even the credits are a joke, mocking the seriousness with which shocku producers take themselves, crediting a ‘researcher’ for a film that clearly had none, and a ‘visual archivist’ being listed in place of a cameraman.
William Barner works with his uncle Henry in the family owned bookstore. As Henry attempts to solve their current financial burdens he begins to notice an unnatural obsession taking hold of William. Their confrontation will put far more than the fate of the store at risk.
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