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Jerry and Rachel are two strangers thrown together by a mysterious phone call from a woman they have never met. Threatening their lives and family, she pushes Jerry and Rachel into a series of increasingly dangerous situations, using the technology of everyday life to track and control their every move.

The Hoover family is the dictionary definition for the word “dysfunctional”. The dad Richard is a man who gives lectures on winners and losers, the wife is Sheryl, a chain-smoking, frazzled wife and working mother whose idea of a home cooked meal frequently consists of a bucket of chicken. Her gay brother Frank recently attempted suicide. The grandpa is Edwin, a drug addict. The son is Dwayne a rebel who has vowed not to talk until he gets into the Air Force. And then there is Olive, a seven-year old girl who dreams of going to the Little Miss Sunshine pageant. So what happens when they do?

Ricardo Tubbs (Jamie Foxx) is urbane and dead smart. He lives with Bronx-born Intel analyst Trudy (Naomie Harris), as they work undercover transporting drug loads into South Florida to identify a group responsible for three murders. Sonny Crockett (Colin Farrell) [to the untrained eye, his presentation may seem unorthodox, but procedurally, he is sound] is charismatic and flirtatious until - while undercover working with the supplier of the South Florida group - he gets romantically entangled with Isabella (Gong Li), the Chinese-Cuban wife of an arms and drugs trafficker. The best undercover identity is oneself with the volume turned up and restraint unplugged. The intensity of the case pushes Crockett and Tubbs out onto the edge where identity and fabrication become blurred, where cop and player become one - especially for Crockett in his romance with Isabella and for Tubbs in the provocation of an assault on those he loves.

After landing in the wrong place at the wrong time, Slevin (Josh Hartnett) must kill The Rabbi’s (Ben Kingsley) to scratch a $96,000 debt to The Boss (Morgan Freeman) and pay off $33,000 to The Rabbi. He can’t go to the police and he can’t leave the city. On top of all this, behind the scene’s Mr. Smith aka Mr. Goodkat (Bruce Willis) is secretly plotting to kill Slevin.

A raw, powerful story of two young men, a Wyoming ranch hand and a rodeo cowboy, who meet in the summer of 1963 sheepherding in the harsh, high grasslands of contemporary Wyoming and form an unorthodox yet life-long bond—by turns ecstatic, bitter and conflicted.

T. E. Lawrence is a young maladjusted lieutenant in the British Army in North Africa during World War One. Unhappy with his current assignment coloring maps, he is ecstatic when he is offered a job as an observer in what is now Arabia. At this point, the story of his life becomes the stuff that legends are made of.

Ten years ago some of the worst atrocities in the history of mankind took place in the country of Rwanda–and in an era of high-speed communication and round the clock news, the events went almost unnoticed by the rest of the world. In only three months, one million people were brutally murdered. In the face of these unspeakable actions, inspired by his love for his family, an ordinary man summons extraordinary courage to save the lives of over a thousand helpless refugees, by granting them shelter in the hotel he manages.

Full Metal Jacket begins by following the trials and tribulations of a platoon of fresh Marine Corps recruits focusing on the relationship between Gunnery Sergeant Hartman and Privates Pyle and Joker. We see Pyle grow into an instrument of death as Hartman has forseen of all of his recruits. Through Pyle’s torment and Joker’s unwillingness to stand up against it the climax of part one is achieved with all three main characters deciding their fates by their action or inaction. The second chapter of Full Metal Jacket delves into Joker’s psyche and the repeated referal to the fact that he joined the Corps to become a killer. When his mostly behind the scenes job as a combat correspondant is interfered with by the Tet offensive he is thrust into real combat and ultimately must choose if he really is a killer.

London, 1903: four lads, three women, and J.M. Barrie in the year he writes “Peter Pan.” After one of his plays flops, Barrie meets four boys and their widowed mother in the park. During the next months, the child-like Barrie plays with the boys daily, and their imaginative games give him ideas for a play. Simultaneously, a friendship deepens with Sylvia, the lads’ mother, to the chagrin of his wife Mary, with whom he spends little time (separate bedrooms), the widow’s mother, and high society, which gossips about his attraction to the widow and to her sons. As Sylvia’s health worsens, Barrie’s ties to the boys strengthen and he must find a way to take his muse to Neverland.