Dead Kennedys: The Early Years Live

"The Wild Soccer Bunch" celebrate their last victory against the "Silver Lights" - and set one record in volley-pass game after another in the forest. But they are not alone: Vampires target the team. To lure them into their bunker, they kidnap Leon. Will Vanessa ever see him again?

When they were young, Min-joo and Seo-yeon cared for each other and were closer than brothers and sisters. However, she accidentally learns about Seo-yeon's tutor, Woo-hyeon, and because of this man, their 10-year friendship starts to become shaky. Meanwhile, Jeong-soo is hurt in seeing Min-joo like that, and so he distanced himself from Min-joo. Because of Min-joo and Seo-yeon's misunderstanding, Jeong-soo who couldn't care much might just leave so Min-joo tries to break up with the help of Seo-yeon. While in the process of breaking up, Min-joo and Seo-yeon went back to their close relationship. The love of women who have been separated because of man, and the two men's friendship is comically drawn.

A woman and her child are kidnapped by her lover and plans revenge on him.

Donald and Mickey are overdue on their rent, so the sheriff is preparing to evict them and sell their belongings. Goofy the ice-man comes by and helps them move out before the sale, but their piano doesn't want to stay on his truck. Meanwhile, Donald has a fight with a plunger and a fishbowl after removing a heater from the gas line.

Prabha prepares to meet Nandini, his childhood friend, at a reunion party organised by his father. However, things take a turn when Nisha, a gangster's daughter, falls in love with him.

The comedian and best selling author of "Cancer on $5 a Day...How Humor Got Me Through the Toughest Journey of My Life," has plenty to say on everything from raising a 17 year old daughter, bargaining with the Almighty, and how not to make friends with a dolphin.

Launder Run tells the story of Jake, a man returning to his gritty hometown after years away, carrying the weight of a troubled past. The film opens on a rainy Saturday afternoon as Jake trudges through a bleak estate, visibly exhausted and clutching a plastic bag. Arriving at his sister Sue’s chaotic, unkempt flat, he confronts the ruins of his old life—a dirty fridge, a cluttered bedroom reduced to storage, and the ghosts of a once-close family. Seeking solace, he revisits his old pub, a place teeming with memories. As he steps inside, the bartender recognizes him with shock, hinting at Jake’s mysterious past and the reasons for his long absence. “Lounder Run” explores themes of homecoming, redemption, and the unshakable grip of one’s origins.

Yoo-jin is rough and manly while Yoo-jeong is feminine and cute. Yoo-jeong works in an office until she finds out she's getting fired. The chairman uses this against her to provide sexual service and Yoo-jeong has no choice but to spend a night with him. Yoo-jin finds out about this and makes a plan to make him pay back...

As Tupac's interviewer announces, 'Tupac, this interview is not about your trial, or your court appeals it is about Tupac, the inner man, then, and now.' Featuring an uncut and never-before-seen interview at the Clinton Correctional Facility, TUPAC UNCENSORED AND UNCUT: THE LOST PRISON TAPES presents a raw look into Tupac's world, as the rapper riffs on topics ranging from his involvement with gang life to prisons in America to his relationship with his mother. What emerges is a moving self-portrait of an artist who sees himself as fundamentally misunderstood: He may have diagnosed thug life, but he didn't invent it, and he is determined to uplift not destroy the black community. Capturing the intensity and passion of a fierce talent, TUPAC UNCENSORED AND UNCUT: THE LOST PRISON TAPES offers a glimpse inside the mind of the enigmatic artist whose music is, in his own words, 'all about life.'

A chaotic family go on holiday to Spain and get mixed up with a gang of diamond thieves.

In this unique approach to the autobiographical film format, director Stephen Dwoskin pieces together home movies shot by his parents in New York City, a video letter recorded during the 1990 Gulf War by filmmaker Robert Kramer, and raw footage filmed by Dwoskin himself. A veteran of the New York independent film scene of the 1960s, Dwoskin constructs a film poem in which the strong sentiment of his personal story—he was stricken by polio and eventually confined to a wheelchair—never overwhelms the beauty of the film’s distinct form.