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Based on a novel by Dean Koontz. A boy takes in a stray dog, later finding out that its an ultra-intelligent runaway from a genetic research lab. Unknow to him, the dog is being stalked by another escaped creature thats not quite so friendly.

Television made him famous, but his biggest hits happened off screen. “Confessions of a Dangerous Mind” is the story of a legendary showman’s double life - television producer by day, CIA assassin by night. At the height of his TV career, Chuck Barris was recruited by the CIA and trained to become a covert operative. Or so Barris said.

Into the life of a widowed professor comes a new love and an unexpected visit from his adopted brother.

A group of security analysts are offered a job by the CIA and when they are reluctant, pressure is brought to bear by the threat to disclose the identity of their leader, a 60s radical with outstanding warrants. A chip exists that will allow any computer to be cracked, and organized crime will soon control it, though sudden changes in their police records suggest that it is already operational.

A man tries to live a normal life despite the fact that he sometimes turns into a sheepdog.

Cookie’s Fortune unfolds over an eventful Easter weekend in the small town of Holly Springs, Mississippi. The town residents are peaceful, kind folk–with the exception of Camille Dixon (Glenn Close)–a pushy theatre director with an incredibly shy younger sister, Cora (Julianne Moore), whose estranged daughter Emma (Liv Tyler) has just returned to town. On the heels of her latest play, Camille is shocked to discover that her Aunt Jewel Mae “Cookie” Orcutt (Patricia Neal) has committed suicide. Terrified at the thought of how this will tarnish the family name, she eats the suicide note to make it look like a burglary. This set-up leads the police to one main suspect, Willis Richland (Charles S. Dutton), who also happens to be Cookie’s best friend. Although the rest of the town is convinced Willis didn’t commit the crime, an outside investigator (Courtney B. Vance) isn’t so sure. As Easter Sunday and opening night of the play arrive, the truth comes out, revealing more secrets than anyone could have possibly imagined. Director Altman tells his story at a leisurely pace, beautifully recreating the eccentricities of small town life in this sweet-natured tale.

Ken Park focuses on several teenagers and their tormented home lives. Shawn seems to be the most conventional. Tate is brimming with psychotic rage; Claude is habitually harassed by his brutish father and coddled, rather uncomfortably, by his enormously pregnant mother. Peaches looks after her devoutly religious father, but yearns for freedom. They’re all rather tight, or so they claim. But they spend precious little time together and none of them seems to know much about one another’s family lives. This bizarre dichotomy underscores their alienation # the result of suburban ennui, a teenager’s inherent sense of melodrama, and the disturbing nature of their home environments.

Violet, Klaus and Sunny Baudelaire are three intelligent young children who receive terrible news that their parents have died in a fire and have left them an enormous fortune not to be used until the eldest child is of age. When they are sent to live with Count Olaf, a greedy distant relative, they soon learn he is trying to steal their fortune for himself.

Based on the popular 70’s TV show, three cute chicks work for the mysterious “Charlie”. They are the female ‘James Bonds” of our time. They get to blow stuff up, kick the cr*p out of people, and wear really tight clothing, all whilst trying to retrieve stolen software and balance in high heels.

At night and on weekends, four men in a suburban garage have built a cottage industry of error-checking devices. But, they know that there is something more. There is some idea, some mechanism, some accidental side effect that is standing between them and a pure leap of innovation. And so, through trial and error they are building the device that is missing most. However, two of these men find the device and immediately realize that it is too valuable to market. The limit of their trust in each other is strained when they are faced with the question, If you always want what you can’t have, what do you want when you can have anything?