Amelia Tate was content with life, putting her dreams of acting on hold when her parents passed away, taking care of her younger sister Kathryn. But when Kathryn convinces her to audition for the lead role in the remake of Roman Holiday, Amelia’s life changes overnight. Whisked off to Rome to prepare, she’s given the actual suite Audrey Hepburn stayed in and her own personal butler. However, with fame comes a price, and the studio partners her with a handsome American journalist who has his own ambitions. Amelia and Philip clash as she struggles to keep her private life private, but as they spend time together, she starts to trust him and begins to open up. When a misunderstanding about what he’s writing is revealed, Amelia will have to question whether this revelation will ruin her happily ever after.
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Henry Hobson owns and tyrannically runs a successful Victorian boot maker’s shop in Salford, England. A stingy widower with a weakness for overindulging in the local Moonraker Public House, he exploits his three daughters as cheap labour. When he declares that there will be ‘no marriages’ to avoid the expense of marriage settlements at £500 each, his eldest daughter Maggie rebels.
After Yu’s mother dies his father, a priest, only seems to take solace in the confessions of his sons sins causing Yu to partake in various ‘sinful’ activities to appease him. This is a teen love story as only the Japanese could bring us, complete with up-skirt photography, cross dressing, and bloody gore.
Louise is not very popular at her highschool. Then she learns that she’s descended from the witches of Salem and has inherited their powers. At first she uses them to get back at the girls and teachers who teased her and to win the heart of the handsome footballer’s captain. But soon she has doubts if it’s right to ‘cheat’ her way to popularity.
When Confederate soldier Matt Weaver returns to town after the Civil War, he finds that his home has been sold by town boss Sam Brewster. Brewster hires gunfighter Jules Gaspard d’Estaing to deal with Weaver, but d’Estaing’s independent approach settles the town’s problems in a very unorthodox manner.
Romantic comedy about six of Seattle’s young people, most of whom live in the same apartment building and whose lives revolve around the city’s ever-expanding music scene. The interrelated stories about each character’s progress through the singles scene are intriguing and often very funny, and the soundtrack is a grunge fanatic’s dream, with the likes of Soundgarden, Pearl Jam and Mudhoney.
A teen-age girl and her father come to an island on Hawaii, they find a closer relationship to each other and think about changing the island. During her adventures, Sydney finds friends, a new hobby with her fantastic photography, and the truth about her mother.
“Hair” is a 1979 musical war comedy-drama film adaptation of the 1968 Broadway musical “Hair: An American Tribal Love-Rock Musical” about a Vietnam War draftee, Claude, who meets and befriends a tribe of long-haired hippies on his way to the army induction center.
Claude heads to New York upon receiving his draft notice, leaving the family ranch in Oklahoma. He arrives in New York where he is rapidly indoctrinated into the youth subculture before reporting in for boot camp.
Andy Taggert, played by Johnny Whitworth, set out for Hollywood to pursue acting, but years later finds himself as Vick Velour and working in adult films. Disillusioned and trapped, Andy walks off the set and lands himself in a mental hospital. His estranged parents pick him up and take him to their Arizona retirement community where Andy’s troubles seemingly all but disappear until his past unexpectedly comes back to haunt him.
The story of Jody, a misguided, 20-year-old African-American who is really just a baby boy finally forced-kicking and screaming to face the commitments of real life. Streetwise and jobless, he has not only fathered two children by two different women-Yvette and Peanut but still lives with his own mother. He can’t seem to strike a balance or find direction in his chaotic life.
For his fourth full feature, Toyoshi Toyoda has abandoned the theme of the angry young man, examined in depth in Pornostar, Blue Spring and 9 Souls. Kuchu Teien is, on the face of it, more a drama, a character study, than a typical Toyoda genre flick. Yet within this beautifully structured and photographed film, there lies a dark soul. Ostensibly the story of a happy family, it becomes increasingly clear as the movie progresses that the Kyobashis are anything but. Despite a family agreement that they are all open with each other, the entire household knows the opposite is true.