Marcus has a checkered past, but unexpected news brings an opportunity for him to right old wrongs and make amends. He will have to face the consequences and overcome the greatest obstacle of all in order to find happiness: himself.

A young female escapes her past and absconds to England in search of a new life. She takes a job caring for a tetraplegic, but burden of the job stirs up her past. It seems the limits of caring are not always as clear as they should be.

A new music teacher in a 1955 West Texas home for wayward boys brings new vision and hope for many of the interned boys.

Old sailor Chris Christofferson eagerly awaits the arrival of his grown daughter Anna, whom he sent at five years old to live with relatives in Minnesota. He has not seen her since, but believes her to be a decent and respectably employed young woman. When Anna arrives, however, it is clear that she has lived a hard life in the dregs of society, and that much of spirit has been extinguished. She falls in love with a young sailor rescued at sea by her father, but dreads to reveal to him the truth of her past. Both father and young man are deluded about her background, yet Anna cannot quite bring herself to allow them to remain deluded.

A grieving defense attorney gets caught in a twisted game of who-done-it when he takes on the case of a beautiful socialite who is accused of murder.

At the end of their tour of duty in Afghanistan, two young military women, Aurore and Marine, are given three days of decompression leave with their unit at a five-star resort in Cyprus, among tourists. But it’s not that easy to forget the war and leave the violence behind.

A grief-stricken man and a bipolar woman fall in love and attempt to forge a simple life together.

The basic story of the movie revolves around P.K. Jayan aka ‘Vattu’ Jayan (played by Indrajith) and Roy Joseph aka Che Guevera Roy (played by Murali Gopy). Vattu Jayan is a corrupt cop who manages his daily necessities through bribed money and does not touch his salary for anything. Che Guevara Roy is an ex-communist comrade who now teaches in a school with his wife.

Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.

After the disappearance of his troubled friend, American Chris Rivers travels to the remote Welsh countryside to investigate what happened – leading him to a dark apocalyptic cult.

In Los Angeles, Nikki is homeless, car-less and closing in on 30, but he’s amoral, good-looking, and adept in the sack, moving from one wealthy woman of 35 or 40 to another, a kept boy-toy. His newest gig, with Samantha, an attorney whose house overlooks L.A., is sweet, although it’s unclear how long she’ll put up with him. Then Nikki meets Heather, a waitress. Is the player being played, or might this be love? What will Nikki discover?

A man becomes obsessed with facts and events that have been collectively misremembered by thousands of people. Believing the phenomena to be the symptom of something larger, his obsession eventually leads him to question reality itself.