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What happens when a group of co-workers from the adult entertainment industry get together for a relaxing after hours party? Naturally the conversation soon turns to sex, but quite a few personal revelations unfold as the evening progresses, making for an entertaining and sometimes startling feature film.

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LONDON: When his former girlfriend leaves for New York City to live with her new boyfriend, Syd (Chris Evans) decides to rudely interrupt her going-away party by turning up with a small mountain of cocaine and his drug dealer in tow. Most of the movie takes place in the bathroom at the party--where Syd entertains the guests and shares his drug stash with them. LONDON is a stark look at the effect love can have on a man. But there are a few twists and turns in store as the movie lurches toward a surprising conclusion. SPUN: Ross (Jason Schwartzman) is an addict badly in need of some speed. He pays a visit to his dealer, Spider Mike (John Leguizamo), where he encounters fellow "tweakers" Nikki (Brittany Murphy), a stripper named Frisbee (Patrick Fugit), a metalhead, and Cookie (Mena Suvari), Mike's girlfriend. But the trip turns into an odyssey when Mike can't find his stash. Nikki tells Ross that her boyfriend, a crazed cowboy known as the Cook (Mickey Rourke), can supply whatever he needs. The two of them visit the Cook at his motel lab, and Ross quickly gets his fix. Ross, however, is put into service as The Cook's errand boy and chauffeur, with only brief periods of freedom to check up on the stripper girlfriend he left tied to his bed back at his apartment. Ross's three days without sleep reach a feverish head when it becomes evident that two cops (Peter Stormare and Alexis Arquette) have raided Spider Mike's pad in search of the Cook. This relentlessly crude and graphic feature from Swedish music video director Jonas Ackerlund is not for the faint-of-heart. Lightening-fast edits, sexually explicit animation, Farrelly-Brothers-level rudeness, and a pervasive sense of nihilism swirl together to create a morally empty Los Angeles of seedy abodes and cinder block strip malls inhabited by corrupt cops and thrill-seeking lawbreakers. Set to a memorable score by Billy Corgan, Mickey Rourke's memorable turn paves the way for a game young cast.

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High school romance is difficult enough to navigate when both people are human. But for 17-year-old Bella Swan (Kristen Stewart, INTO THE WILD) and Edward Cullen (Robert Pattinson, HARRY POTTER AND THE GOBLET OF FIRE), Edward's life as a vampire complicates things even more. At first, when Bella moves from sunny Phoenix to the rainiest corner of Washington State, she isn't sure where she fits in at her new high school. Then she meets Edward, an ethereal beauty of a boy whose unnatural speed and strength lead Bella to the conclusion that her new crush is one of the undead. Suddenly, Bella's boring life is transformed; she's surrounded by love and danger in equal parts, thanks to the hunger of Edward and others of his kind. TWILIGHT is based on the first book in the addictive series by author Stephenie Meyer. Director Catherine Hardwicke (THIRTEEN) certainly knows her audience, which is primarily the teenage girls who worship the book and its characters. There are plenty of swoonworthy shots of Pattinson's perfectly pale Edward, and his romance with Stewart's nicely acted Bella will cause many a sigh among the devoted fans. While TWILIGHT is primarily a love story in the ROMEO AND JULIET mold, there's also plenty of action and horror to be found. Blood flows (this is a vampire movie, after all), but the small amount of gore shouldn't be too much for the squeamish viewers--and it might even draw a boy or two to the screen. The film's record-breaking box office take alone is proof that the film's appeal isn't limited to screaming teen girls.

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The ambitious miniseries adaptation of MacKinley Kantor's eponymous novel about the inmates of the notoriously overcrowded and brutal Andersonville, Georgia Confederate army prison at the height of the Civil War. Winner of an Emmy for director John Frankenheimer. Produced for TNT.

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All good things must come to an end, and sadly that's true for one of the brightest, breeziest comedies to ever adorn the HBO schedules. That's right, this is the sixth and final (sob!) outing for the ladies from SEX AND THE CITY. Carrie Bradshaw (Sarah Jessica Parker) is joined once again by her three best friends, Miranda (Cynthia Nixon), Charlotte (Kristen Davis) and Samantha (Kim Cattrall) as they parade around the Big Apple looking for love and expensive footwear. But naturally these girls want to go out with a bang (quite literally in Samantha's case!), so viewers can put down the tissues and pick up the action as the ladies offer plot twists galore before hanging up their costly Prada jackets for the last time. The laughs come thick and fast throughout, and a few tears are shed as the show builds to its gripping double-episode climax, entitled "An American Girl In Paris (Part Une and Part Deux)." They may be gone, but with this collection as a reminder, they'll certainly never be forgotten.

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Featuring spectacular special effects set amidst the backdrop of one of the most tragic events of the 20th century, James Cameron's award-winning TITANIC stands as one of the greatest Hollywood spectaculars of all time. Beginning with an undersea expedition in the 1990s, in which scuba divers are searching the sunken ship for lost relics, a painting of young Rose DeWitt Bukater (Kate Winslet) is found. This triggers a flashback to the young woman's story as it happened on the doomed Titanic. Rose is a daughter of privilege on her way to be married to an arrogant but wealthy young man (Billy Zane). Despairing, Rose finds herself falling in love with Jack Dawson (Leonardo DiCaprio), a carefree and poor young artist who is also aboard. When the great ship strikes an iceberg and begins to sink, Rose and Jack have only each other as their world falls apart around them. Director James Cameron spared no expense in bringing his simple yet powerful love story to life, building a 90% scale model of the ship, fussing over the tiniest details, and ultimately spending some $200 million dollars. A worldwide smash, TITANIC received fourteen Academy Award nominations and 11 wins, including Best Picture. Despite all the lavish sets and special effects, the film would be nothing without the emotional core provided by stars Winslet and DiCaprio, who give star making performances as the tragic young lovers.

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Ridley Scott's romantic thriller stars Mimi Rogers as ravishing New York socialite Claire Gregory and Tom Berenger as blue-collar police detective Mike Keegan. After Claire witnesses a high-profile murder, Mike is among the rotating group of detectives assigned to protect her.The simple, straightforward cop is awed both by Claire's beauty and by the endless rooms of her lavish apartment. A quiet attraction develops between the two, but neither of these otherwise committed people is willing to act on it. However, the detective's wife, Ellie (Lorraine Bracco), realizes what's happening and reacts accordingly. When Mike accompanies Claire to a museum benefit one evening, the killer, Joey Venza (Andreas Katsulas), confronts her in the ladies' room. He threatens to kill her if she identifies him in a police line-up the next day and then turns himself in to the police. Although she goes through with the identification, Venza is released on a technicality, and Claire nows needs protection more than ever. Bracco is wonderful as the cop's spirited wife.

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This 10-part HBO television miniseries focuses on Easy Company, a group of American soldiers in World War II, tracking their experiences from the beginning of boot camp to the end of the war. Anchored by actors Damian Lewis and Ron Livingston, the series gives detailed attention to their experiences as a group, as well as the way that each of them develops individually. Based on historian Stephen E. Ambrose's book of real-life accounts, BAND OF BROTHERS was executive produced by Steven Spielberg and Tom Hanks, who worked together on SAVING PRIVATE RYAN. Hanks also directed one episode, featuring his son, Colin Hanks.

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Eerily reminiscent of BONNIE AND CLYDE and THE BLAIR WITCH PROJECT, this shocking film features footage shot by a young couple on a road trip gone wrong. Dwayne Foote and Darla-Jean Stanton begin their journey on the back roads of Kentucky, but a botched robbery turns their cross-country trip into a killing spree.

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Karen Moncrieff follows up her well-received debut feature, BLUE CAR, with THE DEAD GIRL, an impressive, haunting ensemble drama. When a young girl is found murdered, the lives of several different individuals are impacted. Some of these connections are peripheral, while many others are painfully direct. The film is broken up into five distinct chapters, each with its own title. In "The Stranger," Arden (Toni Collette) finds the body, much to her abusive mother's (Piper Laurie) dismay. "The Sister" follows a graduate student (Rose Byrne) who is still mourning the disappearance of her sister along with her mother (Mary Steenburgen). Mary Beth Hurt stars in "The Wife" as a frustrated housewife who discovers that her husband (Nick Searcy) has been up to no good. "The Mother" features Marcia Gay Harden as a heartbroken mother who travels to Los Angeles to see how her murdered daughter lived and forms an unlikely bond with her daughter's former roommate (Kerry Washington). Lastly, "The Dead Girl" tells the story of Krista (Brittany Murphy), a tempestuous drug addict who wants to visit her daughter on her birthday, but fate conspires to bring her down. Moncrieff uses different filmmaking techniques to tell each story (handheld camerawork vs. static cinematography, a variety of color schemes, etc.), but the overall tone remains the same. This is a sad, somber world, yet glimpses of hope poke through the cracks at the most unexpected moments. An all-star cast brings Moncrieff's vision to life, but it is Brittany Murphy who steals the show, delivering a performance so naked and reckless that it's painful to watch.

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Terrence Malick returns to Hollywood after a two-decade hiatus with this adaptation of the classic WWII novel by James Jones. The story follows the efforts of an army platoon to capture the Japanese-controlled island of Guadalcanal in the Pacific Ocean, which will have a major effect on the outcome of the war. The members of C-for-Charlie Company are all fighting for different reasons: some to achieve glory, some to fight for democracy, and some simply to remain alive. They spend the quieter moments reflecting upon their existence, searching for meaning amid the senselessness of war. Malick's reputation as one of cinema's most brilliant directors, based on his masterworks BADLANDS and DAYS OF HEAVEN, enabled him to pull together one of the largest ensemble all-star casts in Hollywood history. The result is a sprawling epic that carries itself like a poem read in a dream, a feeling that is greatly enhanced by John Toll's floating camerawork and Hans Zimmer's haunting score. Rather than concentrating solely on the violence and destruction of war, Malick uses the situation to address philosophical questions such as man versus nature, war versus peace, and good versus evil. THE THIN RED LINE proves that after a 20-year layoff, Malick hasn't lost a step.

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Steven Soderbergh explodes onto the scene with this provocative, intelligent drama about infidelity and voyeurism. Ann Milaney (Andie MacDowell) lives in a comfortable Louisiana home with her lawyer husband, John (Peter Gallagher). She spends her days fretting over the insurmountable problems of the world and her own unfocused sense of melancholy. Although she doesn't know it, she has a good reason to be upset: John is having a torrid affair with her younger, more extroverted sister, Cynthia (the sexy Laura San Giacomo). When Graham Dalton (James Spader), an old college pal of John's, comes to visit, all three are momentarily distracted from personal problems and intrigues as they scrutinize the odd outsider. Ann soon discovers that Graham has some strange habits and problems of his own. Plagued by impotency since the calamitous breakup of his last relationship, the young drifter finds sexual gratification by videotaping women willing to talk about their sexual past and fantasies in front of the camera. A chain of attraction and jealousy develops as the four interconnect in several varied pairings, culminating with Ann's decision to become Graham's latest subject. Soderbergh's highly influential debut independent feature plays like a dangerous thriller that builds in tension until everyone's secrets are bitterly exposed.

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This collection contains 14 theatrical features from the 1970s. Films include THE ICEMAN COMETH; A DELICATE BALANCE; THE MAN IN THE GLASS BOOTH;RHINOCEROS; BUTLEY; THE MAIDS; LUTHER; IN CELEBRATION; THREE SISTERS; THE HOMECOMING; GALILEO; LOST IN THE STARS; PHILADELPHIA, HERE I COME; and ALIVE AND WELL AND LIVING IN PARIS. Nominated for several Academy Awards and featuring some of the biggest stars of their time, these features are examples of how seamlessly theatre can translate into film.

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Returning for a fourth season of adventures in SMALLVILLE, the young Clark Kent (Tom Welling) once again attempts to balance his high school life with the superpowers he was equipped with at birth. The season begins with Lois Lane (Erica Durance) turning up in Smallville to investigate the death of her cousin. In a neat touch, Margot Kidder, who plays Lois in the Christopher Reeve-era SUPERMAN movies, makes an appearance in the first episode. Meanwhile, Lana (Kristin Kreuk) has picked up a new boyfriend in Paris, Lex (Michael Rosenbaum) has got his hands on a kryptonian crystal in Egypt, and Lionel (John Glover) sets a mutant on the trail of Chloe (Allison Mack) to determine whether she is dead or not. A wonderful counterpart to the adult adventures of SUPERMAN, SMALLVILLE continues to go from strength to strength.

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It's hard to speculate how cinema would have developed if there had been no D.W. Griffith, but without his groundbreaking contributions, the narrative possibilities of motion pictures would not have evolved so quickly. This thorough documentary by Kevin Brownlow and David Gill explores Griffith's contributions to the art of cinema and the controversies and scandals that surrounded everything he touched. It's the type of project that will change the way film buffs view Griffith's work and help audiences come to terms with his most notorious and innovative work, THE BIRTH OF A NATION.

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This collection presents six films by the classic screen firecracker, Bette Davis: IN THIS OUR LIFE, THE OLD MAID, ALL THIS AND HEAVEN TOO, THE GREAT LIE, DECEPTION, and WATCH ON THE RHINE. Please see individual titles for synopsis information.

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Gia

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Gia
America's first supermodel Gia Carangi lives hard and dies young in the glamorous, excessive urban wilds of 1970s New York City. Adapted by Cristofer and novelist Jay McInerney from the biography "Thing of Beauty" by Stephen Fried. Made for HBO. Available in rated and unrated versions.

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When this popular nighttime soap debuted in 2003, Lucas (Chad Michael Murray) and Nathan Scott (James Lafferty) were sworn enemies on and off the basketball court. The reason for this tension eventually revealed itself: the boys were half-brothers. This bitter secret proved to be just one of many that would shape the drama of Tree Hill, the town where Lucas, Nathan, their families, and their peers all reside. Parental conflict and steamy romantic triangles create much of the show's tension, with the character of Dan Scott (Nathan and Lucas's father) developing into one of television's most sinister villains. This collection presents the show's third season, which follows the teens' traumatic senior year.

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When Deepa Mehta first began filming WATER in 2000, angry fundamentalist mobs burned her sets and threatened her life. The Indian government claimed it could not protect her, and the project had to wait four years before finally filming in Sri Lanka. Her film has raised the ire of extremists because it challenges the Hindu customs that dictate that widows, considered half-dead after the loss of their husbands, must be closeted in holy ashrams--a practice that still exists today. Set in the 1930s, the film tells the story of eight-year old Chuyia, whose husband dies before she even meets him. Her parents shave her head and whisk her away to a house of widows where the women sleep on the ground and beg in the streets to earn their puny portion of rice. Chuyia, feisty and resilient, comes into this world like a ray of light, and soon the women are rethinking their mute acceptance of their fate. Her closest friend and ally is the lovely Kalyani, and soon a forbidden romance begins to develop between Kalyani and Narayana, a young Brahmin man who, following the teachings of Gandhi, has denounced injustice. The film is sumptuously beautiful, Chuyia is utterly winsome, and despite the harsh social issues at its heart, it often feels light and lively: Chuyia and Kalyani play games and dance, Chuyia steals sweets for a dying old widow, the women dance and paint each other's faces during a color festival, and the Cinderella-story romance between Kalyani and Narayana shimmers with the promise of salvation and happiness. Mehta, however, knows it would be disingenuous to allow such an easy resolution to such a dire situation, and the final chapter of WATER takes a tragic turn.

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This collection of innovative short films from longtime cult favorite independent director Dave Markey includes 20 odd, surreal (or as Markey prefers to call his style, "all-too-real"), and fascinating pieces, shot between 1974--when the filmmaker was 11 years old--and 2004. The surprisingly chilling "The Devil's Exorcist" is the first movie Markey ever directed, in response to his parents forbidding him from seeing THE EXORCIST, while 1980's "Summer Has Been Over For a Long Time" explored his burgeoning love of alternative music. That interest fueled many of his later, now-legendary experimental films and music videos; 1987's "Astro Turf" stars Sonic Youth's Thurston Moore and Kim Gordon, and Markey would later shoot the video for "I Love You Golden Blue," included here along with The Posies' "Ritchie Dagger's Crime" and Eyes Adrift's "Alaska." Determinedly low-budget, yet stylish, attention-grabbing, and often very funny, these pieces provide a terrific overview to Markey's unusual career.

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