Ozzie is a young koala living in Australia. He is kidnapped by two goons (Buzz and Tank) who work for Max Happy, president of Happy Toys. Legend says that Ozzie speaks English and Max wants to clone Ozzie into hundreds of koalas and sell them for a fortune as talking pets! Buzz and Tank "lose" Ozzie on the plane-ride home by accident to Justin Morton, an 8 year old who is celebrating his birthday with his mom, Beth with a trip to Austrailia. Ozzie winds up in Justin's backpack. When Max finds out the koala is missing, a screwball comedy chase begins and ends in a surprise that knocks Max off her throne!
Ozzie is a young koala living in Australia. He is kidnapped by two goons (Buzz and Tank) who work for Max Happy, president of Happy Toys. Legend says that Ozzie speaks English and Max wants to clone Ozzie into hundreds of koalas and sell them for a fortune as talking pets! Buzz and Tank "lose" Ozzie on the plane-ride home by accident to Justin Morton, an 8 year old who is celebrating his birthday with his mom, Beth with a trip to Austrailia. Ozzie winds up in Justin's backpack. When Max finds out the koala is missing, a screwball comedy chase begins and ends in a surprise that knocks Max off her throne!
2006-09-20
4.5
A murderous black comedy set in the 1960s. Sam (McCauley) and his small band of hard-drinking and eccentric friends are having a night of it when a drunk truck driver, Jack (Bach), attacks Sam's Maori wife Sue (O'Brien). In the struggle, Sam and friends end up killing Jack. None of them regrets this, but it has been observed by Miriam (Gruar) who decides to blackmail Sam. Jack's brother Joe (Napier) comes looking for revenge and ends up being killed by Basil (Spence). Their jobs at the freezer works are terminated, and Basil has his own idea about how to get out of their troubles.
Hava's brothers decide to divide their paternal property. According to traditional customs, the right to inheritance belongs to male descendants only whereas Hava has no right to inherit. The eldest brother is obligated to find a husband for his sister. Hava must be married and live at her husband's house.
San Francisco filmmaker Konrad Steiner took 12 years to complete a montage cycle set to the late Leslie Scalapino’s most celebrated poem, way—a sprawling book-length odyssey of shardlike urban impressions, fraught with obliquely felt social and sexual tensions. Six stylistically distinctive films for each section of way, using sources ranging from Kodachrome footage of sun-kissed S.F. street scenes to internet clips of the Iraq war to a fragmented Fred Astaire dance number.
Divers go to work on a wrecked ship (the battleship Maine that was blown up in Havana harbour during the Spanish-American War), surrounded by curiously disproportionate fish.
Three years of candid camera on the road with Blur, from Reading 1991 through the dark ages of the EEC in 1992 and then on to Modern Life. This 126 minute tour film features live footage including scenes from Glastonbury ’92, the Heineken Music Festival ’94 in Nottingham, and festivals in Germany, Denmark and Sweden. It is a fascinating rockumentary about the early days of one of the most influential bands of the 1990s.
A group of friends have created a brand new subculture that is taking over the streets of Glasgow. They've established their very own fight club, but this is no ordinary wrestling event - this is brutal, riotous chaos. Fights don't always stay inside the ring, people are bounced off the side of buses and thrown off balconies in pubs. They now plan the biggest show of their lives. The stakes are high, will it bring them the fame and recognition they need to survive?
Brent Weinbach is weird. In this show, Brent attempts to adjust his quirky personality so that he can fit in with the world around him, which would be valuable to his career as a comedian and entertainer. Through an absurd and abstract discourse, Brent explores the ways in which he can appeal to a broader, mainstream audience, so that ultimately, he can become successful in show business.
Two Japanese men help a Vietnam war deserter escape from Japan for Sweden. They plan to fund the escape by selling LSD pills. After word of the drug deal gets spread around they find themselves fending off rival gangs.
The stooges are janitors in an office building. They stencil the wrong names on all the offices, causing a rich lady to mistakes Moe for famous decorator Omay. She hires the boys to redecorate her house, which they proceed to ruin. More trouble ensues when the real Omay shows up.
A young actress arrives late to a casting, making up a great excuse without knowing a small detail.
Albert is the irremovable waiter in a small bistro that has just been sold by his former bosses, Angèle and Léon. Angèle, having forgotten the ten million paid by the notary in a cab, prefers to feign madness rather than incur her husband's wrath; but Léon, in turn, eventually learns what has happened to his money, goes mad and kicks out the honest cab driver who comes to return the lost sum. A phone call from the police station later informs Albert that the money is at his boss's disposal; but as the boss is now in an institution, Albert borrows his identity papers and goes to collect the money - which he pays in full to the pari-mutuel betting house. After a series of shocks and counter-shocks, Angèle and Léon regain their senses enough to watch for the outcome of the race, and share with Albert the final winnings, which are very substantial.
Emin's video CV is an accompaniment to her work on paper, Tracey Emin CV 1995 (Tate T07632), which is a potted history of the artist's professional and emotional life from conception until 1995. This CV, read aloud by Emin, constitutes the sound-track to the video and provides contrasting background to the visual information on display. As Emin narrates her story of trauma and abuse, mixed with pleasure and success, the video takes the viewer on a journey through the artist's home. The artist is not visibly present in person until the last frames when she appears curled up naked on the floor of her sitting-room at the feet of her mother (who wears black sunglasses and looks away from both her daughter and the camera). Like Emin's handwritten CV, the video constitutes her self-portrait, in this instance adding the component of a journey around the space of her apartment to her narrating voice. -Tate
A reserved wedding suite should never go to waste, especially on a wedding night.
Risking his life, filmmaker and human rights activist Kriznar travels across Darfur for a peace mission, but business interests appear paramount.