In this tribute to the old time spaghetti westerns with a liberal dose of modern Hong Kong film-making thrown in, Emilio Estevez assumes Clint Eastwood's "man with no name" role. Estevez plays a super-quick gunman on the run from a rancher (Long) and his men out to kill him for killing his son. The gunman gets mixed up with a former Confederate soldier (William Forsythe) who has knowledge of hidden gold. The only trouble is he is also pursued by Union soldiers. When they free a man (Ed Lauter) with part of the map to the gold, they then are also pursued by Spanish soldiers. It all leads to a small Mexican town terrorized by soldiers and led a by a good priest (Joaquim De Almeida) who also has knowledge of the gold.

Five fabulous, queer ghost hunters criss-cross the country, helping the living by healing the dead. As they explore some of the world’s most infamous haunted locations, they’ll shed light on those not seen and illuminate untold stories. Together they’ll push past boundaries to bring acceptance to the misunderstood – living and dead.

A hitman accidentally kills a little girl. Filled with regret, he wants to quit. But then to tie up loose ends, he is forced to go on another job, to kill the girl's mother.

For Robbing the Dead is a story of compassion - compassion toward those who may seem the least deserving of Christian love. It follows the story of Henry Heath, a law officer in 1862 Salt Lake City. Heath finds himself responsible for the well-being of a prisoner whom he despises - an impoverished French immigrant named Jean Baptiste who is convicted of robbing the graves of the recently deceased. Baptiste is exiled to Antelope Island in the Great Salt Lake. With no one willing to look after this man, Henry Heath becomes Baptiste's sole defense against the hostile isolation of Antelope Island and the contempt of an entire community. Through his somewhat reluctant service, Heath's heart softens and his own sorrows find relief.

Armed with a limitless Rolodex and a Benedict Canyon enclave with its own disco, Allan Carr threw the Hollywood parties that defined the 1970s. A producer, manager, and marketing genius, Carr built his bombastic reputation amid a series of successes including the mega-hit musical film "Grease," until it all came crashing down after he produced the 1989 Academy Awards, a notorious debacle.

Jordan Turner is an experienced 911 operator but when she makes an error in judgment and a call ends badly, Jordan is rattled and unsure if she can continue. But when teenager Casey Welson is abducted in the back of a man's car and calls 911, Jordan is the one called upon to use all of her experience, insights and quick thinking to help Casey escape, and not just to save her, but to make sure the man is brought to justice.

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"What a life for a couple of nudes!" Two dancers find a new way of doing their bit for the boys in this frothy wartime propaganda short. Lord Kitchener's famous finger persuades Joan and Ireen, dancers in a 'Non Stop Nudes' revue (not that we see anything that warrants that title), to make a radical career change. Swapping their skimpy costumes for dowdy munitions factory overalls, they join a growing domestic army of women keeping the machines rolling. Belfast-born Brian Desmond Hurst was essentially a feature film director, whose best-remembered work is the Dickens adaptation Scrooge, but whose credits also included the war films Dangerous Moonlight (1941) and The Malta Story (1953). The Call for Arms was one of three propaganda shorts he made between 1940 and 1941, the most memorable being Miss Grant Goes to the Door, in which a pair of village spinsters outwit a Nazi paratrooper.

The gripping story of legendary American actor John Travolta: his rise to stardom in the 1970s; his agonizing fall in disgrace in the 1980s; and his stunning artistic rebirth in the 1990s.

The gripping story of legendary American actor John Travolta: his rise to stardom in the 1970s; his agonizing fall in disgrace in the 1980s; and his stunning artistic rebirth in the 1990s.