Chronicling the life of Lay'n Pipe, a 47 foot TopGun Cigarette speedboat, from its conception through the end of human civilization. It's not just a speedboat ride, it's a Miami adventure.

Chronicling the life of Lay'n Pipe, a 47 foot TopGun Cigarette speedboat, from its conception through the end of human civilization. It's not just a speedboat ride, it's a Miami adventure.

Roberto Rossellini's first film is a work of deceptive transparency. In its initial moments the film appears to be a documentary about underwater, even deep-sea, species. But soon after, the 　　narration, in the manner of Cocteau, unleashes a powerful "dual reality" onto the images, imbuing them not only with a narrative logic, but a kind of magic. (Let's be clear, for Rossellini there are basically 　　no precedents; or about those that can at least "be said to" exist this filmmaker would always be willing in turn to rejoinder, and pointedly, that the material influences for any film of merit hail from life 　　itself and the powers of the observer; correspondences between films might exist — but why shouldn't they, since audiences and filmmakers are all, ostensibly, alive.) Magic always resides within reality; maybe 　　it's better to say Rossellini "imbues" less than he unlocks. So I ask, at no-one in particular: Is the difference in method (imbue vs. unlock) why Rossellini (or Vigo, or Renoir) have, insanely, been 　　perpetually categorized as (excruciatingly loaded, extraordinarily wish-fulfilling and villainous phrase) "master realists," as though they were closer in form and temperament to the aggressions of a 　　Chernyshevsky than to the "specific details" of a Nabokov? As though Picasso's famous assertion — "I do not seek — I find" — were, after all, too "oracular" (read as: foolish, mad, cavalier, unsuitable for We 　　2.0) and, therefore, too domineering in service of the cause of the Individual (too self-involved!), rather than that of the marxist-christianic Social Fabric (just communist/grown-up enough!)? It is my belief 　　that whenever imagination and freedom stand as the core precepts of one's aesthetic, no intrusions (invited or repressed) of "political" or "social" "realities," either as plot-element, backdrop, or general 　　milieu, can grant Possession and Control of that work to the envious workaday critics, hack bloggers, or majordomo Ideologians. All great artists know, and from head to toe, that the big picture is the 　　Individual and his interior perceptions of the outside world — and that artistic generation is simply the mimetic representation, mise en abyme, of this graceful essence and its occasionally ancillary residue 　　(i.e., external action). For Rossellini, social realities exist in counterpoint to knowledge and fantasy, and Rossellini's Undersea Fantasy [Fantasia sottomarina, 1938] is an essay upon man's only material 　　reality: his origin, and the circumstances of his end.

Hajnal needs to get out of here. In this surrealist fantasy, they prepare to leave their home country for England.

Jean-Louis is an naive, amiable orphan who spent his life with his elderly and very strict grandfather. Jean-Louis was a 25-year old virgin when a free-spirited young Parisian woman was temporarily stranded in his village after a bus broke down. She left him a changed man, and she also left a match book from a fast food restaurant called Fast Burger. Soon after his grandfather passes away, the innocent rube Jean-Louis hops on his bike and embarks upon a quest to Paris to find this enigmatic woman. But he is not prepared for the size of Paris, and instead ends up working at a Fast Burger outlet himself. Jean-Louis is a simple soul and freely expresses himself without guile. For some reason this endears him to the staff and management; soon he has been promoted into the upper echelons of the company. One day he meets a rather ditzy Metro security guard, Henriette, who is also at sea in the big city. The kindred spirits click and a sweet romance ensues.

Six teenagers are led into an intriguing game of survival by their guidance counselor.

A Japanese photojournalist revisits Vietnam after the liberation to document the nation, and begins following and documenting the young children from a poor Vietnamese family.

Two hard-up strangers stumble across a haul of cocaine on a shipwrecked boat. After agreeing to sell it and split the cash, they become entangled with police, masked hitmen, and a sharp-suited gangster known as 'The Tailor'.

After Turbo the Snail's improbable win at the Indianapolis 500, the superfast racer finds his life forever changed after he returns from his victory tour. Namely, Tito, his human companion, has built Starlite City, a massive miniature city with an elaborate adjoining race track for Turbo and his fellow snails to live and race in. However, Turbo finds his new life no less hectic as he and his friends face new rivals of all varieties eager to take the champion on. Regardless of the danger, Turbo and his colleagues of the Fast Action Stunt Team are ready for the challenge.