A robbery is prevented by an undercover art dealer pretending to be a criminal. Edited from TV series, The Baron.

Alice Kingsleigh returns to Underland and faces a new adventure in saving the Mad Hatter.

1973 BBC TV movie adaptation of the book by Lewis Carroll.

Presents a nostalgic look at the joys and dilemmas of coming of age through a story about a prim schoolgirl, growing up during the twenties, who is unsettled by the romantic attentions of a football hero. When the advice of her sophisticated sister and her best friend backfires, she comes to grips with her feminine potential in her own way.

"The Looking Glass Murders" is an obscure, shot on video, made for Scottish TV version of the mime improv play "Pierrot in Turquoise," which Lindsey Kemp and David Bowie first staged in 1967. Pierrot is a freaky mime who ventures into a mirror where he falls in love and rolls around with the equally grotesque Columbine. But when Columbine beds black stallion (in half-assless spandex) Harlequin, Pierrot's jealousy takes over and drives him to murder. Cloud watches over the proceedings from his perch (on a ladder!) and narrates in song. 　　"Weird" doesn't begin to describe this one. It begins and ends with a man playing piano, but no sound is emitted. The sparse production doesn't betray its theatrical roots -- there's a grand total of two sets and they make no attempt to disguise the fact they're thrown together on stages. While I've never found mimes as unsettling as most, the trio in this film are REALLY creepy. And although it has a short running time of 26 minutes, it's so tediously strange and surreal that it felt like it was three hours long. When it comes to films I'm a bit of a masochist, opting for the strange, bizarre and reviled, but this one was almost too weird for me.

"The Looking Glass Murders" is an obscure, shot on video, made for Scottish TV version of the mime improv play "Pierrot in Turquoise," which Lindsey Kemp and David Bowie first staged in 1967. Pierrot is a freaky mime who ventures into a mirror where he falls in love and rolls around with the equally grotesque Columbine. But when Columbine beds black stallion (in half-assless spandex) Harlequin, Pierrot's jealousy takes over and drives him to murder. Cloud watches over the proceedings from his perch (on a ladder!) and narrates in song. 　　"Weird" doesn't begin to describe this one. It begins and ends with a man playing piano, but no sound is emitted. The sparse production doesn't betray its theatrical roots -- there's a grand total of two sets and they make no attempt to disguise the fact they're thrown together on stages. While I've never found mimes as unsettling as most, the trio in this film are REALLY creepy. And although it has a short running time of 26 minutes, it's so tediously strange and surreal that it felt like it was three hours long. When it comes to films I'm a bit of a masochist, opting for the strange, bizarre and reviled, but this one was almost too weird for me.

With their most formidable foe vanquished, Inuyasha and his comrades begin returning to their everyday lives. But their peace is fleeting as another adversary emerges: Kaguya, the self-proclaimed princess from the Moon of Legend, hatches a plot to plunge the world into an eternal night of the full moon. Inuyasha, Kagome, Miroku, Sango and Shippou must reunite to confront the new menace.

After learning of an urban legend in which a demented serial killer named SMILEY can be summoned through the internet, mentally fragile Ashley must decide whether she is losing her mind or becoming Smiley's next victim.

Jim Proctor, a middle-aged tycoon, decides to hand over his glass-making company to his young nephew Paul Duggan.

Jane, a struggling but perpetually stoned actress, has a busy day ahead. She has several important tasks on her list, including buying more marijuana. Even though she already has a good start on the day's planned drug use, she eats her roommate's pot-laced cupcakes and embarks on a series of misadventures all over Los Angeles.