A small and touristy beachside town is hit by a storm the size of which nobody could have predicted. A family who just arrived tries to escape, but gets stuck in the quickly rising waters. They try to figure a way out with the help of some locals, but any progress is shut down when the sharks make their way onto the flooded streets. The family and locals must now find a way to survive as the waters rise.

In his documentary, filmmaker Daniel Hofmann deals with the history of German thrash metal. He reports on the fans, bands and organizers and offers an insight into the scene.

Hot metal is a London Weekend Television sitcom about the British Newspaper industry broadcast between 1986 and 1988.The daily crucible, the dullest newspaper in Fleet Street, is suddenly taken over by media magnate Terence "Twiggy" Rathbone. Its editor Harry Stringer is 'promoted' to managing editor, and is replaced in his old job by Russell Spam. Spam then takes the paper shooting downmarket and turns the crucible into a sensation seeking scandal rag, very much in the style of the British tabloids of the 1980s. He is helped along by his ace gutter journalist, Greg Kettle, who intimidates his tabloid victims by claiming to be "a representative of Her Majesty's press" and produces stories such as accusing a vicar of being a werewolf. Throughout the first series, a running plot involved cub reporter Bill Tytla gradually uncovering an actual newsworthy story that went to the very heart of government.Written by David Renwick and Andrew Marshall, it is very much a continuation in style from their previous sitcom Whoops Apocalypse!. It was produced by Humphrey Barclay.

The misadventures of Dr. Magnus's team of stumblebum robot superheroes.

After a career spent mining his music from the shadows, one fan creates a chain reaction for the lead singer of a black metal band.

Twin sisters Emma and Chantal couldn't be more unalike. When their parents leave them alone for the summer, their simmering sibling rivalry threatens to boil over and change their relationship and lives forever.

A bizarre sci-fi rock opera like little else being produced under the banner of Canadian film at the time, Metal Messiah is about an enigmatic metallic-skinned stranger trying to stop society's self-destructive obsession with rock and roll. Anchored in Toronto's live music scene if the late 1970s, this dystopian parable was the feature film debut of local music impresario and director Tibor Takács. Working with screenwriter Stephen Zoller, Takács' film is a crudely crafted, episodic work that plays out like a glam version of Amos Poe's avant-punk NYC flick The Foreigner (1978), but with even more ambition, attempting to scale to the bombastic rock opera heights of films like Phantom of the Paradise (1974) and Tommy (1975). (from: http://www.canuxploitation.com/review/metalmessiah.html)

A mixture of ethnic music and traditional skills, this film sweeps to Mexico, India, Nigeria, and Dahomey, where craftsmen pound, tap, grind and fire metal into jewelry, figurines and objects of all sorts. Without words.

Metal Mania (1989) boldly exposes heavy metal's satanic agenda targeting youth. Bob Larson interviews bands like Slayer and Laaz Rockit, revealing demonic lyrics, backmasking, and occult imagery designed to corrupt souls—contrasted with authentic Christian metal as the godly alternative. From the 80s satanic panic era, this isn't neutral concert footage—it's urgent media discernment calling believers to reject hellish rock rebellion and protect the next generation through faith-filled music. Powerful wake-up call against cultural poison.