Released from prison after doing five years for a crime he didn’t commit, Billy Brown (writer-director-star Vincent Gallo) is determined to prove to his estranged parents that he is not the loser they think he is. His plan: kidnap a beautiful tap dancer, Layla (Christina Ricci) and force her to pretend to be his loving wife. As plans often do, his backfires when Layla gets a little too into character and Billy eventually finds himself developing real feelings for his fake wife. Features a heavyweight supporting cast including: Anjelica Huston, Ben Gazzara, Rosanna Arquette, and Mickey Rourke.
After a 15-year absence from horror, Sam Raimi's triumphant return was this pitch-black, Tales From The Crypt-like morality tale -- a gruesome, gleefully over-the-top spook show full of impeccable setpieces. Christine (Alison Lohman) is a loan officer worried about her lot in life, her competitive co-workers and her emotionally distant boyfriend. Determined not to look weak to her boss, she refuses a loan extension to the absolute wrong person: a decrepit witch who curses her with a one-way ticket to Hell, unless she ditches the demons before it's too late...
Based on Daniel Clowes’s celebrated graphic novel and co-scripted by the cartoonist himself, this cult favorite follows mostly directionless best friends Enid (Thora Birch) and Rebecca (Scarlett Johansson) as they entertain themselves by ridiculing fellow misfits and navigate their evolving friendship. With Steve Buscemi and Illeana Douglas
On the last day of school, Michael (C. Thomas Howell) receives an anonymous love letter. Hoping it’s from popular girl Deborah (Kelly Preston), he decides to send her a love note as well with the help of his best friend, Toni (Lori Loughlin). But these letters end up in the wrong hands, causing confusion for all who read them. Can true love triumph over the chaos and unite the real secret admirers? Dee Wallace, Leigh Taylor-Young, Fred Ward and Corey Haim are among the fine supporting cast.
R16Violence, offensive language & sex scenes.
To Live and Die in L.A. was well-received by critics, but it didn’t score financially and may have further damaged Friedkin’s (The Exorcist) reputation. Today, it’s rightfully acknowledged as a near-masterpiece. The fashions and music and attitudes on display might have been interpreted at the time as opportunistic stabs at au courant stylisation, but the film is nevertheless overpowering and otherworldly rather than quaint or kitschy. It feels like a transmission from a different planet. To Live and Die in L.A. is so of its time that you can only be captivated by it. The film’s influential car chase is somehow more amazing than the one in The French Connection. 35mm archive print- time travel to a better world.