Too Many Men

Double-bill of cult horror from controversial director Jess Franco. In 'Devil's Island Lovers', a young couple are framed for murder and and imprisoned in a sadistic camp somewhere in South America, where they have to face the sinister attentions of the brutal prison warden. In 'Night of the Assassins', a group of relatives have arrived at a dark and sinister mansion for the reading of a will, little knowing that there is a crazed, masked killer hiding in the shadows.

Shot mostly in Brazil and against a blue/green screen, Plastic City had all the trappings of a classic gangster flick. After all, it has Hong Kong veteran Anthony Wong whom we all know can go crazy if the role calls for it, and Japan's Jo Odagiri who is more than just your pretty boy actor as showcased through his range of characters in his filmography. Unfortunately, under the rookie directorship of Yu Lik-Wai, this city became too sprawling a convoluted mess of half-baked ideas and ambitious presentation that fell flat on its face.

In the wake of a Supreme Court decision to outlaw the death penalty, California passes an initiative that designates San Bruno island as a dumping spot for first-degree murder convicts, free to do what they like except leave. The main camp of convicts is controlled by the tyrannical Bobby, who rules with an iron hand, and the women are used as sex slaves. A.J. and a group of more free-minded murderers have escaped and gone into hiding. When A.J. and his men liberate the women from Bobby's custody, tensions mount to an all-out confrontation for control of the island.

Reine is supposed to go to a summercamp called 'Childrens island' but decides to remain in Stockholm over the summer while his mother is working at a hotel. She thinks he is at the camp and he tells her he his. We then follow him around Stockholm that summer and see what he encounter on the path of life.

The creator of The Wire turns his attentions from the war on the streets to the war in the desert with this seven-part HBO miniseries following the Marines of First Recon Battalion as they attempt to survive the first forty days of the Iraq War. Based on the award-winning book by Rolling Stone reporter Evan Wright, who witnessed the confusion of war firsthand while embedded with the First Recon, Generation Kill follows the marines as they attempt to contend with equipment shortages, incompetent commanding officers, constantly shifting Rules of Engagement, and a strategy that's never quite clear. Real life Iraq War veterans Sgt. Eric Kocher and Cpl. Jeffrey Carisalez serve as technical consultants on a series featuring First Recon Marine Sgt. Rudy Reyes as himself.

If Japanese animation is gaining an ever-increasing legion of overseas admirers, the work of those active outside of the nation's major studios still appears to be bewilderingly overlooked. One such character is Kihachiro Kawamoto, a pioneer in the neglected field of stop motion puppet animation. Born in 1925, Kawamoto has been working in the medium since the 50s, but it was not until a fortuitous meeting with the Czech maestro Jiri Trnka that his puppets truly began to take on a life of their own.

A Seattle-set rock & roll drama about a musician whose life and career is reminiscent of Kurt Cobain's.

Keisuke Kinoshita’s Twenty-Four Eyes (Nijushi no hitomi) is an elegant, emotional chronicle of a teacher’s unwavering commitment to her students, her profession, and her sense of morality. Set in a remote, rural island community and spanning decades of Japanese history, from 1928 through World War II and beyond, Kinoshita’s film takes a simultaneously sober and sentimental look at the epic themes of aging, war, and death, all from the lovingly intimate perspective of Hisako Oshi (Hideko Takamine), as she watches her pupils grow and deal with life’s harsh realities. Though little known in the United States, Twenty-Four Eyes is one of Japan’s most popular and enduring classics.

Werner Herzog is an Academy Award-nominated German film director, screenwriter, actor, and opera director. One of the most eccentric figures in the New German Cinema, Werner Herzog (Grizzly Man) has been characterized as the “romantic visionary” of the movement as well as its most notorious selfpromoter who possesses an almost legendary need to confront danger in making his films. Through his well documented production difficulties - dragging a ship over a mountain, attempting to film the eruption of a volcano, hypnotizing an entire cast on set and Herzog’s obsession with quasi-mystical images and landscapes, it is not surprising that many consider his “documentaries” to be his best work.