Morbius Jr, now an OId Man, is nearing the end of life, when he finds the last hope for all Morbkind. However, as he fights to protect the future of Morbheads, he finds himself facing off against an unlikely of enemy... HIMSELF.

When a dedicated rescue worker inadvertently gets caught up in the kidnapping plot of a mogul's tween daughter, he must save her from the clutches of rival gangs hunting them down with unpredictable dangers around every corner.

Phillip and Suzanne are retired from the spy game, living peacefully off the grid. That's until their whereabouts are discovered by Vlad, the vengeful brother of their target from the first film.

In answer to an orphan boy's prayers, the divine Lord Krishna comes to Earth, befriends the boy, and helps him find a loving family.

D. stalks Sandra but she doesn't know it. She does think that D. is a documentary filmmaker having her be in film about conquering fear. Little does she know that D. is not who he claims to be, and far worse.

In a close-knit community, imagine a teenager’s struggle with asexuality, where faith clashes with personal discovery.

Hana spends twenty years suppressing a maleficent curse that was placed upon her bloodline, only to have a family member knowingly release it forcing her to kill or to be killed.

Uyirodu Uyiraga (Tamil: உயிரோடு உயிராக) is a 1998 Tamil film directed by Sushma Ahuja starring Ajith Kumar and Richa Ahuja in the main roles.

Christina wants to take revenge on her blind sister, who wants to take a prize in a popular music television show. She comes up with an evil joke in which she gives out a stage play organized by her friends for a real shoot in the Ostankino television studio. The sister believes what they are trying to convince her of, and Christina's rally becomes more and more like a mockery.

Koyomi Hidaka and Shiori Sato meet at his father’s research center and begin to fall in love, but so do their parents, who eventually marry. To avoid becoming stepsiblings, they decide to run away to a parallel universe. Traveling between dimensions is common in their world, but not without repercussions. Does a universe exist for the young couple, and what will it cost them to find it?

Poor Boyz Productions declares "War" with this ski world in a battle to produce the best ski film for the 2005 season.

After a teacher dies, his best friend — a former cop — takes a job at the school where he worked to confront the gang he thinks was responsible.

On their way to the supermarket, Penny and James meet again for the first time.

On a hot summer day in Oslo, the dead mysteriously awaken, and three families are thrown into chaos when their deceased loved ones come back to them. Who are they, and what do they want?

The blind swordsman, skilled in martial arts, named Cheng Xiazi (Xie Miao), accidentally saves Zhang Xiaoyu (Yang Enyou), who has suffered from the destruction of his family. Under the persuasion of the orphan Xiaoyu, Cheng reluctantly keeps him by his side and teaches him skills. Xiaoyu also waits for the opportunity to seek revenge.

Owen, a young man is dissatisfied with his life. He heads into the forest to escape and learns a lot during his time there.

When several children disappear at the hands of a serial killer in Sector 36, a corrupt cop is forced to pursue the chilling case at all costs.

Put-upon lawman John Dorsey is on the verge of losing his wife and his job as sheriff, so he posses up with bullish U.S. Marshall Butch Hayden to hold outlaw Emily Rusk hostage. A battle of wills ensues as Emily turns the posse on themselves, but as her marauding husband and his gang approach, Emily and John realize they will need each other to survive.

Air-supply is scarce in the near future, forcing a mother and daughter to fight for survival when two strangers arrive desperate for an oxygenated haven.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.