Jumpin' at the Bedside (1976)

A historical revolutionary film depicting the struggle of peasants and the Baku proletariat against landowners and Musavatists in 1919.

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A group of college kids on break find themselves in a terrifying situation when they become stranded at the infamous Camp Blood.

In this deeply personal film, director Roger Ross Williams sets out on a journey to understand the complex forces of racism and greed currently at work in America's prison system.

Ghost nation? Violent home? Traumatised country? What does the horror of one of the most famous writers of our time hide? What does his fictional America expose? To what extent does cinema feed itself off his unique vision and expression of fear? In other words: what kind of America is Stephen King telling us about?

Bill Engvall hosts an evening of "Blue Collar" comedy at Caesars Palace in Las Vegas.

Acting as both pseudo-sequel to, and remake of, Cutting Moments, Buck's follow-up changes the focus from the matriarch to the father... or, more fittingly, the many fathers... and the sins they pass down. Eschews explicit violence for a more psychological approach, to a no less harrowing result.

The movie arose out of our sparetime as teenagers with fresh driver’s licenses and cobbled-together camera gear, wandering around a tired and honestly pretty grim post-industrial mill community, reinforced with after-hours access to the darkroom at the Sun Journal (where Aaron’s dad was the visuals editor), and some half-formed education in the techniques of Robert Frank, Frederick Wiseman, Dogme 95, Italian neorealism, pre-Obama Shepard Fairey, plus whatever culture pushed its way through the creaky pipes of low-bandwidth dial-up internet, or was smuggled up the actual superhighway of I-95 from Boston and eventually New York, or mailed first class via United States Postal Service from a burgeoning Netflix in those classic matte red envelopes, as valuable and rare as cash sent from China. [...] Somehow we negotiated access to a Canon XL1 3-CCD MiniDV camera and shotgun mic from the local public access station, in exchange for taping the high school graduation we didn’t participate in.

Sailor is brought by the police as a recruit to the navy.

Against the backdrop of unprecedented gun violence, Reggie Yates travels to Chicago to investigate gun crime in President Obama's adopted hometown.