When Jess sets sail on a yacht with a group of friends, she cannot shake the feeling that there is something wrong. Her suspicions are realized when the yacht hits a storm and the group is forced to board a passing ocean liner to get to safety, a ship Jess is convinced she’s been on before. The ship appears deserted, the clock on board has stopped, but they are not alone… Someone is intent on hunting them down, one by one. And Jess unknowingly holds the key to end the terror.

In his first leading role, Foster stars as Will Montgomery, a U.S. Army officer who has just returned home from a tour in Iraq and is assigned to the Army’s Casualty Notification service. Partnered with fellow officer Tony Stone (Harrelson) to bear the bad news to the loved ones of fallen soldiers, Will faces the challenge of completing his mission while seeking to find comfort and healing back on the home front. When he finds himself drawn to Olivia (Morton), to whom he has just delivered the news of her husband’s death, Will’s emotional detachment begins to dissolve and the film reveals itself as a surprising, humorous, moving and very human portrait of grief, friendship and survival.

In his first leading role, Foster stars as Will Montgomery, a U.S. Army officer who has just returned home from a tour in Iraq and is assigned to the Army’s Casualty Notification service. Partnered with fellow officer Tony Stone (Harrelson) to bear the bad news to the loved ones of fallen soldiers, Will faces the challenge of completing his mission while seeking to find comfort and healing back on the home front. When he finds himself drawn to Olivia (Morton), to whom he has just delivered the news of her husband’s death, Will’s emotional detachment begins to dissolve and the film reveals itself as a surprising, humorous, moving and very human portrait of grief, friendship and survival.

The career of TV star Josh Anders is all washed up. The ratings on his nature TV show, “Diver Down,” are residing on the ocean floor, but he has been thrown a life preserver by a billionaire who wants to use his fading celebrity to convince the residents of a Caribbean island to sell their land. So Josh travels to Cayman Brac to help the real-estate tycoon buy the land he needs to build a resort, but some of the landowners aren’t sold on the idea. Meanwhile, Josh meets a pretty dive-shop owner and a young boy who will change his life far more than a billionaire ever could.

The conservative son of a thrifty conman begrudgingly joins his father on the road, after years of separation. The son a reformed conman, doesn’t want anything to do with his father. The son also feels he is being conned into joining his father on the road, but soon learns the real reason for this, and the lessons he learns will change his life.

An exposé of comic proportions that only Chris Rock could pull off, GOOD HAIR visits beauty salons and hairstyling battles, scientific laboratories and Indian temples to explore the way hairstyles impact the activities, pocketbooks, sexual relationships, and self-esteem of the black community.
Director Jeff Stilson follows Chris Rock on this raucous adventure prompted by Rock’s daughter approaching him and asking, “Daddy, how come I don’t have good hair?” Haircare professionals, beautyshop and barbershop patrons, as well as celebrities including Ice-T, Nia Long, Paul Mooney, Raven Symoné, Dr. Maya Angelou, Salt n Pepa, Eve and Reverend Al Sharpton all candidly offer their stories and observations to Rock while he struggles with the task of figuring out how to respond to his daughter’s question.

This is the story of 1970s African-American action legend Black Dynamite. The Man killed his brother, pumped heroin into local orphanages, and flooded the ghetto with adulterated malt liquor. Black Dynamite was the one hero willing to fight The Man all the way from the blood-soaked city streets to the hallowed halls of the Honky House. Black Dynamite is directed by Scott Sanders and co-written by White, Sanders, and Byron Minns, who also co-star. The look of the film is a retro homage to all of the blaxploitation movies of the seventies, but unlike Grindhouse (Robert Rodriguez and Quentin Tarantino’s exploitation homage) Black Dynamite does not employ “fake scratches or digitally generated retro deterioration”, according to director Scott Sanders. The cinematographer Shawn Maurer tested a Super 16 Color Reversal Kodak film stock to get the high contrast and saturated look for the movie. The filmmakers supplemented their shoot with the use of period stock footage from several blaxploitation films and from Sony Pictures Stock Footage. The film has been discussed with approval on numerous movie-related websites.