A new drug is taking over the streets, coating them in blood, vomit, and other less savory fluids. The six eye-opening stories in this anthology reveal the truth about this new white menace.
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The film is based on a series of immensely popular Swedish children’s books, about the boy Bert, who is just hitting puberty and having the usual problems with it. But that’s where the usual ends abruptly.
A wealthy banker lies brutally murdered. The bankers daughter and only heir, Rana (Alex McKenna) calls upon Cyrus (Randy Wayne) a brilliant but eccentric freelance writer, to assist in the investigation. Teaming up with homicide detective, Leon Weed (Sean Astin), Cyrus and Leon are quickly thrust into the cryptic world of Freemasonry, pursuing a legendary relic. They begin by interviewing Grandmaster Sheldon Lombard (Richard Dutcher) and a 32nd Degree Freemason named Jericho Beck (Joseph James). As the evidence leads them to a few select members of the bankers inner circle, the duo is forced to examine elements beyond their natural senses- and must do so quickly before the killer strikes again!
At three years old, a chatty, energetic little boy named Owen Suskind ceased to speak, disappearing into autism with apparently no way out. Almost four years passed and the only stimuli that engaged Owen were Disney films. Then one day, his father donned a puppet—Iago, the wisecracking parrot from Aladdin—and asked “what’s it like to be you?” And poof! Owen replied, with dialogue from the movie. Life, Animated tells the remarkable story of how Owen found in Disney animation a pathway to language and a framework for making sense of the world.
It tells the story of a struggling man who, after flying home to L.A. for the funeral of his estranged record-producer father, discovers that the will stipulates that he must deliver $150,000 in cash to a 30-year-old alcoholic sister he never knew existed, and her troubled 12-year-old son.
Broadway producer, Max Bialystock and his accountant, Leo Bloom plan to make money by charming little old ladies to invest in a production many times over what it will actually cost, and then put on a sure-fire flop, so nobody will ask for their money back – and what can be a more certain flop than a tasteless musical celebrating Hitler.