On the afternoon of August 3, 2013, 16-year-old Hannah Anderson was abducted after finishing cheerleading practice in a San Diego suburb. When the bodies of her mother and brother were found in the burned home of family friend James DiMaggio later that day, an AMBER Alert was issued, and a frantic multi-state manhunt for Hannah began. For a week she was kept prisoner by the increasingly unstable DiMaggio as they made their way across the state. One week later, the two were found in Idaho and DiMaggio was killed in a shootout with FBI agents, leaving Hannah as the sole survivor. As the dust settled, questions began to emerge about the nature of the relationship between Hannah and her kidnapper…and what really happened?

Bill Scanlin loses his job and embarks on a life of crime. As Bill stays ahead of the law, he discovers that sometimes the only thing worse than getting caught is getting away with it.

1994, a small town in central Scotland. Best mates Johnno and Spanner, despite being total opposites, have a deep bond. Now on the cusp of adulthood, life is destined to take them in different directions – Johnno’s family are moving him to a new town and a better life, leaving Spanner behind to face a precarious future. But this summer is going to be different for them, and for the country. The explosion of the free party scene and the largest counter-cultural youth movement in recent history is happening across the UK.

James Cagney star’s as Tom Powers, a trouble-ridden individual who rises from the position of cheap thug to that of a powerful Prohibition gangster. When his best friend is murdered, Powers self-destructively seeks deadly retaliation.

Inspired by actual events, a group of fame-obsessed teenagers use the Internet to track celebrities’ whereabouts in order to rob their homes.

Real estate agent Maceda (Chris Sarandon) once testified against drug trafficker Orosco (Miguel Najera). Now Orosco is out of prison, and Maceda has a problem. He flees, hiding out at a near-vacant California Central Valley inn where innkeeper Kat (Mariel Hemingway) is happy to have him sign the register. His presence, however, arouses the suspicions of lone cop Gilchrist (Dennis Hopper). Meanwhile, Fed agent Gere (Peter Coyote) hopes to track Maceda before Orosco’s thugs pick up the scent.

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Ward and Bouchard must face an important car theft ring that turns out to be a lot more than they bargained for: one where the stolen cars will serve as bombs in a well planned terrorist attack.

Jack Nicholson’s portrait of union leader James R. Hoffa, as seen through the eyes of his friend, Bobby Ciaro (Danny DeVito). The film follows Hoffa through his countless battles with the RTA and President Roosevelt all the way to a conclusion that negates the theory that he disappeared in 1975.

A Puerto-Rican ex-con, just released from prison, pledges to stay away from drugs and violence despite the pressure around him and lead on to a better life outside of NYC.

Upstanding community leader Nils has just won an award for “Citizen of the Year” when he learns the news that his son has died of a heroin overdose. Suspecting foul play, Nils begins to investigate, and soon finds himself at the center of an escalating underworld gang war between Serbian drug dealers and a sociopathic criminal mastermind known only as “The Count.”

The Democratic Republic of Congo has endured 20 years of devastating violence. Rape has been used as a weapon of war to destroy community and access precious minerals. Congo is often referred to as “the worst place in the world to be a woman.” CITY OF JOY tells a different story of the region. The film focuses on Jane, a student at a center where women who have suffered unimaginable abuse join together to become leaders. We also meet the founders of the center: a devout Congolese Doctor (Dr Denis Mukwege, 2016 Nobel Peace Prize nominee) a Congolese activist (Christine Schuler-Deschryver) and a radical N.Y. playwright (Eve Ensler, author of The Vagina Monologues). The film weaves between joy and pain as these individuals band together to demand hope in a place so often deemed hopeless.