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It never hurts a movie to have both William H. Macy and Joe Mantegna, not least because there’s a good chance it’s a David Mamet film. Mantegna appears briefly in Edmond, adapted by Mamet from his one-act play and directed by Stuart Gordon, but his intervention is key. Edmond Burke (Macy) encounters Mantegna’s character in a bar, and after the two bond over their shared racism, the latter gives the former a card with the address of a nightclub, but which Edmond momentarily sees as a Tarot card: the Hierophant. This is ironic because the Hierophant is believed to bring religious worshipers into the presence of what is sacred, and in The Rider-Waite Tarot Deck it represents conformity to social norms or a deference to the established moral and social order, being a guide to knowledge, perception and wisdom. Thus, in the Apollonian guise of the Hierophant, Mantegna is actually a Dionysian agent, gently nudging Edmond toward the profane and immoral, and into an downward spiral of hatred, ignorance, and crime. The protagonist’s name is equally ironic. Edmond is related to Edmundi, which itself is derived from the Old English ēad, meaning “prosperity” or “riches”, and mund, meaning “protector.” During the course of this fateful night, however, we see Edmond haggling fruitlessly with prostitutes, and generally illustrating the proverb 'a fool and his money are soon parted.' Additionally, more than a protector, Edmond becomes someone to be protected from. Edmond is an utterly vile and despicable being, concerned exclusively with sex and money — specifically how much of the latter he's willing to part with in exchange for the former (Macy's performance is notable for making Edmond a human scum without entirely repelling us; his company is abhorrent and at the same time fascinating). His victims are not shown in a much more positive light, though; they are no better than Edmond, only slightly less bad. For instance, the African-American man that Edmond beats up within an inch of his life, each blow accompanied by a racist slur, tried to mug Edmond whilst pretending to be a pimp. And when Edmond finally manages to hold sexual congress — ironically with the only woman he approaches who is not a prostitute —, she turns out to be just as intolerant as he is. Edmond nonetheless kills her because she, an aspiring actress, refuses to admit she’s nothing but a glorified waitress. Gordon and Mamet don't just condemn white male supremacy; they accuse society as a whole — everyone is accountable (although some more than others, and Edmond certainly receives a punishment proportional, not only to his crime, but also to his racism and homophobia); it’s only when Edmond is isolated from that society that Mamet and Gordon denounce, only when he himself severs any tenuous ties that might bind him to the outside world, that he finds some sort of redemption, and learns to love his fellow man — literally as well as figuratively.
A woman communicates with a houseplant that was the only witness to a recent murder.
A sociology instructor finds her new teaching duties at a private college interrupted by the presence of a killer.
After his young son dies from the negligence at a hospital, Harry Fertig takes matters into his own hands and kills the doctor, nurse and clerk responsible. Slick lawyer Roy Bleakie, looking only to win a case and not caring of the matters involved, is asked by Fertig's boss to defend him. Shocked to hear that his client wants to plead guilty, the case causes Bleakie to question his own morals by defending an honorable man.
Years after their teenage daughter’s death, Lois and Doug Riley, an upstanding Indiana couple, are frozen by estranging grief. Doug escapes to New Orleans on a business trip. Compelled by urgencies he doesn’t understand, he insinuates himself into the life of an underage hooker, becoming her platonic guardian.
A group of thieves attempt to rob an art gallery, but when plans backfire and one of the men winds up dead, the group head down south, running afoul of the law. Along the way, they meet up with a seductive con artist with ideas of her own.
Raymond Lembecke is a con just out of prison after serving time for selling drugs for his mob boss Tony Vago. (Lembecke was innocent and took the rap for Vago.) Lembecke thinks Vago owes him big time so, when his former boss gets him a measly job in a warehouse, he decides on revenge and plans to steal a million dollars worth of drugs from him.
Betty has a crush on her tennis instructor Mike. He promises to call her for a date, but never does – she doesn’t know he sells drugs on the side. After botching a deal on someone else’s turf, Mike has to disappear for a while. He contacts Betty – then he’s killed before they can meet. Betty tries to find out what happened, leading her straight into a hornet's nest of vice.
Fledgling comic Benjy Stone can't believe his luck when his childhood hero, the swashbuckling matinee idol Alan Swann, gets booked to appear on the variety show he writes for. But when Swann arrives, he fails to live up to his silver screen image. Instead, he's a drunken womanizer who suffers from stage fright. Benjy is assigned to look after him before the show, and it's all he can do to keep his former idol from going completely off the rails.
A prequel to "Stone Cold", the story picks up after Jesse Stone is fired from the Los Angeles Police Department. He becomes an unlikely candidate recruited by a town council to become police chief of Paradise, MA, a small fishing town on Boston's North Shore. The board hopes his failed experience will keep him from digging too deep into the town's secrets. His first assignment is to investigate the murder of his predecessor whose death may be tied to a local domestic disturbance case, with connections to money laundering and murder involving some of the town's most affluent names as possible suspects.
A dark thriller about a successful businesswoman and her young assistant who toy with a slow-witted businessman while stuck at an airport hotel.
A whisper among the sprawling forests and mill towns of central Newfoundland. A body found on the side of a river brings together a reclusive fur trapper and a heartsick mother-to-be. Scott is lonely and desperate to give himself meaning. Mona is strong-willed, but frustrated by her fragility. As a reluctant dependence blossoms the pair find themselves wading into violence, answering for the debts of a dead man. Stalked by outlaws, they plan an exit.