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I'm from Hollywood is about the adventures of late performance artist Andy Kaufman in the world of professional wrestling. This film includes interviews more
I'm from Hollywood is about the adventures of late performance artist Andy Kaufman in the world of professional wrestling. This film includes interviews with Taxi co-stars Marilu Henner and Tony Danza and interviews with comedian Robin Williams, wrestler Jerry Lawler, wrestling commentator Lance Russell, and Kaufman's best friend, Bob Zmuda. Other people seen in the film include TV host David Letterman and Jimmy Hart of Continental Wrestling Association. The film's title refers to a phrase spoken by Kaufman to the Memphis wrestling audience. close
Outrageous, misogynistic and vulgar-to-the-max comedian Andrew Dice Clay does his stuff in this combination stand-up concert video and series of comedy more
Outrageous, misogynistic and vulgar-to-the-max comedian Andrew Dice Clay does his stuff in this combination stand-up concert video and series of comedy sketches. The sketches, demonstrating that The Dice Man used to be a klutzy wimp, begin the film which then jumps into a filled-to-capacity performance at Madison Square Gardens. The film contains strong profanity, blatant racist remarks, graphic references to sex and other "adult" subjects. close
Three sectors of American society hit by recession in the mid-1980s: heartland farms, factory workers out of a job, and the new homeless. In Minnesota, more
Three sectors of American society hit by recession in the mid-1980s: heartland farms, factory workers out of a job, and the new homeless. In Minnesota, 250 family farms are being repossesed each week; men and women talk about their farms, the nature of their bank loans, the onslaught of corporate farming, and their sorrow and despair. In cities where 3,500 jobs per day go overseas, unemployed workers contemplate their options. The newly homeless talk about the jobs they've lost, "Justice Ville" in Los Angeles (bulldozed by court order), and squatting in New York's abandoned buildings. A family living in a welfare hotel tells their story. close
An unflinching verité portrait of the children of Stanton Elementary School in North Philadelphia, an inner-city neighborhood where 90% of the students more
An unflinching verité portrait of the children of Stanton Elementary School in North Philadelphia, an inner-city neighborhood where 90% of the students live below the poverty line. Seen through the viewpoint of devoted principal Deanna Burney, the film shows Stanton as grossly underfunded, understaffed, and filled with children struggling to overcome their difficulties. But for these at-risk kids, however, the hope for their future survives only in the success of their education. A captivating series of vignettes concerning children growing up outside the American dream, echoing current “hot-button” issues in our country’s ongoing political discussion. close
On the eve of 1987's Second National March on Washington for Lesbian and Gay Rights, surviving families and friends of people who have died of AIDS prepare more
On the eve of 1987's Second National March on Washington for Lesbian and Gay Rights, surviving families and friends of people who have died of AIDS prepare panels to be added to a large-scale memorial quilt project. Drawing from the sea of names memorialized, director Robert Epstein focuses on the lives of six people. Alongside the intimate profiles offered, through news footage and interviews, Epstein puts the AIDS crisis in the larger context of social and government response to the disease. close
The story of the legendary wits who lunched daily at the Algonquin Hotel in New York City during the 1920s. The core of the so-called Round Table group more
The story of the legendary wits who lunched daily at the Algonquin Hotel in New York City during the 1920s. The core of the so-called Round Table group included short story and poetry writer Dorothy Parker; comic actor and writer Robert Benchley; The New Yorker founder Harold Ross; columnist and social reformer Heywood Broun; critic Alexander Woollcott; and playwrights George S. Kaufman, Marc Connelly, Edna Ferber and Robert Sherwood. close
Marlon Riggs, with assistance from other gay Black men, especially poet Essex Hemphill, celebrates Black men loving Black men as a revolutionary act. more
Marlon Riggs, with assistance from other gay Black men, especially poet Essex Hemphill, celebrates Black men loving Black men as a revolutionary act. The film intercuts footage of Hemphill reciting his poetry, Riggs telling the story of his growing up, scenes of men in social intercourse and dance, and various comic riffs, including a visit to the "Institute of Snap!thology," where men take lessons in how to snap their fingers: the sling snap, the point snap, the diva snap. close
This is multifaceted look at the landscape and history of Utah (or Deseret, as the Mormon Church prefers to call it). Benning condenses 93 news stories more
This is multifaceted look at the landscape and history of Utah (or Deseret, as the Mormon Church prefers to call it). Benning condenses 93 news stories from the New York Times from 1852 to 1992 (read offscreen by Fred Gardner) and sets them against contemporary Utah landscapes, the shots changing with each sentence. close
Theatrical packaging of three comic shorts: Dean Parisot & Steven Wright's comedy "The Appointments of Dennis Jennings" (1988), Michael Moore's documentary more
Theatrical packaging of three comic shorts: Dean Parisot & Steven Wright's comedy "The Appointments of Dennis Jennings" (1988), Michael Moore's documentary "Pets or Meat" (1992), and Mike Leigh & Jim Broadbent's satirical mockumentary "A Sense of History" (1992). close
Follows the same pattern of the other Faces of Death movies. In this one we see many staged and not so staged looking deaths ranging from bungee jumping accidents and magic tricks gone bad.
Follows the same pattern of the other Faces of Death movies. In this one we see many staged and not so staged looking deaths ranging from bungee jumping accidents and magic tricks gone bad. close