you die at the end

Not an adaptation of beat writer William S. Burrough's novel but a mix of biography and an interpretation of his drug- induced writing processes combined with elements of his work in this paranoid fantasy about Bill Lee, a writer who accidentally shoots his wife, whose typewriter transforms into a cockroach and who becomes involved in a mysterious plot in North African port called Interzone. Wonderfully bizarre, not unlike Burrough's books.

Netting a hefty profit from their latest drug deal, hippies Wyatt and Billy decide to outfit themselves with among other things motorbikes - Wyatt complete in what they call his Captain America gear and similar motif on the bike - and chucking any structure in their lives beyond the want to get there for the event, cycle from their home base of Los Angeles to New Orleans for Mardi Gras in just over a week. They don't plan to spend their proceeds on this trip - they saving that for a more carefree life in Florida after the fact - they sleeping in the great outdoors along the way. While Wyatt is more easy going, believing in the karmic nature and practicality of helping others when they can and in turn asking for help when they need it, Billy is a little more suspicious of the people they encounter, especially in hiding their wad of cash that is stuffed into the gas tank of Wyatt's bike, that money their future. They will find that not all counter-culturalists have the exact same mindset, while they will also find the spiritual and practical connections to others in perhaps the most unlikely of places and people. But they will also ruffle some feathers just for being hippies, arguably in the fear not of them as people but what they represent. Through it all, Wyatt in particular evaluates if the trip ends up being what he expects or wants for his life.

While helicopters overhead spray against a Medfly infestation a group of Los Angeles lives intersect, some casually, some to more lasting effect. Whilst they go out to concerts and jazz clubs and even have their pools cleaned, they also lie, drink, and cheat. Death itself seems never to be far away, even on a fishing trip.

A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along with a friend, they eventually end up visiting their aunt in the wastelands of Cleveland and then proceed to Florida where they lose all their money gambling before unwittingly gaining a fortune.

The Cahulawassee River valley in Northern Georgia is one of the last natural pristine areas of the state, which will soon change with the imminent building of a dam on the river, which in turn will flood much of the surrounding land. As such, four Atlanta city dwellers, alpha male Lewis Medlock, Ed Gentry, Bobby Trippe, and Drew Ballinger, decide to take a multi-day canoe trip on the river, with only Lewis and Ed having experience in outdoor life. They know going in that the area is isolated. Their relatively peaceful trip takes a turn for the worse halfway through with river rapids and unwelcoming locals. The four need to battle their way out of the valley and are asked to do things they never thought possible within themselves.

Theater director Caden Cotard is mounting a new play. Fresh off of a successful production of Death of a Salesman, he has traded in the suburban blue-hairs and regional theater of Schenectady for the cultured audiences and bright footlights of Broadway. Armed with a MacArthur grant and determined to create a piece of brutal realism and honesty, something into which he can put his whole self, he gathers an ensemble cast into a warehouse in Manhattan's theater district. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a small mock-up of the city outside. As the city inside the warehouse grows, Caden's own life veers wildly off the tracks. The shadow of his ex-wife Adele, a celebrated painter who left him years ago for Germany's art scene, sneers at him from every corner. Somewhere in Berlin, his daughter Olive is growing up under the questionable guidance of Adele's friend, Maria. He's helplessly driving his marriage to actress Claire into the ground. Sammy Barnathan, the actor Caden has hired to play himself within the play, is a bit too perfect for the part, and is making it difficult for Caden to revive his relationship with the alluringly candid Hazel. Meanwhile, his therapist, Madeline Gravis, is better at plugging her best-seller than she is at counselling him. His second daughter, Ariel, is disabled. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one. As the years rapidly pass, Caden buries himself deeper into his masterpiece. Populating the cast and crew with doppelgangers, he steadily blurs the line between the world of the play and that of his own deteriorating reality. As he pushes the limits of his relationships, both personally and professionally, a change in creative direction arrives in Millicent Weems, a celebrated theater actress who may offer Caden the break he needs.

Taken from Hubert Selby, Jr.'s controversial novel set in early 1950s Brooklyn. During a bitter strike by workers against a local factory, a gallery of struggling characters are crushed by their squalid surroundings and selves: an unhappily married union strike leader discovers he is gay; a jaded prostitute falls in love with one of her clients, a naive young sailor; a union negotiator attempts to peacefully resolve the strike while desperately hiding the fact that he's a communist; the family of a striking factory worker cannot cope with the fact that their teenage daughter is illegitimately pregnant.

The primary story with this movie is that it is shown in four simultaneously filmed ninety-three minute single shot takes (in other words, shown in four quadrants), with the actual plot secondary. The four cameras follow the players involved, with two or more of the four cameras sometimes filming the exact same scene from different angles and thus different perspectives. The audio on each of the four quadrants is turned up and down based on which quadrant(s) the viewer should pay most attention to at any given time. The actual plot, which takes place in Hollywood, involves the pre-production by Red Mullet Productions for the movie "Bitch from Louisiana". The production team is in an executive meeting to discuss several aspects of the movie, including problems with one of their own, Alex Green, who has been missing in action from much of the production and this meeting. Alex's problems stem from his substance abuse and philandering, his wife Emma who is contemplating leaving him, of which he is unaware. Lester Moore, the movie's director, is also causing the producers some concern as they believe he again is using drugs against company policy. The production team is also talking about casting the role of "The Bitch". One actress who wants to audition is Rose, who is having an affair with Alex as a foot in the door. Rose does not officially have an audition, although she tells her controlling lover, Lauren, that's why she is going to Red Mullet's office, while she really is meeting with Alex for a tryst. Lauren, however, believes that Rose is indeed cheating on her. Through it all, Quentin, a masseuse, is present giving free massages as a means to gain Red Mullet as a corporate client. Their goings-on come to a head during a pitch meeting by visiting European actress, Ana Pauls, who is accompanied by her agent, Bunny Drysdale, and her musician boyfriend, Joey Z.

At a Los Angeles hospital in the 1920s, Alexandria is a child recovering from a broken arm. She befriends Roy Walker, a movie stunt man with legs paralyzed after a fall. At her request, Roy tells her an elaborate story about six men of widely varied backgrounds who are on a quest to kill a corrupt provincial governor. Between chapters of the story, Roy inveigles Alexandria to scout the hospital's pharmacy for morphine. As Roy's fantastic tale nears its end, Death seems close at hand.

Leading a happy and quiet life with his lawyer wife and their two children in the small town of Millbrook, Indiana, mild-mannered Tom Stall cherishes his simple, uneventful existence. However, their idyllic lifestyle is shattered when, one night, Tom saves his customers and friends in self-defence, foiling a vicious attempted robbery in his diner by two violent wanted criminals. Now, heralded as a local hero, Tom's life is changed overnight, attracting unwanted attention, and a national media feeding frenzy. Uncomfortable with his newfound celebrity, Tom tries to return to normalcy, only to find himself confronted by a mysterious man who arrives in town believing Tom is the man who wronged him in the past. More and more, as Tom and his family struggle to cope with their new reality and this case of mistaken identity, they have no other choice but to fight back and protect all that they hold dear. But, is there more to Tom than meets the eye? Does he have, indeed, a history of violence?

Hamlet (Sir Kenneth Branagh), son of the King of Denmark (Brian Blessed), is summoned home for his father's funeral and his mother Gertrude's (Julie Christie's) wedding to his uncle Claudius (Sir Derek Jacobi). In a supernatural episode, he discovers that his uncle, who he hates anyway, murdered his father. In an incredibly convoluted plot, the most complicated and most interesting in all literature, he manages to (impossible to put this in exact order) feign (or perhaps not to feign) madness, murder the "Prime Minister", love and then unlove an innocent who he drives to madness, plot and then unplot against the uncle, direct a play within a play, successfully conspire against the lives of two well-meaning friends, and finally take his revenge on the uncle, but only at the cost of almost every life on-stage, including his own and his mother's.

In the wake of his early but undeniable theatrical success in Broadway, the idealistic author of the proletariat and self-pitying 1940s New York playwright, Barton Fink, finds himself lured to dazzling Hollywood to write scripts for eccentric Jack Lipnick's Capitol Pictures. But, instead of writing a story pivoting around the common man, Fink's first screenplay turns out to be a

Adult film director Jack Horner is always on the lookout for new talent and it's only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting.

24 hours in L.A.; it's raining cats and dogs. Two parallel and intercut stories dramatize men about to die: both are estranged from a grown child, both want to make contact, and neither child wants anything to do with dad. Earl Partridge's son is a charismatic misogynist; Jimmy Gator's daughter is a cokehead and waif. A mild and caring nurse intercedes for Earl, reaching the son; a prayerful and upright beat cop meets the daughter, is attracted to her, and leads her toward a new calm. Meanwhile, guilt consumes Earl's young wife, while two whiz kids, one grown and a loser and the other young and pressured, face their situations. The weather, too, is quirky.

Francie and Joe live the usual playful, fantasy filled childhoods of normal boys. However, with a violent, alcoholic father and a manic depressive, suicidal mother the pressure on Francie to grow up are immense. When Francie's world turns to madness, he tries to counter it with further insanity, with dire consequences.

The big-screen version of Hunter S. Thompson's seminal psychedelic classic about his road trip across Western America as he and his large Samoan lawyer searched desperately for the "American dream"... they were helped in large part by the huge amount of drugs and alcohol kept in their convertible, The Red Shark.

A quirky, out-of-of place worker at a crucifix factory in the Bible Belt invents a device he claims can show pictures of Heaven. Discouraged and confused by the inability of those around him to see anything but a screenful of static, he charismatically hijacks a bus of friendly elderly people in order to get media attention for his invention.

War begets revenge. Victorious General Titus Andronicus (Sir Anthony Hopkins) returns to Rome with hostages: Tamora (Jessica Lange), Queen of the Goths, and her sons. He orders the eldest hewn to appease the Roman dead. He declines the proffered Emperor's crown, nominating Saturninus (Alan Cumming), the last ruler's venal elder son. Saturninus, to spite his brother Bassianus (James Frain), demands the hand of Lavinia (Laura Fraser), Titus' daughter. When Bassianus, Lavinia, and Titus' sons flee in protest, Titus stands against them and slays one of his own. Saturninus marries the honey-tongued Tamora, who vows vengeance against Titus. The ensuing maelstrom serves up tongues, hands, rape, adultery, racism, and Goth-meat pie. There's irony in which two sons survive.