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Oddball cop and tough guy, Jack Cates is the only survivor of a cop shooting and in hunting down the murderer collects Reggie Hammond from jail for 48 hours. Hammond is oddly motivated to help. The killer is searching for his stash of cash. Cates and Hammond who have the Black-white, cop-crook thing to work out make surprisingly good partners as they navigate through the city looking for their suspect.

An attorney (Ben Affleck) in a rush to make a court appointment to file legal papers involving a multi-million dollar trust accidentally collides with an alcoholic insurance salesman (Samuel Jackson), who also is a rush for a court appointment involving the custody of his children. The attorney leaves the scene of the accident and strands the salesman, causing him to miss his custody hearing. During the process of the post-crash discussion, the attorney accidentally drops the papers he needs to present in court. The judge gives him until the end of the day to present the papers and thus begins a cat and mouse game between the proponents. A few questionable actions later on both parties’ part, they finally start questioning their actions and their lives. In the end, both come to new understanding of what is important and appear to be set in new ethical and moral directions. Contains mild violence and profanity.

International con artist/thief Laure Ash helps pull off a diamond robbery in Cannes during the annual film festival. She double-crosses her partners-in-crime and makes off with the diamonds to Paris where she accidently assumes the identy of a distraught woman who commits suicide and then leaves the country. Seven years later, Laure (now called Lily Watts) re-surfaces as the wife of the new American ambassador to France where a certain Nicolas Barto, a Spanish photographer, takes her picture which sets the stage for a motion of events as the evil Laure resorts to low, underhanded means to protect her former identity by emotionally and financially destroying Nicolas while evading her former partners-in-crime still looking for her to reclaim the stolen diamonds.

On November 16, 1959, Truman Capote reads about the murder of a Kansas family. There are no suspects. With Harper Lee, he visits the town: he wants to write about their response. First he must get locals to talk, then, after arrests, he must gain access to the prisoners. One talks constantly; the other, Perry Smith, says little. Capote is implacable, wanting the story, believing this book will establish a new form of reportage: he must figure out what Perry wants. Their relationship becomes something more than writer and character: Perry killed in cold blood, the state will execute him in cold blood; does Capote get his story through cold calculation, or is there a price for him to pay?

When rivalry between the world’s best men’s figure skaters - sex addicted, improvisational Chazz Michael Michaels and germophobic, precise Jimmy MacElroy - breaks into a fight on the awards platform, they’re banned from the event for life. Three years later, desire for a gold medal and a careful reading of the rules lead them to compete as skating’s first male-male pair. Can they overcome mutual dislike, limited time to prepare, their coach’s secret past, and the dirty tricks of their main opponents, the Van Waldenberg siblings? The key to victory or defeat may lie in the attraction of the virginal Jimmy toward Katie, the Van Waldenbergs’ little sister.

Like millions of kids around the world, Santiago harbors the dream of being a professional footballer. However, living in the Barrios section of Los Angeles, he thinks it is only that—a dream. Until one day an extraordinary turn of events has him trying out for Premiership club Newcastle United.

Upon hearing of her mother’s death, jaded teenage loner Purslane Hominy Will returns to New Orleans for the first time in years, ready to reclaim her childhood home. Expecting to find her late mother’s house abandoned, Pursy is shocked to discover that it is inhabited by two of her mother’s friends: Bobby Long, a former literature professor, and his young protégé, Lawson Pines. These broken men, whose lives took a wrong turn years before, have been firmly rooted in the dilapidated house for years, encouraged only by Lawson’s faltering ambitions to write a novel about Bobby Long’s life. Having no intention of leaving, Pursy, Bobby Long and Lawson are all forced to live together. Yet as time passes, their tenuous, makeshift arrangement unearths a series of buried personal secrets that challenges their bonds, and reveals just how inextricably their lives are intertwined.

After a successful last score, a master thief retires to an island paradise. His lifelong nemesis, a crafty FBI agent, washes ashore to ensure he’s making good on his promise. The pair soon enters into a new game of cat-and-mouse.

Berlin, July, 1945. Journalist Jake Geismer arrives to cover the Potsdam conference, issued a captain’s uniform for easier passage. He also wants to find Lena, an old flame who’s now a prostitute desperate to get out of Berlin. He discovers that the driver he’s assigned, a cheerful down-home sadist named Corporal Tully, is Lena’s keeper. When the body of a murdered man washes up in Potsdam (within the Russian sector), Jake may be the only person who wants to solve the crime: U.S. personnel are busy finding Nazis to bring to trial, the Russians and the Americans are looking for German rocket scientists, and Lena has her own secrets.

From cult movie directors Quentin Tarantino and Robert Rodriguez comes a unique film experience: a double-bill of thrillers that recall both filmmakers’ favorite exploitation films. “Grindhouse” (a downtown movie theater in disrepair since its glory days as a movie palace known for “grinding out” non-stop double-bill programs of B-movies) is presented as one full-length feature comprised of two individual films helmed separately by each director. Tarantino’s film, “Death Proof,” is a rip-roaring slasher flick where the killer pursues his victims with a car rather than a knife, while Rodriguez’s film “Planet Terror” shows us a view of the world in the midst of a zombie outbreak. The films are joined together by clever faux trailers that recall the ’50s exploitation drive-in classics.