There is an elite group that controls the world. They run governments, companies and religions. They have controlled what you perceive for centuries and while their names and faces have changed, their bloodlines remain the same.
Manav Mehta is a successful industrialist. His business is taking him places but his personal life is a little shaken. His parents leave his house because he is discourteous, unsympathetic and curt, so they move to Pune to start a new life in an old age home.
On his way to work his car breaks down, a mechanic approaches him and offers to fix the car. Not knowing what to do, he visits the Siddhivinayak temple nearby. As he enters, all his childhood memories of visiting the temple with his parents come back to him. When the temple priest recognizes him, he tells him how he was born after his parent’s prayers. At this time Manav’s heart melts and he sincerely prays for the lord’s blessings upon him.
The miracles of Siddhivinayak start unfolding in his life when all his employees co-operate and things get better. The film ends on a happy note where Shree Siddhivinayak’s power and blessings get Manav out of all the trouble and brings his family life back on track.
Jim Carrey gives the performance of his career as the insanely inventive comedian Andy Kaufman, best known as lovable mechanic Latka Gravas on the 1970s sitcom “Taxi,” who shocked audiences with his caustic, off-the-wall routines. Director Milos Forman vividly recreates the era (with help from Lorne Michaels and David Letterman, who play themselves) and profiles a man who often blended comedy with performance art.
We are living in a prison called Earth, controlled and orchestrated by a ruling elite under a plan to extinguish human life for profit. By the year 2030 the human population could be reduced to only 500 million. We can fight back if we unite before it’s too late!
What happens after we pass from this world? Is there a life after this one? Or do we just disappear forever? These are the questions asked in this powerful and poignant documentary, Infinity: The Ultimate Trip. Many may be surprised by the answers.
A gunman ties up an actor and locks him in his dressing room just before a performance. He also puts a bomb with a 90-minute timer next to the actor. Then, he goes to a room above an LA plaza and draws a bead on the actor’s lover, international arms dealer, Liberty Wallace. Calling himself “Joe,” he calls her cell phone, demonstrates that a rifle is pointed at her, and tells her to cuff herself to a hot-dog cart nearby (the cuffs are there). Over the next 90 minutes, the story unfolds: as a result of his daughter’s death, he wants a public debate on the Second Amendment. As Liberty begins to bond with Joe on the phone, he gets some truths from her – and his revenge.
The play Romeo and Juliet has been translated around the world. Now Eve Annenberg’s gritty, funny feature film sets William Shakespeare’s Romeo and Juliet in contemporary New York City with Brooklyn-inflected English and Yiddish spoken by a talented cast. Ava, a wisecracking middle-aged emergency room nurse-and bitterly lapsed Orthodox Jew-undertakes a translation of Shakespeare’s Romeo and Juliet in her pursuit of a Master’s degree. In over her head, she accepts help from some charismatic and ethically challenged (a.k.a. scamming) young Ultra Orthodox dropouts, Lazer and Mendy. When another ex-Orthodox leaver enchants her apartment with Kabbalah magic that he is leaking, the young men begin to live Shakespeare’s play in their heads, in a gauzy and beautiful alternate reality where everyone is Orthodox. In what might be the first Yiddish ‘mumblecore’ film, Annenberg creates a parallel universe (set in Williamsburg, Brooklyn), where Romeo and Juliet hail from divergent streams of ultra-Orthodox Judaism and speak their lines in street-smart Yiddish. The Bard may have never dreamed of the Montagues as Satmar Jews, but in this magical rendition, the story of feuding Orthodox families is strangely believable and timeless. The director conjures Chabadnicks (Lubavitch) as Capulets; the distinctions are subtle but astute viewers will be tickled by the detail. As they start to ‘modernize’ and act in the archaic play, the young men fall under its rapturous incantation. Annenberg’s meditation on life and love yields a rapprochement between Secular and ultra Orthodox Worlds and a compelling New York love story. By the end of this 92-minute confection-set to euphoric compositions by Joel Diamond, Lior, and Basya Schecter-family is redefined, Shakespeare evaluated, Ava is happier, and the viewer understands a little Yiddish. A delightful meditation on love and family-if the issues are not yet solved, they linger in the air like a little Kabbalah magic.