Neil LaBute directs this Hollywood remake of the 2007 British ensemble comedy farce. Comedian Chris Rock stars as Aaron, who is trying to get through his father's funeral in one piece despite the best efforts of his melodramatic mother (Loretta Devine), his baby-obsessed wife (Regina Hall) and his playboy brother (Martin Lawrence). Meanwhile, his father's secret gay lover (Peter Dinklage) turns up demanding money, and his beautiful cousin (Zoe Saldana) spends the day dodging her infatuated ex (Luke Wilson) while trying to look after her fiance (James Marsden) - who accidentally imbibed a hallucinogen while searching for a tranquiliser to calm his nerves.

'Psycho' meets 'Hotel California' horror in which a young couple are trapped, awaiting their fate. For young couple Amy and David Fox (Kate Beckinsale and Luke Wilson), a long day bickering in their car suddenly gets much worse when they break down in the middle of nowhere. Luckily for them they find a motel and settle down to watch some TV. Concern rises when they realise the 'snuff' movies the motel thoughtfully supply for their guests seem vaguely familiar. Discovering hidden cameras, they realise that they are about to star in the performance of their lives, or rather the end of it, unless they can somehow escape.

Comedy drama written and directed by Helen Hunt. Jackie (Hunt)'s whole life revolves around her son Angelo (Brenton Thwaites), so when she discovers he has dropped out of college and moved in with his father in order to pursue his dream of surfing, she travels from New York to California to try to convince him to rethink his choices. After a heated exchange between mother and son, Jackie decides that the only way to understand Angelo's reasons for picking surfing over college is to take up the sport herself. Stubborn by nature, Jackie is determined to master the craft by herself, blankly refusing help offered from passers-by, until, that is, she is rescued by handsome surfer Ian (Luke Wilson) who takes it upon himself to give her a few lessons, in life as well as surfing.

Comedy-drama starring Luke Wilson as a successful businessman who gets caught up in the profit and pitfalls of early 1990s internet commerce. Jack Harris (Wilson) enjoys a comfortable life in the suburbs with his wife (Jacinda Barrett) and two children. He has a reputation as an outstanding and trustworthy financial operator, which encourages ruthless lawyer Jerry Haggerty (James Caan) to direct two of his clients his way. Wayne Beering (Giovanni Ribisi) and Buck Dolby (Gabriel Macht) are non-business savvy drifters who have come up with an innovative idea: using the newly hooked up World Wide Web to set up a pornographic website and charge for access. The millions start rolling in, but it isn't long before Jack's status as a middle man puts him in touch with the other side of the industry - Russian gangsters, FBI investigations and entanglements with 24-year-old porn stars...

Early modern Britain witnessed a transformation in legal reasoning about human volition and intentional action, which contributed to new conventions and techniques for the theatrical representation of premeditated conduct. "Theaters of Intention" examines the relation between law and theater in this period, reading plays by Shakespeare, Jonson, Marlowe, and others to demonstrate how legal understanding of willful human action pervades sixteenth- and seventeenth-century English drama.
Drawing on case law, legal treatises, parliamentary journals, and theatrical account books, the author considers the interplay between theatrical deliberation and legal dramatization of human intention. He analyzes such canonical plays as "Hamlet," "Timon of Athens," "Dr. Faustus," "Bartholomew Fair," and "Othello" alongside less familiar texts, including Barnes's "The Devil's Charter," Jonson's "Entertainment at Althorp," and the anonymous "Nobody and Somebody."
Notable instances of the new theatrical representation of premeditated conduct include the appearance in "Hamlet" of wording from the sensational case of "Hales versus Petit" and dramatizations of contract law in enactments of demonic pacts in the plays of Marlowe and Barnes. The final chapter examines the iconography of Nobody, an early modern equivalent of John Doe, and features some dozen illustrations of contemporary woodcuts, drawings, and engravings.
Tied closely to the convergence of authorial and dramatic forethought, theatrical representation of premeditated action demonstrates the close relationships among purposeful human behavior, fictionality, economic exchange, and the experience of time.