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What if mankind had to leave Earth, and somebody forgot to turn the last robot off? Academy Award-winning writer-director Andrew Stanton (“Finding Nemo”) and the inventive storytellers and technical geniuses at Pixar Animation Studios (“The Incredibles,” “Cars,” “Ratatouille”) transport moviegoers to a galaxy not so very far away for a new computer-animated cosmic comedy about a determined robot named WALL*E. After hundreds of lonely years of doing what he was built for, WALL*E (short for Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life (besides collecting knick-knacks) when he meets a sleek search robot named EVE. EVE comes to realize that WALL*E has inadvertently stumbled upon the key to the planet’s future, and races back to space to report her findings to the humans (who have been eagerly awaiting word that it is safe to return home). Meanwhile, WALL*E chases EVE across the galaxy and sets into motion one of the most exciting and imaginative comedy adventures ever brought to the big screen. Joining WALL*E on his fantastic journey across a universe of never-before-imagined visions of the future, is a hilarious cast of characters including a pet cockroach, and a heroic team of malfunctioning misfit robots.

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An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to take the long way home from their recent sojourn in Asia on the legendary Trans-siberian Express train from Beijing to Moscow. On their way, they meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form a familiar bond that often unites fellow travellers away from home. When Roy accidentally gets separated from the group at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. The real danger begins to surface as a deceitful Russian detective (Sir Ben Kingsley) and locals terrorize Jessie in this unforgettable journey.

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From Ice Cube, the star of such hits as Are We There Yet?, Are We Done Yet? and First Sunday, comes a feel-good family comedy, THE LONGSHOTS — a hilarious and heartwarming story of the the first and only girl quarterback in Pop Warner football history. Curtis Plummer (Ice Cube) - a down-on-his-luck former high school football star - turns his niece, Jasmine (Keke Palmer from Akeelah & The Bee), into the quarterback of the local team, the Minden Browns, and gets his stride back when he becomes the team coach. With Curtis as their new leader and their pigtail-wearing star player, this team of misfits wins its way to the the Pop Warner Super Bowl and the small city of Minden, Illinois, is ignited with team spirit, town pride and the glory it once knew.

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THE LAST MISTRESS marks the monumental pairing of cinema’s premiere provocateur, director Catherine Breillat (ROMANCE, FAT GIRL) with the most fearless and explosive actor of our generation, Asia Argento (MARIE ANTOINETTE, BOARDING GATE). A penniless rogue, Ryno de Marigny (newcomer Fu-ad Aît Aattou), shocks 19th century France with his engagement to the virginal gem of the aristocracy, Hermangarde (Roxane Mesquida of FAT GIRL). As lurid speculations of Ryno’s ten year affair with the carnal Vellini (Argento) manifest, a supremely erotic and wickedly humorous depiction of human lust is revealed - overriding the brittle facade of nobility and reverence. Bolstered by Breillat’s mastery of the medium and Argento’s commanding performance, THE LAST MISTRESS is a highly entertaining yet incredibly provocative film that has resulted in unanimous praise from audiences and critics across the world.

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THE LAST MISTRESS marks the monumental pairing of cinema’s premiere provocateur, director Catherine Breillat (ROMANCE, FAT GIRL) with the most fearless and explosive actor of our generation, Asia Argento (MARIE ANTOINETTE, BOARDING GATE). A penniless rogue, Ryno de Marigny (newcomer Fu-ad Aît Aattou), shocks 19th century France with his engagement to the virginal gem of the aristocracy, Hermangarde (Roxane Mesquida of FAT GIRL). As lurid speculations of Ryno’s ten year affair with the carnal Vellini (Argento) manifest, a supremely erotic and wickedly humorous depiction of human lust is revealed - overriding the brittle facade of nobility and reverence. Bolstered by Breillat’s mastery of the medium and Argento’s commanding performance, THE LAST MISTRESS is a highly entertaining yet incredibly provocative film that has resulted in unanimous praise from audiences and critics across the world.

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