Matthew Powers

A tough police sergeant's mother comes to visit him, and promptly starts trying to fix up his life, much to his embarrassment. For his birthday she buys him a machine gun out of the back of a van, and begins to further interfere with his job and love life, eventually helping him with a case he's on.

Ray Breslin manages an elite team of security specialists trained in the art of breaking people out of the world's most impenetrable prisons. When his most trusted operative, Shu Ren, is kidnapped and disappears inside the most elaborate prison ever built, Ray must track him down with the help of some of his former friends.

Sean and Billie are undercover cops and martial arts masters. Investigating the death of a cop, they uncover a deadly ring of murder and corruption at a glitzy nightclub, where the rich are entertained by seductive women and protected by martial arts experts. Billie goes undercover to infiltrate the crime ring, leading to an explosive finale.

A tough, Jewish ex-con just released from prison crosses a powerful drug dealer and former prison rival in his return to a life of crime.

Two losers rob a rich guy and discover that, among the loot, they've taken a rare painting worth $2.8 million. John Larroquette plays his usual rude, selfish character-here named Gus - and he suckers Willy (Gregory Harrison) into his scheme to rob the mansion. The two losers have to try to figure out how to sell the valuable but high-profile item without getting busted. They travel the world looking for potential buyers but always end up short. Everyone can see that they are novices in the art world and buffoons in general.

A respected civic leader is caught between two rival underworld crime families on the verge of war.

An unemployed ex-office worker searching for work floats a fragile line of sanity as she struggles to find friendship and companionship. Her tenuous grasp on reality further fluctuates when a man whom she met in a restaurant and started an affair with is called to go to India for an assignment. The final straw occurs when she is evicted and moves into a sleazy hotel. She then starts seeking casual sex in unorthodox locations just to have human contact.

Manhattan- as it is every day of the week, year in, year out. Life is pretty routine for Bob, about to turn 70, yet aching for one last fling. Maybe his shrink is right: he should place an ad in the paper and just go out and look for someone. Someone like Angela. Because: This is New York.... Anything can happen... The sky's the limit...

Fiona is abandoned at six months of age, raised in foster and adoptive homes, abused, and, still a teen, hustles on the streets of New York. We watch her use heroine, fall in love with other women, be pursued by men, engage in murderous violence, hide out in a crack house, and decide to leave the city. We see her mother, also a streetwalker and drug user, occasionally talk about her lost daughter. Fiona has a necklace she was clutching when a foundling. Will mother and daughter meet? Is there a silver lining?

Being addicted to alcohol, single mother Anna had to give her son to foster parents, but they would "sell" him back if she offers enough money. When she gets to know Pete, the mentally handicapped son of a wealthy author, his father asks her to marry his son for one million dollar.

Swift Justice is an American detective drama television series created by Dick Wolf and Richard Albarino, broadcast for one season (13 episodes) on UPN from March 13 to July 17, 1996. James McCaffrey stars as former Navy SEAL Mac Swift, a private investigator fired from the NYPD. He receives support from his former partner Detective Randall Patterson (Gary Dourdan) and his father Al Swift (Len Cariou). Critics noted the series' emphasis on violence, specifically in the pilot's opening sequence, drawing comparisons to The Equalizer (1985–1989) and Die Hard (1988). UPN canceled the program after receiving complaints from viewers, advertisers, and critics for its stark depiction of violence. Wolf considered the cancelation a mistake due to good ratings. Further, it was praised for its visuals and McCaffrey's performance, but often criticized as being either too violent or formulaic.