Getting It

Stumped by brutal sex-mutilation crimes, Detective Chris Coxon turns to police psychologist Sarah Scott for help. As their relationship evolves, he must deal with Scott's complicated personal history, a wrenching experience that forces him to challenge his most basic assumptions about morality and justice. At last the crimes are solved, but Coxon is forever changed by both the process and the unexpected answer.

The trials and triumphs of life in the small town of Dillon, Texas, where high school football is everything.

A sketch artist for the police helps a witness recall who she saw leaving the scene of a murder, and discovers that the person is his wife. Not willing to believe she was responsible, he resketches the pictures so they don't look like her, and he begins his own investigation of the murder.

Travis Winslow is an honest man trapped in the middle of a drug war, deliberately placed in the crossfire by Shelby Collins, a woman as deadly as she is beautiful. After his brother Matt's death, no one knows the location of the last shipment of cocaine Matt smuggled into America. The cops think Travis has the answer, and so do the two rival crime lords. When Travis's daughter, Jennifer, is kidnapped, Travis realizes that he can rely on no one but himself. He races against the clock to find a way to rescue his daughter and save his own life, even if it means becoming as deadly as his enemies.

A Topeka, Kansas fun park dance troupe led by a 260 pound dancer (Ben Zook) learns that the park is going to close. Their leader convinces the group, now named "The Stupendous Six", to join him in a painted up bus and to hit the road to find the big time. The Six compete against other dancers to win a chance to compete in the grand finale at the Little Miss Orange County Beauty Pageant. The other members of the Six are Melanie Hutsell as an airhead, Margaret Cho as a oral fixated sex maniac, Brett Paesel as the leader's homosexual lover, Bruce Daniels as the African-American member with a penchant for misuse of black slang, and Michael Irpino as another more stereotypical gay dancer. Lots of cameos from tv stars occur in the various dance numbers. But this comedy does take most of its cues from "The Full Monty" rather than from other major dance films.