Hi I'm Steve

F/X man Rollie Tyler is now a toymaker. Mike, the ex-husband of his girlfriend Kim, is a cop. He asks Rollie to help catch a killer. The operation goes well until some unknown man kills both the killer and Mike. Mike's boss, Silak says it was the killer who killed Mike but Rollie knows it wasn't. Obviously, Silak is involved with Mike's death, so he calls on Leo McCarthy, the cop from the last movie, who is now a P.I., for help and they discover it's not just Silak they have to worry about.

Robin and her father have a car accident. Her father dies. Robin is badly injured and cannot compete in gymnastics tournaments anymore. She lives with her mother and bad step-father. Robin is accepted to the school athlethics team but is not accepted by some other girls, so she works out at a friends house. Eventually Robin and her team compete in the national scholastic meet.

A jaded homicide detective has been put on the case of a ruthless killer in the city of Chicago, who leaves a trail of horribly mutilated and dismembered corpses along with perversely ironic biblical quotes.

A growth hormone experiment gets out of hand, when the the resulting giant man-eating rats escape, reaking havoc on the unsuspecting campus. Much blood-letting follows.

Two girls turn down two boys for more prosperous, motorized dates. In anger, the two teenage boys steal a car, booze up and accidentally meet up with the girls. The drivers of the two cars challenge each other, and a wild race starts that ends up with a horrifying accident. A fictional film, it dramatizes a situation where pride, alcohol and wheels combine with disastrous results.

The Hidden Cameras burst onto the music scene in the early 2000s boasting an irresistible combination of pop and queer sensibilities. Music Is My Boyfriend chronicles the early days of Joel Gibb’s mighty band as they gather steam in their native Toronto. Combining interviews with original members, behind-the-scenes session footage and rarely-seen 16mm film of two legendary live church shows, the film is both a mash note to a beloved band and a time capsule of the raucous, vivacious queer underground scene from which they emerged.