Successful and single businesswoman Kate Holbrook has long put her career ahead of a personal life. Now 37, she’s finally determined to have a kid on her own. But her plan is thrown a curve ball after she discovers she has only a million-to-one chance of getting pregnant. Undaunted, the driven Kate allows South Philly working girl Angie Ostrowiski to become her unlikely surrogate. Simple enough … After learning from the steely head of their surrogacy center that Angie is pregnant, Kate goes into precision nesting mode: reading childcare books, baby-proofing the apartment and researching top pre-schools. But the executive’s well-organized strategy is turned upside down when her Baby Mama shows up at her doorstep with no place to live. An unstoppable force meets an immovable object as structured Kate tries to turn vibrant Angie into the perfect expectant mom. In a battle of wills, they will struggle their way through preparation for the baby’s arrival. And in the middle of this tug-of-war, they’ll discover two kinds of family: the one you’re born to and the one you make. Written by Universal Pictures

New York, 1959. Max Bialystock was once the king of Broadway, but now all his shows close on opening night. Things turn around when he’s visited by the neurotic accountant Leo Bloom, who proposes a scheme tailor-made for producers who can only make flops: raise far more money than you need, then make sure the show is despised. No one will be interested in it, so you can pocket the surplus. To this end, they produce a musical called Springtime for Hitler written by escaped Nazi Franz Liebken. Then they get the insanely flamboyant Roger De Bris to direct. Finally, they hire as a lead actress the loopy Swedish bombshell Ulla (whose last name has over 15 syllables). As opening night draws near, what can go wrong? Well, there’s no accounting for taste… Written by rmlohner

We follow a bunch of high school kids through a period in their puberty. Their lives mainly consist of watching the girls in the shower and making life a living hell for their teachers and for each other. The movie is packed with practical jokes and eccentric characters, like Pee Wee with the short dick (which he measures every morning) who met up for sex with the school “mattress” Wendy already wearing a rubber, or the fat teaching bitch Beulah Balbricker who is determined on making life a living hell for the boys. The name “Porky’s” is the name of a striptease bar the boys get thrown out of and humiliated in in the beginning of the movie. They have their minds set on revenge, but that’s not easy as the owner’s brother is sheriff. Only by forgetting their internal differences can they defeat Porky and his gang. Written by Rune Dahl Fitjar {rfitjar@online.no}

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Mitch McDeere is a young man with a promising future in Law. About to sit his Bar exam, he is approached by ‘The Firm‘ and made an offer he doesn’t refuse. Seduced by the money and gifts showered on him, he is totally oblivious to the more sinister side of his company. Then, two Associates are murdered. The FBI contact him, asking him for information and suddenly his life is ruined. He has a choice - work with the FBI, or stay with the Firm. Either way he will lose his life as he knows it. Mitch figures the only way out is to follow his own plan… Written by Mark Harding {mah@imdb.com}

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A yuppie couple buy a large house in an exclusive San Fransisco neighborhood. They renovate it and plan to rent two apartments on the first floor to cover the costs. A prosperous looking man moves in but is not the ideal tenant. He never pays any rent, drives the other tenants away and systematically ruins the lives of his landlords. Written by Jim Sadur {jsadur@keyflux.com}

An attorney (Ben Affleck) in a rush to make a court appointment to file legal papers involving a multi-million dollar trust accidentally collides with an alcoholic insurance salesman (Samuel Jackson), who also is a rush for a court appointment involving the custody of his children. The attorney leaves the scene of the accident and strands the salesman, causing him to miss his custody hearing. During the process of the post-crash discussion, the attorney accidentally drops the papers he needs to present in court. The judge gives him until the end of the day to present the papers and thus begins a cat and mouse game between the proponents. A few questionable actions later on both parties’ part, they finally start questioning their actions and their lives. In the end, both come to new understanding of what is important and appear to be set in new ethical and moral directions. Contains mild violence and profanity. Written by John Sacksteder {jsackste@bellsouth.net}

Early in 1971, McGraw-Hill passes on Clifford Irving’s new novel. He’s desperate for money, so, against the backdrop of Nixon’s reelection calculations, Irving claims he has Howard Hughes’s cooperation to write Hughes’s autobiography. With the help of friend Dick Suskind, Irving does research, lucks into a manuscript written by a long-time Hughes associate, and plays on corporate greed. He’s quick-thinking and outrageously bold. Plus, he banks on Hughes’s reluctance to enter the public eye. At the same time, he’s trying to rebuild his marriage and deflect the allure of his one-time mistress, Nina Van Pallandt. Can he write a good book, take the money, and pull off the hoax? Written by {jhailey@hotmail.com}

Gattaca Corp. is an aerospace firm in the future. During this time society analyzes your DNA and determines where you belong in life. Ethan Hawke’s character was born with a congenital heart condition which would cast him out of getting a chance to travel in space. So in turn he assumes the identity of an athlete who has genes that would allow him to achieve his dream of space travel. Written by {AVision200@aol.com}

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An FBI agent tracks down and catches a young con artist who successfully impersonated an airline pilot, doctor, assistant attorney general and history professor, cashing more than $2.5 million in fraudulent checks in 26 countries. Written by Anonymous

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Terry Gilliam doesn’t normally make films meant to appease the masses. He seems to have reconciled himself to the fact there’s a large section of the movie-going public who don’t get his work and he usually doesn’t even attempt to cater to those who aren’t fans. But with “The Brothers Grimm,” there’s an uneasy undertone that left me feeling like I’d witnessed a compromise on the filmmaker’s part.

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