Best movies like Very Nice, Very Nice

12:01 PM is a 1990 short film directed by Jonathan Heap and starring Kurtwood Smith. It follows Myron Castleman, an everyman who keeps repeating the same hour of his life, from 12:01 PM to 1:00 PM. The film was nominated for an Oscar for Best Live Action Short Film.

Michael Snow narrates a series of Hollis Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.

A social event choreographed in the manner of a dance, illuminated by concepts drawn from Greek legend; one of filmmaker Maya Deren’s most intriguing works.

Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. Through Cornell's collage editing, Hobart becomes a singular object of desire and dread, trapped in an exotic paradise.

A blending of documentary and experimental narrative strategies, combining stunning 16mm landscape cinematography with a bold, lyrical voice-over to share two San Francisco stories: the history of the Golden Gate Bridge as “suicide landmark,” and the story of a butch dyke in San Francisco searching for love and self-discovery. The Joy of Life is a film about landscapes, both physical and emotional.

Time-lapse photography showing the one month-long demolition of the Star Theatre in New York.

The artist's personal commentary on the decline of his country in a language closer to poetry than prose. A dark meditation on London under Thatcher.

Elmer takes up wildlife photography but finds his subject, a rabbit, much too rascally.

A compilation of images co-creator Frank Mouris had collected from magazines interwoven with two narrations, one giving a mostly linear autobiography and the other stating words having to do with the images, the story the first voice is relating, or neither.

The story of a little boy who would only talk in sound effects. With story by Dr. Seuss (and Bill Scott of Rocky and Bullwinkle fame) this cartoon won the Oscar for best short subject (animated) for 1950.

A group of three friends on a snowmobiling trip find themselves stranded at an abandoned lodge isolated in the mountains. They discover that an old woman resides in the hotel, along with an evil entity that she is keeping in the basement.

A first-time feature-film director (who's also the writer and producer) is casting the lead actress. We meet him talking to his wife about the picture and the process. We meet the actress, Sandy, negotiating with her roommate and talking by phone to her mother. Then, we watch Sandy audition for the director at the call-back session; also attending are the casting director and the production company's sycophants. The wrinkle is that the director is a homicidal misogynist, his wife is tied up and hanging from the ceiling, and Sandy has something in her purse that bodes a rocky future. (IMDb)

Milquetoast Henry Limpet experiences his fondest wish and is transformed into a fish. As a talking fish he assists the US Navy in hunting German submarines during World War II.

The world is divided into factions, on opposite sides of issues; each side is, of course, right. And so the gap between the people grows, until someone challenges the absolutist view of what's "right."

Just north of London live Wendy, Andy, and their twenty-something twins, Natalie and Nicola. Wendy clerks in a shop, Andy is a cook who forever puts off home remodeling projects, Natalie is a plumber and Nicola is jobless. This film is about how they interact and play out family, conflict and love.

The Thanhouser Company's two-reel adaptation of Oscar Wilde's eponymous novel. “The plot is unusual, and even though none of the familiar epigrams of the author find their way into the subtitles there is an artistic flavor to the production. Dorian's picture shows evidence in the passing years of his selfish, dissipated life, though his own countenance remains unchanged. Harris Gordon handles the leading role effectively, and Helen Fulton was pleasing as the ill-fated young actress who won Dorian's heart." - The Moving Picture World, July 31, 1915.

An exploration of technologically developing nations and the effect the transition to Western-style modernization has had on them.

Directly in the tradition of SEXUAL MEDITATION #1: Motel, this "sequel" does explore further possibilities of nudes in a room. - Canyon Cinema

Stormtroopers on Tattooine show us what life is like patrolling and law-upholding on the sandy planet. While being filmed for the hit Imperial TV show TROOPS, Stormtroopers from the infamous Black Sheep Squadron on patrol run into some very familiar characters.

Antonio Guerra is an unemployed Spanish immigrant in the USA. His brother and mother in Spain haven't heard about him for many years or even receive a letter. But one day, his brother receives a letter from him, telling that things are going well. But the reality is other. Antonio is passing a hard time in New Yor City, suffering the Years of Depression as many out of workers. One day, Antonio meets a nice Cuban seller, who invites him to eat at his poor house. The seller advices Antonio to visit a man, who has contacts and could help him to find a job. Nevertheless, Antonio is send with the leader of a group of gangsters, dedicated to the illegal traffic of alcohol. Antonio is offered a work of dealer, but he won't do anything out of the law.

Estranged brothers Jim and Dave must travel to Branson together when their father dies and leaves them the lake home. A series of hilarious mishaps and costly misadventures follow as they attempt to restore the house and rebuild their relationship.

A young man with a love of horses, Scott Jordan (Roddy McDowall) lives on the family ranch with his uncle Bill (Damian O’Flynn). When he buys a wild stallion from his black-sheep cousin Daniel (Rand Brooks), Scott names the horse Midnight and does his best to tame him. But when the sheriff (Sky King’s Kirby Grant) suspects the stallion was stolen and Daniel’s plan to get rid of the horse ends with a man being trampled, Scott must prove Midnight acted in self-defense before his uncle destroys him. The fourth of six films McDowall coproduced and starred in for Monogram Pictures, Black Midnight was directed by Oscar “Budd” Boetticher, whose seven Westerns with Randolph Scott are considered classics of the genre.

The Devil Never Sleeps is a “whodunit” documentary about family secrets. Filmmaker Lourdes Portillo received a phone call informing her of the mysterious death of her wealthy Mexican uncle Oscar. Officially ruled a suicide, Portillo’s relatives claimed murder, offering several possible suspects including a business partner, a ranch hand, and Oscar’s young widow who stood to inherit everything. Traveling to Mexico, Portillo attempts to learn the truth about her powerful uncle. Using interviews, old snapshots and home movies, she finds a complicated web of family secrets, intrigue, rumor and betrayal that makes her enigmatic uncle’s murder seem ever more likely, yet ever more obscure. As the Mexican saying goes, “When evil is lurking, the devil never sleeps.”

When a confused eyewitness identifies New York City cabbie Brick Tennant as a killer, he is sentenced to death for a murder that he wasn't involved in. Though no one is willing to listen to the innocent prisoner's pleas for freedom, Brick's faithful fiancée, Mary, knows that her lover is innocent because she was with him when the crime was committed. As the scheduled execution draws ever nearer, Mary begins to investigate the murder herself.

Sandra Bernhard stars in a studio version of her off-Broadway show, blending re-enactments of the original show's pieces with concept vignettes and 'testimonials' to underscore the relationship between a performer and an audience.

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate far-right conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

A year after becoming the toast of New York City's art scene, photographer Max Martin has lost his ability to take a decent picture. On the night before his make-or-break gallery opening, surrounded by the trappings of success but devoid of inspiration, Max embarks on a bizarre trek through the city in search of ten mysterious photographs that could save his career. Shot in brilliant color and dramatic black and white, first-time director Jeremy Stein's industrial New York City is a wonderland, roamed by witches and magical creatures, where survival hinges on the completion of a simple quest. Accompanied by an unlikely crew of strangers he meets along the way, Max trips through a modern-day Oz and rediscovers the easily forgotten value of seeing magic reflected in everyday life.

No More Mr Nice Guy

James is still in love with his ex-wife Barbara and has one last chance to win her back. While his friends and parents try to help, they're dealing with their own complicated love lives. But, in a crazy world, love is the only thing that makes sense.

Colorful, outspoken, a man of many contradictions, Ralph McGill emerged during the troubled years of the 1950s and '60s as a prominent and influential Southern white opponent of segregation and one of America's most revered newspaper editors. As he became convinced of the injustice of segregation and the inevitability of change, McGill used his front-page editorial column in the Atlanta Constitution as a Southern forum for his distinctive blend of moral outrage and pragmatic moderation. McGill's life is a touchstone for understanding the complex array of forces that dramatically reshaped the South and America in the quarter-century after World War II. These elements are blended with rare archival film, compelling contemporary images and a rich musical score to create an unusually moving and evocative film.

Each character involved in this psychological exploration of family and sexuality discovers what it means to suffer inexplicable torment rather than be alone.

In Passing is a collaboration between seven different filmmakers from around the world in response to Jesse Richards' 2008 Remodernist Film Manifesto.

Charlotte (Mittel) moves into a secluded hillside home with her boyfriend Howard (Gunn), and soon discovers she is pregnant. But her happiness is clouded by several strange occurrences - ghostly footsteps, disembodied voices, and the appearance of an eerie, faceless woman. The encounters become more frequent and disturbing, and Charlotte is shocked to discover she is suffering from a Dissociative Fugue which has caused her to forget everything from the last nine months. As she sets out to uncover what caused her memory loss, the events of the past blend into the present - threatening not only her life, but that of her unborn baby.

1 Giant Leap is a concept band and media project consisting of the two principal artists, Jamie Catto and Duncan Bridgeman. This is the film part of their first project. The result is a flowing, loose-knit tapestry of imagery, interviews, and diverse performances. Gathering material from 25 countries and dozens of famous and not-so-famous musicians, authors, celebrities, spiritualists, philosophers, and unique individuals from nearly every cultural background, this enveloping DVD is best enjoyed as a soothing audiovisual odyssey (select "loop mode" for continuous play!). Assembling this cornucopia by theme (Time, Inspiration, Sex, God, Death, etc.), Bridgeman and Catto function as co-composers with an astonishing array of collaborators, giving 1 Giant Leap its richly international (and some might say inter-spiritual) identity. The result is a far-reaching glimpse of our world through the eyes of those who improve it by their musical presence. --Jeff Shannon

A chronological look at films by, for, or about gays and lesbians in the United States, from 1947 to 2005, Kenneth Anger's "Fireworks" to "Brokeback Mountain". Talking heads, anchored by critic and scholar B. Ruby Rich, are interspersed with an advancing timeline and with clips from two dozen films. The narrative groups the pictures around various firsts, movements, and triumphs: experimental films, indie films, sex on screen, outlaw culture and bad guys, lesbian lovers, films about AIDS and dying, emergence of romantic comedy, transgender films, films about diversity and various cultures, documentaries and then mainstream Hollywood drama. What might come next?