Alex Wilson (Shannon Elizabeth) isn't ready to jump back into a relationship after a messy divorce. Her new colleague, Michael (Christian Campbell), doesn't want to take no for an answer, though, and things quickly grow serious as Michael's interest in Alex becomes an obsession. When things take a deadly turn, Alex finds herself trapped in a supernatural struggle to save her son from a scorned (and deceased) suitor. Starring Shannon Elizabeth and Christian Campbell.

Released in 2006, the story is set in 1994 and The Handy Kaufmans, New Jersey's foremost underachieving rock band, are about to embark on one final tour. Either they make it big this time, or they resign themselves to a life of 9-to-5 mediocrity. Lee (CHRISTIAN CAMPBELL, Trick), their drummer, is a control freak and being pushed out by his retiring parents (MARK HAMILL, Star Wars; SALLY KIRKLAND, Anna). Donnie (J.P. PITOC, Trick, Six Feet Under), lead singer and compulsive lothario, and Big Frank (JAY LEGGETT, Ally McBeal), the incompetent but gold-hearted manager, are always causing trouble. Mike (SCOTT BURKHARDT), the chief songwriter, tries to emulate the tortured-artist lifestyle of the icons he idolizes. While their bassist, Jim (BRET DOMROSE, Dogstar), electrocutes himself in a drunken pissing contest, the band is joined by last-minute replacement Trixie (LARA BOYD RHODES, Lava Lounge), a wild beauty and bassist who sparks up Lee's dormant romantic instincts. Will they be able to overcome themselves in

Released in 2006, the story is set in 1994 and The Handy Kaufmans, New Jersey's foremost underachieving rock band, are about to embark on one final tour. Either they make it big this time, or they resign themselves to a life of 9-to-5 mediocrity. Lee (CHRISTIAN CAMPBELL, Trick), their drummer, is a control freak and being pushed out by his retiring parents (MARK HAMILL, Star Wars; SALLY KIRKLAND, Anna). Donnie (J.P. PITOC, Trick, Six Feet Under), lead singer and compulsive lothario, and Big Frank (JAY LEGGETT, Ally McBeal), the incompetent but gold-hearted manager, are always causing trouble. Mike (SCOTT BURKHARDT), the chief songwriter, tries to emulate the tortured-artist lifestyle of the icons he idolizes. While their bassist, Jim (BRET DOMROSE, Dogstar), electrocutes himself in a drunken pissing contest, the band is joined by last-minute replacement Trixie (LARA BOYD RHODES, Lava Lounge), a wild beauty and bassist who sparks up Lee's dormant romantic instincts. Will they be able to overcome themselves in

Alan Fraser wrote and directed this drama about an interracial friendship. In 1992, 19-year-old Matt (Christian Campbell) leaves the Midwest for a life as an artist, moving into Black South-Central Los Angeles, where he's just about the only white face around. Complicating matters, he has no car. Visiting the local laundromat on Saturday nights, he meets single middle-aged black mother Evelyn (Jonelle Allen). With empty lives, the two soon become close friends, discussing drugs, violence and racism in their weekly laundromat meetings, interrupted when the 1992 LA riots begin. Shown at the 1998 {~Hollywood Film Festival} and the 1998 {~Urbanworld Film Festival} (NY). ~ Bhob Stewart, All Movie Guide.

A shy musical comedy composer searches in vain for someplace to bed down with a sexy go-go dancer in this sweet-natured romantic comedy set in Manhattan. College student Gabriel (Christian Campbell) wants to compose musical comedies; Katherine (Tori Spelling), his muse and confidante, wants to star in his productions. In the meantime, she's rehearsing an all-female version of {+Salom } set in a women's prison while he drowns his sorrows about a negative review at a tony strip club. On the way home from the bar, Gabriel notices Mark (Jean Paul Pitoc), one of the dancers from the club, catnapping in the subway. One mumble-mouthed come-on later, the men attempt to consummate their attraction to one another at Gabriel's tiny apartment, only to find themselves frustrated by pets, roommates, and a visit from Katherine. The couple's attempt to find a suitable boudoir leads them from one location to another; along the way, they discover that their attraction might extend beyond a single afternoon's ardor. Trick mark

You have the right to remain silent . . . Forever! This sequel to Maniac Cop pits Matt Cordell (Robert Z'dar), the crazed, murderout Maniac Cop of the first film (now horribly disfigured after a particularly brutal stay in prison), and Turkel (Leo Rossi), a serial killer who likes to murder strippers, against a frenzied NYPD detective, Sean McKinney (Robert Davi), who is just one step ahead of a nervous breakdown. His nerves don't get much relief when officers Jack Forrest (Bruce Campbell) and Teresa Mallory (Laurene Landon) insist that Cordell is still alive -- not only alive, but unkillable. Then Jack is murdered and the silent Maniac Cop breaks Turkel out of jail. With a group of rancid prisoners, they take police department psychologist Susan Riley (Claudia Christian) hostage. When the prisoners attempt a massive prison break, McKinney musters his forces to hunt down Cordell and Turkel and save Susan. ~ Paul Brenner, All Movie Guide.

The made-for-cable musical satire Reefer Madness is based on the award-winning play of the same name, which in turn was inspired by the notorious -- and deliciously awful -- 1936 anti-marijuana film originally titled Tell Your Children. A smarmy lecturer (Alan Cumming in the first of his three roles in the film) arrives in a typical small town of the late '30s to warn the populace of the dangers of the evil weed, bringing along a lurid propaganda film to dramatize his message. In broad, unsubtle, and hilarious strokes, the movie-within-a-movie shows how even a squeaky-clean pair of highschoolers named Mary Lane (Kristen Bell) and Jimmy Harper (Christian Campbell) can become hopeless dope addicts by succumbing to the lure of marijuana. Reefer Madness is not only a savage skewering of the original black-and-white movie (some of the musical's campiest lines are taken directly from the earlier script!), but also a devastating attack on what playwrights Kevin Murphy and Dan Studney consider to be the real reason t