Across a dirt road, the circus truck comes to a village. The tent goes up. Schoolboys run to the tent. Village women come and watch an acrobat roll a hoop across a tightrope. A lion leaps from the edge of one stool - across darkness - on to another stool. A gap-toothed old woman gazes at a goat on a tight rope; her eyes are wide with curiosity. For three days the circus makes small ripples in the life of this village. Municipal permits are required. At a toddy shop, a soldier befriends the circus strongman; a pump attendant sits on a rock each day watching a village girl bathe and dry her hair. The dwarf brings back to the circus a watermelon larger than his head. In the film's three days, we, the viewers, learn the geography of the village: the banyan treewith leaves like transparent film, the shining water, the light on the sand at sunset. When the circus leaves the village, it leaves us. The narrative says: The circus comes and leaves; life goes on.
Spoofing the entire 1940s detective genre, and his own performances as a bumbling private detective, Peter Falk plays Lou Pekinpaugh, a San Francisco private detective accused of murdering his partner at the instigation of his mistress, the partner's wife, Georgia Merkle.
During an ever-growing epidemic of zombies that have risen from the dead, two Philadelphia SWAT team members, a traffic reporter, and his television-executive girlfriend seek refuge in a secluded shopping mall.
Jackie Chan stars as Wong Fei-Hung, whose mischievous antics land him in hot water. Having tolerated enough of his son's mishaps, Fei-Hung's dad enlists his sadistic uncle, who specializes in drunken-style kung fu, to teach the lad some discipline.