Slide may refer to:
Plot
Josh Kovacs is the manager of a residential apartment in New York. He is close to all the tenants, especially Arthur Shaw, a financier. One day Shaw is arrested by the FBI for fraud. Josh thinks it's a misunderstanding that can be resolved. But later he learns that the employees' pension fund which he asked Shaw to handle is gone. When one of the employees tries to kill himself, Josh's views of Shaw change. He goes to see him and loses his temper. He loses his job. The FBI agent in charge of Shaw tells him that Shaw might walk and recovering the pension fund is unlikely. She tells him that it's been rumored that Shaw has $20 million lying around if he needs it in a hurry. Josh thinks he knows where it is. So with two other employees who also lost their jobs and an evicted tenant, they set out to get into Shaw's penthouse to get the money. But they realize they need the assistance of someone who knows how to steal. So Josh asks a guy he knows is a thief named Slide to help them.
Keywords: apartment, apartment-building, arrest, bar, bare-chested-male, billionaire, businessman, caper, caper-comedy, car-accident
It's not just a robbery. It's payback.
Ordinary guys. An extraordinary robbery.
[from trailer]::Josh Kovacs: The average apartment in the Tower costs 5.6 million dollars. We have the best views, the most advanced security systems, but you know what these people are really buying?::Rick Malloy: White neighbors?
[from trailer]::Josh Kovacs: Several years ago, he was asked to manage all your pensions. Right now, they're saying that anyone who invested with Mr Shaw has been frauded.::Odessa Montero: Did he get your money too?::Josh Kovacs: ...Yeah. He did.
[from trailer]::Arthur Shaw: You people are working stiffs, clock-punchers. Easily replaced.::Josh Kovacs: I don't care what it takes. I will find a way to make it right.
[from trailer]::Cole Howard: We're not criminals. We don't know how to steal...::Josh Kovacs: Don't worry. I know someone who does.
[from trailer]::Slide: How come you bailed me out? Man, I don't even know your name!::Josh Kovacs: You don't remember Mrs Schaltzberg? We used to get dropped at her house every day for daycare! Heavy-set German woman, short goatee.::Slide: You the little seizure boy that's having seizures all the time!::Josh Kovacs: Asthma doesn't cause seizures!
[from trailer]::Slide: You know this was a bad idea, right?::Josh Kovacs: That's it, I don't want you talking to me for the rest of the robbery!
[from trailer]::Slide: A robbery can change very quickly. You have to be ready to adapt to the situation at any moment. Anything can happen. I was on a job a few days ago and my homie got shot in the face!::Josh Kovacs: If you get shot in the face, it's over.::Slide: If you get shot in your HEAD, it's over. If you get shot in your FACE, the bullet will go through your cheek and come out the other side! Then, what you gonna do?::Cole Howard: Die! We're all gonna die!
[from trailer]::Odessa Montero: First thing you gotta do, you gotta find the entry point. You gotta use your fingers, and you find the entry point. [Slide looks at Odessa]::Odessa Montero: You married?::Slide: No, I ain't married. What's up?
[from trailer]::Cole Howard: If anybody needs me, I'll be living in this box...
[from trailer]::Cole Howard: I'm thinking of becoming a male prostitute...::Josh Kovacs: I think I might have a better idea.
Plot
Volta Hudson (Brandon Scales) was Don Mars's (Harrison Ornealas) best hitman. When he retires, Mars sends the a gang of assassins, lead by Jimmy Middleman (Anthony Occhipinti), to destroy Volta and his loved ones. However, Volta fights back, and takes on hit squad after hit squad in order to rescue the woman he loves.
Plot
In 1946 film critic Nino Frank first applied the term "film noir" to some of the films Hollywood was producing during the period. Discussions of noir often center on visual and specifically cinematic elements such as chiaroscuro, extreme camera angles and expressionist distortion. Both literary and cinematic noir are defined by the shifting roles of the protagonist, the ill-fated relationship between the protagonist and society, generating the themes of alienation and entrapment. In Adamo Macri's video piece "SLIDE", he attributes the idea of noir as a filmic mise en scène approach to portraiture.
A story about art, berets, and finding your muse.
Plot
Car Wash is about a close-knit group of employees who one day have all manner of strange visitors coming onto their forecourt, including Richard Pryor as a preaching 'wonder-man' who is loved by most but loathed by one, and a man who looks like a thief by the way he is holding his bottle, but it is really his urine sample as he is off to the hospital. T.C's love life takes a turn for the better and the songs keep coming.
Keywords: african-american, armed-robbery, attempted-robbery, automobile, bad-smell, black-american, body-cast, business, car-wash, city
Hey, it's a '70s thing! [Video Title]
[Duane has just thrown Irwin's book into a bucket of water]::Lindy: I'm so tired of you running off at your mouth it's getting me down honey. Why don't you just leave? And be an assassin? Or is the only thing you're good at shooting off is your big mouth?::Duane: Will you please get out of my face you sorry looking faggot.::Lindy: Who you calling sorry looking?::[Everybody laughs]::Duane: Can't ya'll see "she" aint funny?::[laughter stops]::Duane: She's just another poor example of how the system is destroying our men.::Lindy: Honey, I'm more man than you'll ever be and more woman than you'll ever get.
Daddy Rich: The best place for money, is right here in my pocket.
Duane: Why don't you tell everybody how you "got so rich" Daddy Rich? This is one nigger you aint fooling! I'm onto the game you're running to these people here.::Daddy Rich: What can I do for you, brother?::Duane: The same thing you're doing for everyone else. Nothing!::Daddy Rich: Guess you don't believe in my church. The Church of Divine Economic Spiritual Light.::Duane: Yeah, that's right. I don't belive in it.::Daddy Rich: So, you don't belive in God?::Duane: Not "your" God. I'm a Muslim.::Daddy Rich: My God's doing all right by me. Why don't you come on board brother, and I'll take you nearer to God thy hee, and I'll show you everything it takes to make it with money. 'Cause it's better to have money than not having it. There is a good place in this world for money and I know where it is. It's right here in my pocket!::Duane: You talkin' just like a pimp!::[everyone jeers and looks as Duane with scorn]
Earl: Where were you yesterday Daune? [annoyed Daune slams open his locker door which narrowly misses Earl] And you're late today *Duane*!::Duane: Will you get outta my face Earl and my name is Abdullah Mohamed Akbar, alright?::Earl: Mohamed Akbar? Ha Ha Ha Ha.
Duane: [to camera] If you are watching this in the future, know that time has had its way with us, and that we knew it would. And it will with you. There is no escaping this. In a strange way, it's what makes life so beautiful and strange, that nothing alive stays the same.
Lonnie: Mr. B, about Abdullah... I'm really sorry about Abdullah. I know he's really wired up. I wish you'd think about giving him another chance.::Mr. B: I gave him a thousand chances. That's it! I don't want that belligerent trouble maker around my car wash anymore.::Lonnie: Mr. B, the man is just confused. He really is.::Mr. B: Lonnie, now is not the time.::Lonnie: Mr. B, every week I keep trying to talk to you, and every week you keep telling me "now is not the time". I've been working for you for over a year now. When is it gonna be time?::Mr. B: Look, I don't want to talk to you anymore about Duane! Okay?::Lonnie: Okay, let's don't talk about "Duane". Let's talk about me. I got to have more money, Mr. B. And I can't make it on what your payin' me right now. I've got two children to raise all by myself.::Mr. B: Lonnie, I can't. That Blue Bird Car Wash down the street is driving me out of business...::Lonnie: Mr. B, I keep telling you, you've got a big lot here! If you organize this thing right and spend a little money here and there, you could be making twice as much as you are now!::Mr. B: Lonnie, I know you've got ideas. You've got ideas. Don't I always pay you extra for opening and closing?::[shaking his head with frustration and disgust, Lonnie walks out]
Lindy: I'm more man than you'll ever be, and more woman than you'll ever get!
The Taxi Driver: You probably noticed I ain't got nothing against you people. I ain't got nothing against you people. I ain't got nothing against any people. That's what I think we need, is more love in the world. I don't know about marriage, I don't know if I'd go that far. But, ah, I believe in the lunch counter thing. I think if a guy wants to be able to get something to eat, he oughta be able to get something to eat, you know. [honking and yelling at traffic] C'mon, let's move it up there! What is this, a Mobil gas economy rush? C'mon, what's going on? Bunch o' bastards! Move it!
[repeated line]::The Taxi Driver: Did you happen to see a big, tall, black, blonde chick here?
Hippo: Boy, there's been some weird people in here today.
Plot
Lou-Jean, a blonde woman, tells her husband, who is imprisoned, to escape. They plan to kidnap their own child, who was placed with foster parents. The escape is partly successful, they take a hostage, who is a policeman and are pursued through to Texas...
Keywords: 1960s, adoptive-father, anti-establishment, baby, based-on-true-story, border-patrol, car-dealer, celebrity, chase, child-custody
A girl with a great following.
The true story of a girl who took on all of Texas...and almost won.
Every cop in the state was after her. Everybody else was behind her.
Clovis Poplin: We're in real trouble.::Clovis Poplin: Say, I didn't mean what I said.::Maxwell Slide: What was that?::Clovis Poplin: When I called you a son of a bitch, I didn't mean it::Maxwell Slide: And you ain't no mental subject neither.
Maxwell Slide: Is your name Buster Daniels?::Drunk: Well, it was before I married.
Mrs. Nocker: You got me out here with no where to sit.::Mr. Alvin T. Nocker: Why don't you sit on your fist and lean back on your thumb.