Mitchell may refer to:
Joni Mitchell, CC (born Roberta Joan Anderson; November 7, 1943) is a Canadian musician, singer songwriter, and painter. Mitchell began singing in small nightclubs in Saskatchewan and Western Canada and then busking in the streets and dives of Toronto. In 1965 she moved to the United States and, touring constantly, began to be recognized when her original songs ("Urge for Going," "Chelsea Morning," "Both Sides, Now," "The Circle Game") were covered by notable folk singers, allowing her to sign with Reprise Records and record her own debut album in 1968. Settling in Southern California, Mitchell and her popular songs like "Big Yellow Taxi" and "Woodstock" helped define an era and a generation. Her more starkly personal 1971 recording Blue has been called one of the best albums ever made. Musically restless, Mitchell switched labels and began moving toward jazz rhythms by way of lush pop textures on 1974's Court and Spark, her best-selling LP, featuring her radio hits "Help Me" and "Free Man in Paris."
Plot
New Mom, Amy, is not only new to the suburban life, (having left her high powered job in the city to focus her attention on raising her daughter) she's also new to the mommy politics that come with it. Lonely and struggling to navigate the dog eat dog world of pre-school, playdates and playgrounds Amy is thrilled to meet fellow mommy Grace- the new next-door neighbor - who seems to be the answer to her prayers. Falling into fast friendship the two women and their little girls are inseparable - doing everything together from carpool to baby yoga. When Grace suddenly starts avoiding Amy, ignoring her calls, excluding her in activities and shunning her publically - Amy she begins to lose her grip on the mommy balancing act and finds herself the center of the other mommy's scorn and ridicule. As more of her perfectly sculpted life starts to crumble around her she begins to suspect that Grace is behind her downfall. Now an outcast in the world of playdates Amy is determined to bring Grace down with her and uncover her to be the cruel manipulative woman she is.
Plot
Margaret centers on a 17-year-old New York City high-school student who feels certain that she inadvertently played a role in a traffic accident that has claimed a woman's life. In her attempts to set things right she meets with opposition at every step. Torn apart with frustration, she begins emotionally brutalizing her family, her friends, her teachers, and most of all, herself. She has been confronted quite unexpectedly with a basic truth: that her youthful ideals are on a collision course against the realities and compromises of the adult world.
Keywords: abortion, accident, accident-investigation, bicycle, blood, borderline-personality-disorder, bus, cowboy-hat, female-protagonist, name-in-title
David: A red light case is a 50-50 proposition already.
Joan: You know what? You're a little cunt.::Lisa Cohen: [scoffs] You're a big cunt.
Emily: Because... this isn't an opera! And we are not all supporting characters to the drama of your amazing life!
Plot
'Ebony Road' is a drama and unique thriller full of twists set in a contemporary society and city. Two young sisters, Emmie and Isobel Spurrier, struggle to live homeless on the streets of London. The gritty film develops when Emmie accidentally gets involved in prostitution after her younger sister befriends a mysterious man named Keith. Emmie soon realises that her and Isobel's safety is in jeopardy. When the characters fall in grave danger, the pressure is on Emmie to change her critical view of life to bring everyone back together. On her journey Emmie changes dramatically and she learns to appreciate what little she has, as well as befriending and finding trust in Keith. Keith's character is central to the story as he resonates Emmie's feelings towards her sister to those he has towards his own, and develops as a character greatly throughout the film. Jay Frost, played by Oliver Fabian is majorly the most complex character of the film, and has interweaving connections with all three other leads.
Keywords: beach, child, drug, girl, gun, gun-crime, hate, kidnapping, love, murder
For every woman ready to exhale, there is a man waiting to inhale
He has 1 day to earn 6K!
Plot
Hitler's Daughter wants to occupy the White House. She might just do it, unless the ineffectual Nazi hunters and their latest recruit can figure out who the heck she is.
Keywords: based-on-novel, bloody-body-of-child, dead-child, female-politician, hitler, motor-car-bomb, paperboy
Three women of power. One monstrous secret.
Plot
Sharpshooter Matt Quigley is hired from America by an Australian rancher so he can shoot aborigines at a distance. Quigley takes exception to this and leaves. The rancher tries to kill him for refusing, and Quigley escapes into the brush with a woman he rescued from some of the rancher's men, and are helped by aborigines. Quigley returns the help, before going on to destroy all his enemies.
Keywords: 19th-century, aborigine, action-hero, american, arms-dealer, assassin, australia, australian-aboriginal, australian-aborigine, australian-outback
The West was never this far west...The Emmy Award-winning director of "Lonesome Dove" puts the classic Western back where it was meant to be, on the big screen...in a place it's never been before.
There's a price on his head. A girl on his mind. And a twinkle in his eye.
[Quigley has been beaten and left for dead in the Australian desert]::Crazy Cora: Don't worry, on a new job it's quite common for things not to go well at first.
Matthew Quigley: Lady, you're about a half a bubble off plumb, and that's fer sure and fer certain.
[Lost in the Outback]::Matthew Quigley: I don't know where we're goin', but there's no sense bein' late.
Crazy Cora: Things seem different here. They say God made Australia last, don't you know, after he got tired of making everything else the same.::Matthew Quigley: Well, I seen some pretty country, that's for certain.
Elliott Marston: Ah-ha. The legendary Sharps.::Matthew Quigley: You know your weapons. It's a lever-action, breach-loader. Usual barrel length's thirty inches. This one has an extra four. It's converted to use a special forty-five caliber, hundred-and-ten-grain metal cartridge, with a five-hundred-forty-grain paper patch bullet. It's fitted with double-set triggers, and a Vernier sight, marked up to twelve-hundred yards. This one shoots a mite further.::Elliott Marston: An experimental weapon with experimental ammunition.::Matthew Quigley: You could call it that.::Elliott Marston: Let's experiment.
Elliott Marston: [O'Flynn and Dobkin prepare Quigley for an old-fashioned duel] I seem to remember you're not too familiar with Colonel Colt's revolver, so this will be your first lesson. Don't worry. Mr Dobkin and Mr. O'Flynn will ensure that it's a fair contest.::Elliott Marston: [Marston starts walking backwards] I'll just back up a few paces... And to your left a bit, that's it... Now you're right in front of my old pistol target.::Elliott Marston: [Marston slips his coat back to reveal his holster] Some men are born in the wrong century. I think I was born on the wrong continent. Oh, by the way, you're fired::Matthew Quigley: This ain't Dodge City. And you ain't Bill Hickok.::Matthew Quigley: [Quigley shoots Dobkin, O'Flynn and Marston before they can even aim their guns, then walks up to a dying Marston] I said I never had much use for one. Never said I didn't know how to use it.
Elliott Marston: [Marston is knocked out of his house, through a window. His hands come running]::Elliott Marston: No man knocks me out of my own house! [stomps back inside] [pause]::[Marston is again knocked out of his house, through a different window]
Major Ashley-Pitt: In our experience, Americans are uncouth misfits who should be run out of their own barbaric country.::Matthew Quigley: Well, Lieutenant...::Major Ashley-Pitt: Major.::Matthew Quigley: Major. We already run the misfits outta our country. We sent 'em back to England.
Crazy Cora: I remember once my Granddaddy told me how, when you're lost in the desert, you should sleep during the day and walk at night.::Matthew Quigley: Your Granddaddy tell you that? Did he also tell you we'll die, in the the desert, without those horses?::Crazy Cora: Well, what good are horses, if we die of thirst?::Matthew Quigley: Once in a while she actually makes a little sense.::Crazy Cora: What did you say, Roy?::Matthew Quigley: Never mind.
Crazy Cora: You know, if we're lost, you can tell me.::Matthew Quigley: We're lost.::Crazy Cora: I can take bad news. Just tell me straight.::Matthew Quigley: I don't know where the hell we are.::Crazy Cora: No sense takin' time to make it sound better than it is.::Matthew Quigley: I reckon we're goin' in circles.::Crazy Cora: Wire things up and I'll see right through. So, just tell me honestly. Are we lost?::Matthew Quigley: Nope. I know exactly where we are.::Crazy Cora: That's good, 'cause, frankly, I was gettin' a little worried.
Boy: [Looking, at Frank's stomach] Hi.::Frank Cannon: Hi.::Boy: How did you get, that fat?::Frank Cannon: [Frank, pats his stomach jokingly] It's not easy.
Herb Mayer: Frank, you can't just tear off the minute you get back.::Frank Cannon: Herb, you're my lawyer, my confessor, and you're beautiful. But five months ago, I bought myself a new car and I haven't had a chance to drive it around the block.
Frank Cannon: When it comes to bluegrass music and a jukebox, I've got a memory like an elephant. No joke intended.
Tough in Blue Moon bar: Who are you, anyway?::Frank Cannon: I am a student of native customs.::Tough in Blue Moon bar: You're new around here, aren't you?::Frank Cannon: I'm luckier than that, I'm just visiting.
Frank Cannon: Gallitin's as wide-open as a stomach wound.
Lt. Kelly Redfield: You know, I-I wanted to kill you the other night.::Frank Cannon: Kelly, not a chance. I got eighty pounds on you.