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Jackie O’Shea, a resident of the tiny Irish coastal village of Tully More, discovers that one of his neighbors has won the lottery - the question is, who? It takes some doing, but Jackie figures out that the lucky person is none other than his new best friend, Ned Devine. Unfortunately, it turns out Ned is in no position to collect the jackpot, which totals almost 6.9 million Irish pounds. So Jackie and his real best friend, Michael O’Sullivan, try to figure out a way to share in Ned’s good fortune - after all, Ned would want it that way. But things get a lot more complicated than either Jackie or Michael could have anticipated.

Eight haunted people meet and fall apart - looking for redemption in each other. Jim is throwing watermelons off his office roof. He’s testing the effect for a possible suicide. But then there is Sue on an adjacent roof about to jump herself. They meet, delay their departure and set off searching for other ways out than down. Sue’s ex-boyfriend, Dean, is struggling with his creativity. His paintings are getting panned and his poetry ripped apart. He needs a muse - and who better than Gina, the experimental prostitute with dodgy legs who lives next door. However, Dean soon finds out that Gina never does anything for free. After a short fling with Dean, Olly is lost in a world of sexual confusion when forced to look after his deaf-mute brother Chris for the day. Olly discovers that not only does Chris has gay feelings too, but is more comfortable with them than he is. They embark on a searing quest through Soho’s gay community to help Chris loose his virginity. But no-one has more to hide than oldest brother Pete. He’s being stalked by Carol, a timid old lady looking for her son - a guy Pete knew from his violent drug days. Fearfully Pete opens his frozen heart to Carol and they begin a treacherous journey to the woods to find her lost son. By the end, each lost soul finds a solution in darkness or in light. Connections are made or missed and longed-for families brought together for a moment of hope.

The infamous Jack the Ripper case set in London of 1888. The Ripper has been running amok in the Whitechapel district murdering and dissecting prostitutes. Scotland Yard Inspector Fred Abberline, aided by his partner, Peter Godley, are on the case to figure out who this serial killer is and why he is killing these women in such a brutal manner. Abberline is an opium addict and when “chasing the dragon” he is able to have visions of the future, a certain psychic ability that allows him to solve cases. As Abberline and Godley investigate the crimes, they become acquainted with the prostitutes who were friends and colleagues of the victims. Abberline begins to fall in love with Mary Kelly, one of the prostitutes, or as the nobles called them “unfortunates”, being hunted down by Jack the Ripper. Abberline digs deeper and deeper into the conspiracy and attempts to solve the case before Mary Kelly is the next victim.

Nearly a decade after Cate Blanchett drew the attention of audiences and critics alike with ELIZABETH, the Oscar-winning actress returns to the role of the Virgin Queen. Though the protestant ruler has been on the throne for decades in 1585, Elizabeth I’s reign is still under attack from both inside her country and from the continent. Her cousin, Mary, Queen of Scots (Samantha Morton), carries the favour of the nation’s Catholics as she schemes for the throne from prison, while Spain’s King Philip II (Jordi Molla) plots an invasion with the power of his famous armada. But Elizabeth is also concerned with the arrival of Sir Walter Raleigh (Clive Owen), a charming pirate and adventurer. Unable to reconcile her feelings with her crown, she encourages Bess (Abbie Cornish), her beloved lady-in-waiting, to pursue a relationship with Raleigh.
Nine years haven’t dulled Blanchett’s ability to play this—or any other—character with an impressive range of fire and tenderness. Her chemistry with the infinitely watchable Owen is one of the film’s highlights. As in ELIZABETH, director Shekhar Kapur doesn’t restrict himself from using artfully constructed shots that aren’t normally used in period dramas. It’s a modern retelling of history, and Kapur and his director of photograpy, Remi Adefarasin, aren’t content to let the film have the standard look of many films in the genre. Costume designer Alexandra Byrne follows the same logic, creating stunning dresses for Elizabeth that draw inspiration both from modernity and the time period. If Blanchett weren’t such a gifted actress, the gorgeous costumes might threaten to overtake her as the star of the film.