Two novice thieves are plotting to rob a bank in Vancouver. A photographer snaps a shot of one thief as he is carrying the bank building's blueprints. The would-be thief then begins a relationship with the photographer and attempts to retrieve the photos. Meanwhile, the thieves' plot consists of this: one man will enter the bank building after dark, while the other man sits in a van and uses a computer to unlock the building's doors. The final step involves transporting the cash to a freight ship waiting on the docks, for transportation to a money launderer in Macau.

Ellen Burstyn stars as Joan Walker, a mother whose college student son vanishes while traveling from Canada to Colorado. When police fail to investigate, Walker takes matters into her own hands. She and her ex-husband begin a search, but when their son's van is found in Maine brandishing stolen plates, they fear the worst. Now, it's up to a private detective to uncover the chilling truth in this absorbing drama based on a true story.

A chess grandmaster is in a big tournament, and when his lover is found painted up and the blood drained out of her body he becomes a chief suspect. After he gets a call from the killer urging him to try and figure out the game, he cooperates with police and a psychologist to try and catch the killer, but doubts linger about the grandmaster's innocence as the string of grisly murders continues.

In his first film, A Prayer for Nettie, Donigan Cumming had placed Albert at the heart of the posthumous tribute to Nettie, his former model. One year later, he composed Cut the Parrot, a new requiem intended for Albert, who also died amid total indifference. As in his previous film, the film-maker gathered a series of eulogies in honour of the deceased from the people, some close and others not so close, who were emotionally affected by his death. But this film differs from the previous one in that it seems to be based not only on respect but also on an intense anger. Several times Donigan films his own face and angrily tells about how he was informed of Albert's death or about his visit to the morgue to identify the body. From then on the principle behind his cinematographic quest seems clearly exposed: no life, however marginal it may seem, should end in such a way, without any consideration.

An outlaw drag racer (Richard Grieco) tries to save his brother (Jay Acovone) from a crime boss (Joe Cortese) in Brooklyn.