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A woman recalls her life and musical career choices in New York City through the years.

An escaped convict and a woman ponder what to do with a not-quite-dead body.

After discovering he might die soon, a timid young man along with his estranged and outrageous childhood friends, embark on a quest for closure on why the love of his life left.

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A prisoner in her own home, a captive in her own body. Assaulted and trapped with no one to hear her cries for help… and knowing no one will believe her if they do. This is the terrifying reality Alaina finds herself in when she moves in to the house her mother died in. At first she thinks it’s the loss of her mother that is haunting her, but she is soon shown it is something far more malicious and unrelenting. The spirit taunts her as it invades her body, mind, and soul, completely trapping her. Alaina has to fight for answers on what really happened to her mother if she has any hopes of survival. She must find a way to endure this monster who lives and breathes to rob her of her sanity as it demands a savage hold on her.

A hitman in Koreatown meets a Karaoke hostess only to find out she is his next target.

After moving into a haunted trap house, a troubled young hustler from the streets begins to discover his true purpose.

After her husband dies of mysterious circumstances, a widow becomes increasingly paranoid of the neighboring religious community that may have diabolical plans for her.

If Columbia could make an acceptable movie star out of opera-diva Grace Moore, then RKO Radio could do the same with Lily Pons. At least that was producer Pandro S. Berman’s reasoning when he cast Pons in the 1935 musical romance I Dream too Much. The actress plays Annette, a rural French musical student who marries struggling American composer Jonathan (Henry Fonda). Possessed of a splendid singing voice, our heroine rises to fame on the opera stage, while poor Jonathan continues struggling, supporting himself as a tour guide. Annette eventually saves her marriage by transforming her husband’s “masterpiece,” a rather turgid modernistic opera, into a light-hearted musical comedy. Lucille Ball, who’d later co-star with Henry Fonda in The Big Street and Yours, Mine and Ours, has a funny minor role as a gum-snapping tourist. Though Lily Pons was at least 10 years older than Fonda, they make an attractive and believable screen couple, adding credibility to this somewhat contrived yarn

After surviving the electric chair, convicted serial killer Max Seed is buried alive. He digs himself out of the grave and goes on a killing spree. Taking revenge on the men who put him there and random unfortunates alike.

After being stabbed with an ancient, germ-infested knife, a doctor’s assistant finds himself with an insatiable desire for blood.