The Sniper 1952 ( 6.653)

Eddie Miller struggles with his hatred of women, he's especially bothered by seeing women with their lovers. He starts a killing spree as a sniper by shooting women from far distances. In an attempt to get caught, he writes an anonymous letter to the police begging them to stop him.

Hollow Triumph 1948 ( 6.519)

Pursued by the big-time gambler he robbed, John Muller assumes a new identity—with unfortunate results.

Johnny Belinda 1948 ( 6.836)

A small-town doctor helps a deaf-mute farm girl learn to communicate.

Son of Dracula 1943 ( 5.83)

Carpathian Count Alucard is invited to the U.S. by a young heiress. Her boyfriend and local officials are suspicious of the newcomer, who is interested in the "virile" soil of the new world.

Blonde Ice 1948 ( 5.676)

A golddigging femme fatale leaves a trail of men behind her, rich and poor, alive and dead.

Hellzapoppin' 1941 ( 7.1)

Olsen and Johnson, a pair of stage comedians, try to turn their play into a movie and bring together a young couple in love, while breaking the fourth wall every step of the way.

My Boy 2015 ( 2)

Sarah nurtures a relationship with a 2 year old boy she calls Johnny. She buys him clothes, to him and introduces him to close friends. She says he is the son of her cousin who is unable take care of him. Her friends want to believe her, but something isn't quite right about her story... "My Boy" is a partially autobiographical film and has won a long list of awards.

The Lovers' Guide Interactive 2008 ( 5.5)

Puppy Love 2020 ( 4)

A prophetic young dishwasher with brain-damage and a homeless prostitute are brought together through obscene circumstances and embark on a perverse journey through the gutter.

The Harlem Globetrotters on Gilligan's Island 1981 ( 4.714)

The Harlem Globetrotters' chartered plane crash lands on the atoll inhabited by the happily marooned Gilligan and fellow castaways, and they all must play basketball against a specially programmed squad of robots controlled by a mad scientist.

Tomorrow’s Promise 1967 ( 4.5)

“Tomorrow’s Promise is a film about vacantness. Which physically does ‘begin’, reversed, upside down on the screen […] suddenly another such position is taken (not in reverse), this time by a male figure and soon, in this same section, the girl of the reversed image reappears posed in a different way; a way obsessed by ‘mood’. Then a technical play of in-the-camera-editing occurs, more intense, brighter than in the first, reversed section. There are several inter-cuts which serve, in this and each subsequent section unto the end, as relative links into the final section: which is actually the ‘story’. The story the protagonist and her hero try to tell in their way is apophysis; except that ‘pictures’, clear visions take the place of words. My film could have been edited with precise tensions and a lucid straight narrative, but it was my aim to ‘re-create’ the protagonist of my personal life.” - Edward Owens