Three girls arrive at a stuffy English public school and cause all sorts of problems with both the staff and pupils.

An ex-convict gets released after shooting a fellow who made a play for his wife. When he meets Sleeper, his life takes a change for the better, but along with her comes the boisterous little Collins, for whom she is a governess.

A young man is tasked by the powerful Cardinal Richelieu to capture one of the cardinal's enemies but falls in love with his target's sister. The film marks the last motion picture appearance by stage actor Robert B. Mantell who plays Cardinal Richelieu and the only silent screen performance of opera singer John Charles Thomas.

A magazine reporter exposes a crooked District Attorney, resulting in his trial. Complications ensue, however, when the man is acquitted.

Otto Kruger once again plays a dynamic, bombastic attorney in Columbia's Counsel for Crime. Kruger plays William Mellon, a shifty shyster whose underhanded methods loses him the love of his sweetheart Anne (Nana Bryant), who subsequently marries a powerful senator (Thurston Hall). What Mellon doesn't know is that Anne has borne him a son, whom the senator has adopted. Reaching adulthood, Paul (Douglass Montgomery) opts for a legal career himself, taking a clerical job with his own father's firm. In typical "B"-picture, Mellon is charged with murdering one of his more odious clients -- and Paul is appointed prosecuting attorney in the case.

An ex-sailor turned boxer finds romance and gets a shot at the heavyweight title.

Live television version of the classic musical.

Portrait of legendary fighter John L. Sullivan, aka "The Boston Strong Boy", and his meteoric rise to become the first gloved World Heavyweight Champion. But the famed boxer is no match for the two women with holds on him, love struck actress Kathy Harkness and the real love of his life, beautiful but unyielding Anne Livingstone.

Unwed mother gives up baby for adoption and hopes to get it back when the adoptive mother dies.

The dramatic story of a normal, intelligent man of good principles driven to contemplate thoughts of murder.

Broadway producer Earl Carroll was a Ziegfeld-like entrepreneur who staged lavish revues featuring attractive young ladies. Carroll's annual "Vanities" provided story material for three Hollywood films: Murder at the Vanities (34), A Night at Earl Carroll's (40) and Earl Carroll Vanities (45). This last film was produced by Republic Pictures, a bread-and-butter studio specializing in Westerns and serials; Republic had made musicals before, but few of them were expensive enough to allow for lavish production numbers. Earl Carroll Vanities is likewise rather threadbare, though some of the individual musical highlights aren't bad. The plot, such as it is, concerns financially strapped nightclub owner Eve Arden, who finagles Earl Carroll into staging one of his revues at her club.

The Victorian wife of a mad baron waits years for a British soldier sent to Egypt.

A nightclub star helps trap an enemy agent on the trail of an American newsman.

An immensely successful criminal lawyer is blindsided when he learns that his new case involves his ex-wife, who left him.

David gives his wife, Joyce, an unexpected—and unpleasant—surprise when he suddenly demands a divorce. When she then learns that David has taken up with a younger woman, Joyce decides to make the most of this separation by taking a solo trip to the Caribbean. However, just before diving into a vacation fling, she runs into Emily, an old chum whose own divorce has left her embittered. Joyce then debates giving married life one last chance.

A telephone repairman in Los Angeles uses his knowledge of electronics to help a bookie set up a betting operation. After the bookie is murdered, the greedy technician takes over his business. He ruthlessly climbs his way to the top of the local crime syndicate, but then gangsters from a big East Coast mob show up wanting a piece of his action.

While recuperating in a hospital after he's hit by an automobile, a struggling shopowner dreams what his life might have been like if he'd made different choices twenty years earlier.

The impressive title work is the viewer's first clue that producer William Alland and director Eugene Lourie squeezed considerable artistry and style from a shoestring budget. Look past the economic limitations; the suspenseful and imaginative story involves the death of a humanitarian genius whose father (a famous surgeon) and brother (a robotics expert) team up to keep the genius' brain alive in a robot body (well designed by ace effects artist John P. Fulton). The film's message concerns the nature of the soul and the role which physical sensations play in making humans act humane. Other affects by Fulton include one of sci-fi cinema's best death rays. All in all, a moving and intelligent movie