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In the near future the two spaceships Argos and Galliot are sent to investigate the mysterious planet Aura. As the Galliot lands on the planet her crew suddenly go berserk and attack each other. The strange event passes, but the crew soon discovers the crashed Argos – and learns that her crew died fighting each other! Investigating further, the explorers come to realize the existence of a race of bodiless aliens that seek to escape from their dying world.

A number of legends and belief systems describe dark spiritual or supernatural entities as well as various shadow creatures which have long been a staple of folklore and centuries old ghost stories. While some physiological and psychological conditions can account for experiences of shadow people, paranormal researchers don’t all agree on whether or not they are evil. Some even speculate that shadow people may be the extra-dimensional inhabitants of another universe. One thing is for sure though, thousands of sane people are reporting dark, menacing apparitions lurking over them while sleeping and leaving them in a paralyzed state frozen with fear. Is this some new psychological phenomenon or intruders from some other nefarious dimension?

This follow-up to the George Romero/Stephen King-launched anthology series features five new tales of horror and a wraparound. The main stories deal with alternative realities (“Alice”), possessed communication devices (“The Radio”), vampires and serial killers in lust (“Call Girl”), mad inventors (“The Professor’s Wife”), and hauntings from beyond the grave (“Haunted Dog”).

Looking to escape her unhappy marriage, villainous femme fatale Bridget Gregory (Linda Fiorentino) convinces her husband, Clay (Bill Pullman), to sell cocaine, then steals the profits and runs out on him. She stops in a small town en route to Chicago, where she ensnares her next conquest, insurance man Mike Swale (Peter Berg). After getting a job at his insurance company, Bridget convinces Mike to run a scam — but things take a deadly turn when she recruits him to help get rid of her husband.

Set in the small town of Devil’s Gate, North Dakota, the film examines the disappearance of a local woman and her young son. Schull plays an FBI agent who helps the local sheriff search for answers. Partnering with a deputy , they track down the missing woman’s husband and find that nothing is as it seems.

The Outsider begins with a seemingly straightforward investigation into the gruesome murder of a young boy. But when an insidious supernatural force edges its way into the case, it leads a seasoned cop and an unorthodox investigator to question everything they believe in.

A queer college freshman joins her university’s rowing team and undertakes an obsessive physical and psychological journey to make it to the top varsity boat, no matter the cost.

Nothing is as it seems as an ex-con and aspirant filmmaker set out to manufacture a horror film by scaring real people; however, when it goes too far and someone actually dies, the pair decide that killing for real on film is the way to make a truly terrifying movie.

This espionage thriller represents a landmark in spy movies introducing the sly, dry intelligence agent Harry Palmer. The story, centers on Palmer’s investigation into British Intelligence security. He’s soon enmeshed in a world of double-dealing, kidnap and murder and finds a traitor is operating at the heart of the secret service. Will the mysterious ‘Ipcress File’ reveal who the traitor is?

3 horror stories based on the writings of Nathaniel Hawthorne. In the 1st story titled “Dr. Heidegger’s Experiment”, Heidegger attempts to restore the youth of three elderly friends. In “Rappaccini’s Daughter”, a demented father is innoculating his daughter with poison so she may never leave her garden of poisonous plants. In the final story “The House of the Seven Gables”, The Pyncheon family suffers from a hundred year old curse and while in the midst of arguing over inheritance, the Pyncheon brother kills his sister.

“The Risk not Taken” is a story about making the right decisions. Can one calculate the inherent risks of imminent decisions and take full responsibility for their outcome? Should one be allowed to make decisions of this magnitude for others? With the symbolic omnipotent sphere, the main character holds the world’s fate in his hands. The decision is his whether to use this power to improve life for many, yet at the same time might risk a catastrophe, or to separate himself from this power, and take the safer, more long lasting path. As he ponders and envisions the possible risks involved if he were to use the power, as well as what he would lose if he made the wrong decision, symbolized by the woman and child, he decides against this burden of power and lets go of the power and lets the sphere fall so as not to be tempted to change his mind.