In 16th-century Prague, a Jewish rabbi creates a giant creature from clay, called the Golem, and using sorcery, brings the creature to life in order to protect the Jews of Prague from persecution.

Porky and Sylvester spend the night in an old dark house, whose horrors only Sylvester sees. His repeated attempts to save Porky from the ghoulish doings of the killer mice infesting the place only make the skeptical Porky all the more convinced of Sylvester's cowardice.

Starving Mexican mice want access to a cheese factory guarded by Sylvester Cat and send for Speedy Gonzales, the fastest mouse in all Mexico, to breeze past Sylvester and obtain the cheese for them.

Daffy tries to sell movie studio head J.L. his script for a swashbuckler set in Merry Olde England, a plot involving a maiden in distress, a scheming Chamberlain, an evil Grand Duke and a dashing masked hero (to be played by Daffy, of course).

Luz Garcia, a high school senior in a forgotten Texas town, wants something different than the options awaiting her after graduation. She's earned a ticket out with admission to the University of Texas at Austin, but she can't afford to go. Her one shot is a scholarship for winning the State Powerlifting Championship. It's all or nothing for Luz . . . until nothing stares her in the face.

A horror film that depicts St. Nicholas as a murderous bishop who kidnaps and murders children when there is a full moon on December 5.

The sufferings of a martyr, Jeanne D'Arc (1412-1431). Jeanne appears in court where Cauchon questions her and d'Estivet spits on her. She predicts her rescue, is taken to her cell, and judges forge evidence against her. In her cell, priests interrogate her and judges deny her the Mass. Threatened first in a torture chamber and then offered communion if she will recant, she refuses. At a cemetery, in front of a crowd, a priest and supporters urge her to recant; she does, and Cauchon announces her sentence. In her cell, she explains her change of mind and receives communion. In the courtyard at Rouen castle, she burns at the stake; the soldiers turn on the protesting crowd.

Peace in 17th-century Japan causes the Shogunate's breakup of warrior clans, throwing thousands of samurai out of work and into poverty. An honorable end to such fate under the samurai code is ritual suicide, or hara-kiri (self-inflicted disembowelment). An elder warrior, Hanshiro Tsugumo (Tatsuya Nakadai) seeks admittance to the house of a feudal lord to commit the act. There, he learns of the fate of his son-in-law, a young samurai who sought work at the house but was instead barbarically forced to commit traditional hara-kiri in an excruciating manner with a dull bamboo blade. In flashbacks the samurai tells the tragic story of his son-in-law, and how he was forced to sell his real sword to support his sick wife and child. Tsugumo thus sets in motion a tense showdown of revenge against the house.

An elderly couple journey to Tokyo to visit their children and are confronted by indifference, ingratitude and selfishness. When the parents are packed off to a resort by their impatient children, the film deepens into an unbearably moving meditation on mortality