An unlikely Hollywood hooker helps a detective set a trap for a mutilator pimp.

A rich millionaire hires a sophisticated journalist to bring his somewhat dim-witted girlfriend up to the level of his peers. He fears that the showgirl's lack of etiquette may damage his own social reputation and tries to change her — but fails to realise that her enhanced eloquence will empower her to voice her own strong opinions.

High School student David Lightman has a talent for hacking. But while trying to hack into a computer system to play unreleased video games, he unwittingly taps into the Defense Department's war computer and initiates a confrontation of global proportions. Together with his girlfriend and a wizardly computer genius, David must race against time to outwit his opponent and prevent a nuclear Armageddon.

While searching for a KGB double agent who was about to be exposed by another Russian spy-turned-successful author, mystery bookstore owner Samantha Kinsey and her good friend and store manager Philby are thrust into the murderous world of international espionage.

On a bet, a gridiron hero at John Hughes High School sets out to turn a bespectacled plain Jane into a beautiful and popular prom queen in this outrageous send-up of the teen movies of the 1980s and '90s.

Diary of a Chambermaid (French: Le journal d'une femme de chambre, Italian: Il diario di una cameriera) is a 1964 film.[1] It is one of several French films made by Spanish-born filmmaker Luis Buñuel but lacks the surrealist imagery and plot twists of his other films. It stars Jeanne Moreau as a chambermaid who uses her feminine charms to control and advance her situation, in a social setting of corruption, violence, sexual obsession and perversion.
This was the first screenwriting collaboration between Buñuel and Jean-Claude Carrière, which would later produce his well known Belle de Jour (1967), The Discreet Charm of the Bourgeoisie (1972) and That Obscure Object of Desire (1977). The two extensively reworked the 1900 novel of the same name by Octave Mirbeau, that had been given a more literal treatment in its first film adaptation, made in Hollywood in 1946, directed by Jean Renoir.