The first feature film of cult filmmaker John Landis (An American Werewolf in London, Innocent Blood) Schlock serves as a exemplary reminder we all have to start somewhere. Shot over the course of 12 days on a measly $60,000 budget in one of the many suburbs of Los Angeles, Schlock is a campy homage to horror and science fiction movies of the past, as seen through the eyes of one very eager 21-year-old filmmaker. A small community is besieged by a wave of baffling, unsolved murders, committed by an entity whom authorities and the media alike have dubbed "The Banana
Results tagged “Cult”
John Landis' campy homage to classic monster movies surfaces in High-Definition for a limited time from Turbine Media Group.
VCI keeps the memory of Bruceploitation alive and kicking by cloning a German Blu-ray release for this one.
Though contributions to what has since become known as the "Bruceploitation era" were numerous, those who dare consider themselves loyal to the less-than-esteemed subgenre of ripoff filmmaking generally tend to hold three particular titles high above all others. Amazingly managing to reach a zenith within a cataclysmic cinematic nadir such as this, Bruce Lee Fights Back from the Grave, The Clones of Bruce Lee, and Bruce's Deadly Fingers have become as holy to bad kung fu movie lovers as has Clint Eastwood's The Man with No Name Trilogy has with Spaghetti Western enthusiasts. Apart from the occasional music cue shamelessly
Twilight Time proudly unleashes the intense, unofficial sequel to "The French Connection". And it's nothing short of awesome.
Off the record, there were two sequels to William Friedkin's 1971 action-packed Oscar-winning cop thriller The French Connection. Officially, only John Frankenheimer's 1975 follow-up French Connection II ‒ a film which has always failed to live up to its predecessor in my opinion ‒ falls into that category. From a decidedly less official point of view, however, Philip D'Antoni's 1973 action classic The Seven-Ups is a motion picture that many feel is entirely more deserving of the honor. Though neither film shares the same director, the late Mr. D'Antoni was nevertheless one of the most significant denominators (or, "connections", if
AIP's only Gothic romance is just as weird as you'd expect, and can now be seen in High-Definition thanks to Twilight Time.
Even if you don't include the many television adaptations, the number of times Emily Brontë's one and only novel has been transformed into a movie for the big screen alone is not only staggering, it's Wuthering. And since there are so many superior versions of Wuthering Heights ranging from the likes of Samuel Goldwyn to Luis Buñuel flying high within those ne'erending winds above us, there's bound to be the occasional oddity plummeting down to the frozen English tundra below. In this case, a strange account of the timeless tale has fallen into our laps thanks to the folks at
The Warner Archive Collection revs up the gas for Jeff Burr's controversial buzzer.
Bridging the gap between pure psychological horror with a touch of humor and gore into something polarly opposite isn't an easy task. And there is no better example of that in the realm of scary movies than New Line Cinema's maligned 1990 slasher sequel, Leatherface: The Texas Chainsaw Massacre III. Though technically an '80s flick, Jeff Burr's 1990 contribution to the famous film franchise ‒ which still exists today via an occasional, unnecessary reboot every couple of years ‒ became an instant target for fans and foes alike. Several years before, the Cannon Group released Tobe Hooper's The Texas Chainsaw
After an marred first release, VCI's second check-in to this Horror Hotel with Christopher Lee checks out.
Revisiting a classic horror movie you loved as a kid after you've aged a bit can always be a tricky thing to do. It had been at least 20 years since I last cast eyes on The City of the Dead, which I initially discovered via a fuzzy ol' Public Domain VHS copy in the early '90s. Needless to say, when it came time to see the movie again after all that time, I was rather worried that the experience would not be the same. Fortunately, just like the eponymous village itself, time has done very little to age the
John Ashley and Pam Grier highlight this hilariously cheesy slice of Filipino rip-off cinema.
When fans of sleazy exploitation movies get together to discuss their favorite contributions to bad filmmaking from the Philippines, Eddie Romero's name is rarely left out. In fact, the late B-movie guru from the same country that brought us national treasures like the films of Weng Weng is undoubtedly one of the "best" known directors to hail from the country, thanks to a series of mind-numbing mad scientist flicks from the late '60s and early '70s informally referred to as the Blood Island movies. Following the conclusion of the aforementioned series, the late Mr. Romero found himself cranking out a
Bill & Ted's Excellent Adventure (30th Ann. Steelbook) and the Adventures of Buckaroo Banzai Across the 8th Dimension (Limited Ed. Steelbook) to Be Released by Shout! Factory
Only 10,000 of each will be available, and they are available now on Amazon and ShoutFactory.
Press release: Shout! Factory will be releasing Steelbook editions of two cult-favorite films on May 15, 2018: Bill & Ted's Excellent Adventure (30th Anniversary Edition Steelbook), and The Adventures of Buckaroo Banzai Across The 8th Dimension (Limited Edition Steelbook). Only 10,000 of each will be available, and they are available now on Amazon.com and ShoutFactory.com. Customers ordering The Adventures of Buckaroo Banzai Across The 8th Dimension (Limited Edition Steelbook) from ShoutFactory.com will receive a free 18x24 rolled poster featuring our brand new artwork, while supplies last, and get it shipped two weeks early. In Bill & Ted's Excellent Adventure, the
The only thing more beautiful than the last 12 minutes of this Synapse Films restoration are the first 86.
Best described as a surrealistic fairytale nightmare come to life, Dario Argento's Suspiria has been leaving its mark on audiences and filmmakers alike since its debut in 1977. Truly, it's hard not to become immersed in its breathtaking (sometimes literally) visuals, stunning cinematography, or that wild and pounding soundtrack by Goblin. And now, thanks to a drop-dead gorgeous new 4K transfer by Synapse Films, Argento's amazing masterpiece almost feels like an entirely new feature. Equal parts horror, giallo, and fantasy, Suspiria finds cult favorite star Jessica Harper (Phantom of the Paradise, Shock Treatment, Inserts) as an American ballet student named
Pop Cinema releases two cool SWV double features, albeit in compressed, condensed form.
There's an unofficial saying pertaining to the world of adult-oriented filmmaking which goes something along the lines of "If you can think it, someone has already filmed it." Various horrors which shall undoubtedly spew forth from your subconscious once you've thought long and hard about that notwithstanding, there is that occasional moment in time wherein you witness something you had actually wanted to see. For years, I had imagined a scenario involving a man and woman in a post-apocalyptic setting whose first meeting is interrupted by a kung fu fight to the finish with roaming bandits. You can imagine the
Unapologetically sleazy and unintentionally hilarious, another Italian exploitation mess-terpiece arrives in the U.S. from RaroVideo.
If you can envision what might happen were someone to create a ’50s style propaganda movie à la George Weiss in the vein of ’60s arthouse roughie by Doris Wishman fused with all of the sense and sensibilities of a cheap ’70s exploitation flick written by Ed Wood, there’s a fairly good possibility you might be prepared for everything The Teenage Prostitution Racket has to offer. Even then, however, you still might not be ready. Sewn together much in the same way a five-year-old would darn a pair of socks ‒ replete with plenty of awkward stitchings that make a
The Warner Archive Collection cordially invites you to attend the premiere of Rachel Ward's slasher movie debut in High-Definition.
One of several kajillion slasher movies manufactured in the early '80s alone, the American-made Night School sports an oddly Canadian aura about it throughout ‒ from the British director (Ken Hughes, Chitty Chitty Bang Bang, The Internecine Project) and starlet Rachel Ward (in her film debut) to the vaguely familiar, mostly nocturnal urban New England location photography by Scanners cinematographer Mark Irwin, right down to the finale which honors the horror sub-genre's giallo roots. When viewed in this erroneous light, Night School feels like some sort of underrated cult classic. Amusing enough, however, if you stare directly into the big
Scream Factory re-opens the door to the hotspot below with a stunningly clear 2K scan.
My first viewing of Gate II was when the film first came to my hometown's dinky second-run theater (which was our only theater) in 1992, several months after the low-budget B-movie had already opened. It was the very kind of film our local cinema proudly shelled out for: something they could pick up on the cheap and pair with another "affordable" feature from the era for a barely-advertised double-bill ‒ which my best friend and I would see at the sparsely-occupied Sunday matinee for a whopping five bucks, per our weekly movie-going ritual. While we were well accustomed to seeing
Massacre Video brings us a High-Def release of this cult Satanic Panic '80s horror oddity.
Only a short time ago, finding a copy of Jag Mundhra's low-budget '80s horror flick Hack-O-Lantern on VHS was similar to discovering the source of The Nile. Granted, said copy would usually be a well-worn one, as the direct-to-video film ‒ which also once bore the title Death Mask before seeing later distribution on home video under the title Halloween Night ‒ was certainly not the sort of moving picture to have made rounds on the retail videocassette market. Rather, Hack-O-Lantern was the sort of schlocky cheesy tripe which could have only hailed from the glorious days of rental pricing;
VCI Entertainment re-releases Steve Barkett's wild, low-budget post-apocalyptic cult classic co-starring the one and only Sid Haig.
Were you to whisper the name "Steve Barkett" to the average moviegoer, a lengthy pause with near-audible chirping crickets in the background may follow. Say Barkett's name to an aficionado of low-budget sci-fi and horror movies from the days when people still shot independent movies on film, however, and you're entirely likely to get a different reaction. From a much more personal perspective, I actually met a former colleague of his at a coffee shop; an encounter which would later result in me inheriting several reels of film from two of Mr. Barkett's films. Well, let me rephrase that slightly
With everything from original production materials to a bonus feature Ed allegedly worked on, this AGFA/SWV BD is packin' a lot of Wood.
The list of filmmakers best known for helming the worst movies ever made is a long and varied one. In fact, it grows more and more with each passing year. But even as contemporary contenders and waning wannabes vie for some sort of misplaced honor (or misattributed attention) in the awkward world of unintentionally terrible motion pictures, one name still manages to frequently take the lead: that of amateur auteur Edward D. Wood, Jr. Since Wood's untimely passing in December 1978, his delightfully delirious titles ‒ including the early (if totally bizarre) LGBT drama Glen or Glenda? and the sci-fi/horror
Blue Underground brings the creepy Bob Clark/Alan Ormsby cult classic back to life with a gorgeous new 2K scan.
While W.W. Jacobs may have never been much of a household name either before or after his death in 1943 at the age of 79, the late English author nevertheless left a lasting mark on the world of horror thanks to his 1902 horror story The Monkey's Paw. The quintessential tale carrying the classic "be careful what you wish for" analogy, Jacobs' "immortal" tale would go on to be transformed into a variety of many mediums over the years, beginning with a stage adaptation just one year after the story was first published. But it was the world of film
The brilliant mockumentary from Christopher Guest and Co. gets a beautiful new High-Definition transfer from the Warner Archive Collection.
Before he gave us his unique looks at dog shows and folk groups, This Is Spinal Tap co-creator and star Christopher Guest formed his first "solo" mockumentary turned his eyes towards the stage for this hilarious mockumentary revolving around one very memorable community theater presentation by way of Samuel Beckett's immortal play Waiting for Godot. Set in the fictional small town of Blaine, Missouri, 1996's Waiting for Guffman finds Guest as an ambiguously gay theater director from New York named Corky St. Clair. Clad in some of the worst fashion violations ever conceived, Corky takes on the helming of "Red,
The Warner Archive Collection gives the campy U.S./Japanese cult classic a stellar new HD transfer.
Apart from the occasional World War II movie, there haven't been terribly many instances in film history wherein the US and Japan collaborated on something together. When they did, the results tended to vary, ranging from epic successes such as Tora! Tora! Tora! to movies almost as disastrous as WWII itself. And it is there, on the latter list of atrocities, that you will find a barely moving motion picture; one which has been sitting ‒ quite comfortably, at that ‒ in the same illustrious spot for several decades. An unofficial sequel to the mid '60s Gamma One quadrilogy from
The Warner Archive Collection puts an awful lot of effort into an awful Ray Bradbury adaptation.
In 1951, genre novelist (and all-around legendary icon) Ray Bradbury published The Illustrated Man ‒ a collection of eighteen short stories based around a former carnival sideshow freak whose body is covered in an assortment of mysterious tattoos which come to animated life as they relay bizarre tales hailing from different corners of time and space. Were that not already a recipe for box-office poison, the people behind Warner Bros./Seven Arts' 1969 feature adaptation of the same name threw out more than just five-sixths of Bradbury's tales: they also threw out all of the coherency. There is also a very