Chilling Classics: 50 Movie Pack [12 Discs]Chilling Classics: 50 Movie Pack [12 Discs]

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MOVIE DESCRIPTION:

    Chill to the bone for hours on end with this amazing 50-pack of chilling classics featuring such legendary stars as Christopher Lee, Peter Cushing, Richard Boone and Joseph Cotten. This small sampling includes The Alpha Incident (1978), Bell from Hell (1973), A Bucket of Blood (1934), Crypt of the Living Dead (1973), The Demons of Ludlow (1983), Dr. Tarr's Torture Dungeon (1973), Horror Express (1973), I Bury the Living (1958), Lady Frankenstein (1971), Naked Massacre (1976), Oasis of the Zombies (1981), The Revenge of Doctor X (1970), Track of the Moon Beast (1976), Werewolf in a Girl's Dormitory (1962) and many more on 12 DVDs. 1953-1988/color-b&w/73 hrs., 43 min/NR/fullscreen.

DVD FEATURES:
  • Number of Discs: 12
  • Audio: Dolby Digital Stereo
  • Screen: Color
AWARDS
  • Genie Awards
  •     Nominated Best Actress - 1982 (Lesley Donaldson)
  •     Nominated Best Editing - 1982 (Ralph Brunjes)
  •     Nominated Best Sound Editing - 1982 (Austin Grimaldi, Joe Grimaldi, Gary Bourgeois, Ian Hendry, Dave Appleby, Andy Herman)
ADDITIONAL INFORMATION:
REVIEWS:
  • Abel Ferrara directed and starred in this notorious gore/art film about a painter (played by Ferrara using the name "Jimmy Laine") who snaps because a loud punk-rock group moves into his building. After killing a few bums with his drill, he starts taking revenge on people he resents. Dark and moody, this film comes across as a slightly classier version of Last House on Dead End Street, albeit with the same oppressively grim ambience. One of the primary films involved in the British "video nasties" debate, it really isn't all that bloody save for one graphic drilling, but the disturbing tone still makes it a decidedly unpleasant experience. ~ Robert Firsching, Rovi
  • Although not the best Jack the Ripper story -- or even the best version of Marie Belloc-Lowndes' take on the story -- The Man in the Attic is a fairly gripping account, given most of its strength from the powerful performance supplied by Jack Palance. Palance is in command of his performance and in control of the film almost from the get-go. Indeed, Palance is so in control that a great deal of the suspense is lost, a fact that director Hugo Fregonese should have realized and should have worked to counteract. Still, the menacing and mysterious Palance is so entertaining that he makes up for this flaw. Rhys Williams also turns in a well-turned, very dry performance as the husband who thinks his wife is being much too influenced by media scare tactics, and Isabel Jewell, in a part that is much too tiny for her talent, manages to steal away the picture from Palance for a brief moment or two. On the debit side, Frances Bavier is miscast as the wary wife, and Constance Smith doesn't make the impression she should. Attic also suffers from a couple of musical numbers that go on too long and are seriously wrong for the period. But as long as Palance is around, it's easy to overlook the faults. ~ Craig Butler, Rovi
  • A plane crash strands eight showgirls and their manager Gary (Alex D'Arcy of The Prisoner of Zenda, 1937) on a seemingly deserted tropical island. Despite their discovery of a corpse hanging in an oversized spider's web, the ladies blithely busy themselves with bouts of sunbathing and skinny-dipping, while Gary traverses the island. His exploration earns him a bite from an enormous spider, which transforms into a slavering creature with a newfound appetite for dancers. While the primary purpose of this German-made oddity is to show scantily clad women imperiled by a decidedly male beast, it's also attractively photographed, and several scenes (most notably, Gary's first post-bite attack, and his final flight through a swamp) deliver a frisson not usually found in nudie-cutie/monster movie hybrids (e.g., House on Bare Mountain, 1962). Pacemaker Pictures distributed the film in the United States, first as an adults-only feature under the title It's Hot in Paradise, and later, in a slightly "cooler" print under the Spider Island moniker, which played as part of a double bill with 1959's The Fiendish Ghouls (aka Mania). Image Entertainment and Something Weird Video's DVD is the uncut Paradise version, and includes a trio of spider-themed stripper/cheesecake shorts, as well as an eye-popping gallery of exploitation poster art. ~ Paul Gaita, Rovi
  • As exhausting and demanding a test of the gag reflex as any film ever committed to celluloid, Peter Jackson's low-budget, amazingly resourceful portrayal of mankind a la carte is a series of kinetically realized chunk-blowing vignettes that endlessly assault the viewer at such a hyperactive pace that it's nearly impossible to draw a breath, much less take a moment to laugh at the revoltingly hilarious exploits. Sheep are blown to oblivion with rocket launchers, steaming alien vomit is consumed as a delicacy, legions of sledgehammer-toting, human-hungry aliens taunt and torture the heroes, and an entire Victorian home launches into space -- all for a fraction of the budget of the most minimalist independent film of recent years and with ten times the energy. Though Jackson would repeatedly revisit similar nauseating territory to similar effect and success, he would captivate viewers six years later with Heavenly Creatures, his moving and hauntingly sensitive retelling of New Zealand's infamous Parker-Hulme murders. ~ Jason Buchanan, Rovi
  • Eugenio Martin's Horror Express is a goofily enjoyable 1970s horror film, of the sort many horror fans first encountered on television on rainy Saturday afternoons during misspent youths. The film features Hammer horror vets Christopher Lee and Peter Cushing--both in fine form--and a cunning extraterrestrial ape monster who robs its victims of all their knowledge, turning them into white-eyed bloodthirsty slaves to its will. Telly Savalas stirs things up effectively in a small but pivotal role as a thuggish Cossack commander. The film's plot has a dizzyingly complex science fiction underpinning that makes little sense and still manages to be very amusing. The real concern of the story is more of a mechanical passengers-being-picked-off-one-by-one motif. But it's executed with wit and energy, with the lines between good and evil refreshingly hazy, with cheesy gore effects, and with just enough allegorical food for thought to keep science fiction fans and Russian history buffs on their toes. ~ Josh Ralske, Rovi
  • Finally available in a fully uncut version, Dario Argento's Deep Red is a first-rate slasher film and one that would be an inspiration in style, direction, and music for such later films as Halloween and Friday the 13th. As with most of Argento's pictures, the murder sequences prove to be the highlight of Deep Red, but the script for this one is significantly stronger and the actors much better. As John Carpenter later did in Halloween, Argento keeps the body count to a minimum, but more than makes up for the low number by heaping on the style. Each of the murders is perfectly choreographed with particular praise going to Glauco Mauri's killing. In the scene, Mauri stands in his living room holding a knife, awaiting the killer he knows is there. Instead, a menacing puppet comes through a doorway at the shocked man, and that's when the killer strikes, smashing the man's face into several sharp corners before finishing him off with a knife. Another strong image is that of a victim being dispatched by drowning in scalding water (a scene that inspired a similar murder in Halloween II). The cast, led by David Hemmings and Argento regular Daria Nicolodi (who has two children with the director), is very strong, and features some exceptional background characters such as a little girl who likes spearing lizards. Technically, the film is another example of Argento's expertise with cameras, special effects, and sound effects. The director's use of widescreen lensing is exceptional and the film should never be watched unless letterboxed. The final reel wraps the film up in a thrilling manner and features two extremely graphic deaths that leave the viewer stunned as the credits roll. The newly restored version is nearly 30 minutes longer than the previous American tape, but much of the footage is playful dialogue between Hemmings and Nicolodi that only slows the picture down. ~ Patrick Legare, Rovi
  • Gothic is not a movie for everyone -- a qualification that can be applied to almost any Ken Russell film -- but those who respond to it will respond very strongly indeed. The good news is that even those for whom Gothic is not really their cup of tea should at the very least find it engrossing, if perhaps too gross for their tastes. Compared to some of his 1970s excesses (Lisztomania comes immediately to mind), Gothic is relatively restrained. There are still plenty of moments to cause discomfort, but they're more at home here in what is, after all, really a horror movie. That, as it turns out, is one of Gothic's problems: it strays too far from the accepted limitations of the genre to satisfy as a typical horror flick, yet its efforts at being something deeper are ultimately too superficial for it to succeed as anything else (a character study, a historical account, a philosophical dialogue, etc.). Still, on a strictly visual level, there's a great deal to admire in Gothic, from its stunning Mike Southon cinematography to its grotesque special effects to its razor-sharp editing. It's also blessed with actors who, while they can't always triumph over some of the excesses of the director, still manage to craft compelling, provocative portraits. Gothic is too uneven to satisfy most people, but many will find that its highs more than compensate for its lows. ~ Craig Butler, Rovi
  • Horror icon Boris Karloff ended his career by appearing in four Mexican genre films which reached American audiences several years after his death and were seen primarily on TV late-late shows. 80 years old and suffering from arthritis and emphysema, the ailing actor's scenes for all four features were shot in 1968 over a two-week period in Los Angeles by exploitation director Jack Hill. The films were finished in Mexico by director Juan Ibanez, with Mexican casts that only occasionally interact with the old master. La Muerte Viviente (known in America under a plethora of other titles including The Snake People and Cult of the Dead) was the first finished product of this bizarre international horror series, and despite sensual snake dances, cannibalistic zombie girls, and genuine chicken decapitations, it remains the most sedate entry. This can be said only because each of these patchwork wonders is a masterpiece of schlock cinema, and the following three (which include Chamber of Fear, House of Evil, and Alien Terror) up the ante in terms of outrageous set pieces, insane action, and utter confusion. Karloff is a good sport, lending an air of class and sophistication to a movie that deserves none, and aside from a few obvious stand-ins, the integration of his scenes with the remainder of the production isn't bad. La Muerte Viviente won't scare anyone, but the sweaty, hallucinogenic voodoo of this sleazy horror show is fun and undeniably weird. ~ Fred Beldin, Rovi
  • Memorably advertised as the first "gore-nography" film, Scream Bloody Murder more than lives up to its garish title and tagline with wall-to-wall insanity and a great cast. While saddled with a typically repetitious "psycho on the loose" plot, the film revels in going several steps too far whenever possible, placing traditionally taboo victims like elderly women and their pet dogs in harm's way and following through with extreme prejudice. Outfitting the patricidal villain/protagonist with a prosthetic hook helps jack up the creep factor, and the frequent blurry hallucinations he suffers are effectively ghastly. As the lunatic Matthew, Fred Holbert is the weakest member of a cast that otherwise has the skill to pull off each horrific episode without succumbing to utter camp. It's not the plentiful fake gore that makes Scream Bloody Murder's darker sequences so disturbing, but rather the genuine terror expressed by each casualty as their maker is met, resulting in unpleasant sensations for the sensitive viewer. Holbert essentially does a Anthony Perkins impression for the duration of Scream Bloody Murder, but his wide-eyed mania is appropriate for this sick thriller, particularly in the film's final act, where he holds a beatnik prostitute captive in a mansion he inhabits after a nasty home invasion. Director Marc B. Ray was most often employed as a screenwriter, and enjoyed a decidedly schizophrenic career; along with horror films like Scream Bloody Murder, The Severed Arm, and Stepfather III, Ray also wrote scripts for children's television shows such as Lidsville, New Zoo Revue, and the 1977 revival of The Mickey Mouse Club. Horror icon Angus Scrimm (of the Phantasm film series), credited here as "Rory Guy," is unrecognizable in a brief role as a doctor. ~ Fred Beldin, Rovi
  • Not to be confused with the ludicrous Silent Night, Deadly Night series, this 1972 thriller has enough eerie atmosphere to overcome its numerous plot holes and low budget production. Some critics have credited Silent Night, Bloody Night with more influence than it probably deserves, but there are a number of future slasher cliches on display that are often attributed to pictures that followed. POV shots for the maniac, sinister phone calls preceding the murders, even the holiday theme are all horror tropes that Black Christmas and Halloween are considered to have originated (or at least popularized). They're all here too, though charges of plagiarism are likely unfounded. Theodore Gershuny's understated direction gives a sense of realism to the characters that make the bizarre goings-on all the more unsettling. It helps that he has a fine cast to work with, a collection of solid TV and film professionals decorated with colorful cult figures who add eccentric ambience. The ubiquitous John Carradine has little to do as a mute newspaper editor (he communicates by ringing a desk clerk's bell), but despite the lack of his sonorous pipes, he still commands attention. In an early role, Mary Woronov has yet to establish the stern, haughty screen persona that has carried her through three decades of cult stardom. Instead, she's the ingenue, the only denizen of this fictitious town who is innocent of the blood crimes of the past, though it's not a role that particularly suits her. Much of the film is too dark, rendering some scenes more frightening and others more confusing, but the bravura final act (a horrific sepia-toned flashback that reveals the meaning behind the mayhem) makes wading through the story's murkier aspects worthwhile. Horror connoisseurs are encouraged to seek out this minor gem, now easily accessible as a bargain-priced DVD after years of obscurity. ~ Fred Beldin, Rovi
  • Roger Corman directed this very funny little film in about half a week on a shoestring budget. Dick Miller plays Walter Paisley, a nerdy waiter at a beatnik coffeehouse. He has pretensions of joining the ranks of the artists who scorn him and the women who fawn over them, but his art is sub-par. That is, until he accidentally kills a cat, covering it with clay in a frightened attempt to hide the act. But the artists whom he yearns to join are fascinated, pronouncing the cat (with a knife sticking from its corpse) a work of art. Walter becomes the latest enfant terrible of the java set, and it isn't long before the embittered former whipping-boy enhances his fame with more original "sculptures," this time involving human victims. Miller is terrific and Charles B. Griffith's script is a funny send-up of beatnik culture. Corman and Griffith re-teamed the following year for an even better low-budget horror-comedy, The Little Shop of Horrors. ~ Robert Firsching, Rovi
  • The recent interest in Edward D. Wood, Jr.'s life and career has unearthed and made popular many bizarre pictures that the reputed "worst filmmaker of all time" had any kind of hand in. Revenge of Dr. X has so far escaped the attention of most cultists, thanks to a curious quirk in its original videotape release; the opening credits are inaccurate, taken instead from an entirely different film called The Mad Doctor of Blood Island, so no mention of Wood's script writing or the actual cast is included. Apparently released in 1970 as The Double Garden, this obscure Japanese-American production was helmed by Kenneth G. Crane (director of the better known science-gone-wrong epic The Manster) and features lapsed star James Craig, though the identities of other cast members are more difficult to discern. The film is a loopy cross-pollination of cliches from the classic Universal monster movies and 1950s sci-fi, making it feel curiously dated for the era in which it was made. Western horror touches like hunchbacked servants, misty Christian graveyards, lonely wolf howls in the night and even a mob of torch-bearing villagers are comical when combined with the authentic Japanese locations. This innocent veneer is cracked a bit by some sudden nudity halfway through, courtesy of some topless lady skin divers, but otherwise the production is lightweight and kiddie-matinee safe. James Craig chews up the scenery in an outlandish split-personality performance, alternately blowing his stack and begging forgiveness, and his Japanese co-stars all seem to have learned their lines phonetically. It's a slow, one-dimensional ride, but lovers of schlock will find quotable dialogue ("Your mother was the soil ... perhaps the lightning will become your father!"), pseudo-scientific nonsense that anyone with a high school education will laugh at and one of the best bad monster costumes ever designed. The "Sectovorus" is a remarkably silly creature with the same rubbery consistency as the average Godzilla opponent, and since it spends the bulk of its screen time as a deeply rooted potted plant, the best it can do is sway gently and make weird noises. This forgotten masterpiece was briefly re-released to video as The Venus Flytrap with the Ed Wood connection proudly advertised as the main selling point. Under any name, it's solid entertainment for the psychotronic-minded. ~ Fred Beldin, Rovi
  • There's something faintly ridiculous about Con La Rabbia Agli Occhi, a crime thriller from Antonio Margheriti (aka Anthony M. Dawson) that appeared in the United States as Death Rage. From the opening assassination in the midst of a rock concert (a killing that doesn't serve much purpose in the plot) and the cluttered narrative to Yul Brynner's over-the-top performance as a killer for hire, the movie isn't afraid to play broad, and as a consequence it frequently feels more silly than suspenseful. But Margheriti has the good sense to keep the story moving forward at all times no matter what, and for all its faults it's an entertaining bit of European crime fare. Brynner seems to be playing to the upper balcony here, but he also gives the movie enough juice to carry it over some rough spots, and even though he's saddled with some silly plot contrivances (most notably a psychosomatic ailment involving his vision -- the Italian title translates as Anger In His Eyes), he plays this stuff as if he truly believes it, which is no small accomplishment. Barbara Bouchet isn't nearly as good as Brynner's unlikely love interest, but she's pretty and charming, and Massimo Raniei is fun in a thankless role as a weasely petty crook whose loyalties are divided between Brynner and the police (represented by Martin Balsam, solid in a role that not much a challenge to his talents). Death Rage is fast, flashy and just crazy enough that its excesses are entertaining; if you have a taste for eccentric crime flicks, this ought to be up your alley. ~ Mark Deming, Rovi
  • This enigmatic, artsy horror film from the early 1970's is a lost classic waiting to be rediscovered. The dreamlike storyline echoes elements of Night Of The Living Dead and Carnival Of Souls but manages to chart a surrealistic course all its own, carefully weaving shocks into its hazy mood to build a very personalized sort of nightmare feel. Marianna Hill and Michael Greer offer subtle, nicely stylized performances, both slowly sliding from self-possessed cool into numb fear in a believable style. There are also effective character turns by Elisha Cook, Jr. as a drunk whose ramblings serve as an early warning of the horrors to come and Bennie Robinson's supremely unnerving turn as an otherworldly agent of the evil that infects the film's small-town setting. However, the most distinctive aspect of Messiah Of Evil is its striking visual design: Jack Fisk's production design is dazzling, with the nightmarish pop-art look of the artist's home being the highlight of his work here, and Stephen Katz's crisp widescreen lensing effectively deploys the kind of eerie, primary-colored lighting that genre fans usually associate with Italian horror films. First-time director Willard Huyck (better known for writing scripts for George Lucas with co-writer Gloria Katz) does a fine job of mixing all these distinctive to create a uniquely Californian variant on its gothic horror inspirations. In short, Messiah Of Evil is a macabre little gem and a must for any fan of 1970's horror. ~ Donald Guarisco, Rovi
  • This phantasmagoric adaptation of the Edgar Allan Poe short story "The System of Dr. Tarr and Professor Feather" has 19th century French journalist Arturo Hansel traveling to a remote asylum to interview its director (Luis Bunuel regular Claudio Brook, whose echo-heavy dubbed voice is amusingly reminiscent of TV horror host Zacherle's) about his controversial techniques. His inquiries uncover a bizarre collection of characters and situations, some comic or erotic, others dangerous, culminating in a shocking discovery regarding the true identity of the asylum head. Viewers expecting a low-budget shockfest will be pleasantly surprised (or completely disoriented) by this rarely seen Mexican production's surreal imagery and set pieces, and its often unsettling mix of the grotesque and absurd. Director Juan Lopez Moctezuma produced Alexandro Jodorowsky's cult epics El Topo and Fando and Lis before embarking on his own behind-the-camera career; his subsequent genre efforts, which include Mary, Mary, Bloody Mary and Alucarda/Sisters of Satan (which also features Brook), are recommendable for horror fans seeking imaginative and offbeat fare. ~ Paul Gaita, Rovi
  • Though it is often lumped in with the "Santa slasher" movies that popped up in the 1980's, Christmas Evil deserves better than that label. In fact, it's much more a dark satire than it is a horror film. Director Lewis Jackson plays his material out in a deadpan style, never going for cheap laughs and taking the time to build up Harry's break with reality so the audience understands it. He also makes good use of an unusual editing scheme and jittery synthesizer music, combining them with unexpectedly pretty cinematography in a way that gives the proceedings an off-beat, surreal feel. Best of all, he has Brandon Maggart to drive his film with a magnificent performance as Harry. Maggart's work is broad enough in the right places to make Harry's insanity convincing but he manages to pull off a slow-burn descent into madness that also makes the character sympathetic in a sad way. It all adds up to a film that is nothing like the ad material would lead you to expect. It's probably too artsy and deliberately paced for the horror crowd but aficionados of the cultish and bizarre will appreciate its ambition and satirical bite. In short, Christmas Evil is not for all tastes but its well worth the time for those looking for a darker, different kind of yuletide film. ~ Donald Guarisco, Rovi

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