Drive-In Movie Classics: 50 Movie Pack [12 Discs]Drive-In Movie Classics: 50 Movie Pack [12 Discs]

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MOVIE DESCRIPTION:

    Fond memories of drive-in movie theaters resurface with this 50-pack, some of which surely adorned those outdoor screens featuring great stars like Christopher Lee, Richard Burton, Ursula Andress, Caroll Baker, and many more. Includes Black Hooker (1974), Country Blue (1973), Death by Dialogue (1988), Don't Look in the Basement (1973), Going Steady (1958), Jive Turkey (1974), Katie's Passion (1975), Savage Weekend (1979), Throw out the Anchor (1974), Twister's Revenge (1987) and 40 more drive-in classics! 12 DVDs. 1946-88/color-b&w/70 hrs., 33 min/NR/fullscreen.

DVD FEATURES:
  • Number of Discs: 12
  • Aspect Ratio: 1.78:1 (Alternate Wide Screen), 1.85:1 (Theatre Wide Screen), 1.33:1 (Pre-1954 Standard)
  • Audio: Dolby Digital Stereo
  • Screen: Letterbox for TV, Pan and Scan
ADDITIONAL INFORMATION:
REVIEWS:
  • Supposedly sexy sci-fi for the discriminating cinemaphile, Invasion of the Bee Girls has been credited with a knowing satirical bent solely because of the relatively distinguished minds behind its creation. Don't be fooled by the hype. This low-brow psychotronic classic is no smarter or dumber than a host of equally exploitative bottom dwellers. It is, however, an entertaining piece of trash that scores high with a good, solid cast, a creative concept and straightforward delivery of some utterly silly action. William Smith is at his square-jawed best as the two-fisted hero, Anitra Ford is all smarm and ice as the villainous queen bee and familiar character actor Cliff Osmond delivers a surprisingly subtle performance as the overworked local sheriff. Slumming in the sexploitation cesspool are screenwriter Nicholas Meyer (Time After Time, Fatal Attraction and a few Star Trek movies) and director Denis Saunders (respected for documentaries A Time Out of War, Soul to Soul and Czechoslovakia 1968); perfectly comfortable in the sleazy milieu is cinematographer Gary Graver, who shot footage for directors as diverse as Al Adamson and Orson Welles. While celebrity critics Siskel and Ebert were right to recommend Invasion of the Bee Girls as a "guilty pleasure," its cinematic worth isn't much higher than many films the duo dismissed outright. ~ Fred Beldin, Rovi
  • Director Sergio Martino's contribution to the Italian cannibal horror-adventure cycle of the early to mid-'70s is a rung or two below the vomitus excesses of the subgenre's most unpleasant entries, Cannibal Holocaust and Cannibal Ferox. It's still a graphic and unpleasant film, with all the noxious trademarks intact: gratuitous violence, real-life atrocities committed against live animals, and an uncomfortably imperialist attitude towards underprivileged peoples. But Martino tempers the blow with professional direction and lush cinematography, and the presence of Stacy Keach (an infrequent star of Italian exploitation in the '70s) and Ursula Andress (whose undraped frame, still impressive in her forties, is on display in several scenes) helps add touches of much-needed class and skill to the proceedings. But professionalism and class aren't what fans of these films are looking for, and exploitation fans may be somewhat disappointed by the film's sluggish pace and lack of suspense or dread, something that despite their hideousness, both Cannibal Holocaust and Cannibal Ferox had in spades. By contrast, Mountain of the Cannibal God comes across as a sort of grisly Boys' Own adventure -- nasty, but also somewhat quaint with its old-fashioned cursed mountains and white goddesses. Anchor Bay's widescreen DVD presentation is uncut and retains about four minutes of graphic sexuality (including a genuinely shocking moment of faux bestiality) missing from most American prints. It also includes a 12-minute featurette on the making of the film, as well as the original Italian trailer and bios on Martino, Keach, and Andress. ~ Paul Gaita, Rovi
  • This Canadian thriller with horror overtones is one of the best films to follow in the footsteps of Deliverance. Like that John Boorman classic, this film places a group of everyman urban types in the wild and pits them against a rural menace. However, Rituals sidesteps the pitfalls of being a copycat by adding its own wrinkles into the mix: conflict between the heroes plays a bigger role in the story than it does in Deliverance and the finale takes things to a darker, more pessimistic extreme than its apparent inspiration did. Needless to say, Rituals isn't what one would call light fare but those who can stick with it will be rewarded with an uncompromising, intelligent thriller that offers some dark commentary on the human condition. It also boasts stellar performances across the board: Hal Holbrook is the obvious standout as the grim realist of the group but underrated Canadian actor Lawrence Dane adds a lot to the film as the survivor who clashes with Holbrook's bleak outlook. Their verbal sparring sessions enhance the tension of the film, creating the intensity of emotion necessary to make the storyline work. Horror fans will be impressed by Peter Carter's direction, which creates a hellish atmosphere for the goings-on and builds to a shattering finale that will have the audience on edge. To sum up, Rituals is a powerful, frequently unnerving blend of horror and social commentary that deserves more notice. ~ Donald Guarisco, Rovi
  • Beast With A Gun is an interesting example of how the Italian crime film differs from the American crime film. Like many American crime films, Beast With A Gun focuses on a psychotic criminal matching wits with a police detective. However, this film differs from the American style by pushing the villain to the forefront: the cop is still the story's hero but much more time is devoted to the film's villain, Nanni Vitali. Helmut Berger takes full advantage of this aspect of the film and gives a feral, sometimes operatic performance as Vitalli that commands the viewer's attention. In fact, the film will sometimes linger on Berger for the moment in the wake of one of his evil deeds, prowling around in front of the camera like a beast of prey. Richard Harrison plays the cop hero and does solid work in the role but can't help but be overshadowed. It's Berger's movie, all the way. Writer/director Sergio Grieco obviously envisioned the film this way, as it is structured around the character's shifts of mood and impulsive desires. Though he was obviously was working with a low budget, Grieco gives the film an impressive visual style through widescreen lensing and some nicely atmospheric choices of location (surprisingly, a lot of the film takes place in the countryside). The end result might be a little too grim and brutal for some viewers but Beast With A Gun is a sure bet for students of the Italian crime film. ~ Craig Butler, Rovi
  • Bugs, blood, and rock & roll are the orders of the day in this creepy-crawly shocker from Dario Argento. Jennifer Connelly plays a teenager with a gift for communicating with insects -- a talent that comes in handy when she is sent to a Swiss boarding school where a killer has been slaughtering the students. Definitely not for the squeamish, Phenomena contains a series of bold, bloody special effects that are graphically captured by cinematographer Romano Albini. Among the best is the opening sequence in which a girl is stabbed on the observatory deck of a waterfall. The butchery amidst the natural beauty provides a chilling visual contrast while the camera holds on to a tremendous shot of the girl shattering a glass partition. The story, written by Argento and Franco Ferrini, is basically a twist on the serial killer formula, but it is effective because of the filmmaker's great sense of style and suspense. The revelation of the killer is well done and is just one of many fantastic shocks included in a scary, extended climax that features a pit of decomposed bodies, a decapitation, a monstrous mutant-child, a deadly insect swarm, and a razor-wielding monkey. In true Argento style, many scenes are backed by a heavy metal soundtrack that includes Iron Maiden and Motorhead, among others. Connelly has certainly grown as an actress since Phenomena, but her striking looks help to carry her performance. Donald Pleasence is excellent to watch, as always, although he is murdered in rather boring fashion considering Argento's talent for creative murder scenes. The costumes were done by Giorgio Armani. Version reviewed is the full 110-minute original cut. The bloodless U.S. version is titled Creepers and runs only 82 minutes. ~ Patrick Legare, Rovi
  • The Knights Templar take to the high seas in this third installment in Amando De Ossorio's infamous Blind Dead film series. The production is obviously low-budget -- particularly when you are forced to see the same foggy shot of a Spanish galleon that is an obvious miniature -- but it is still amusing and occasionally chilling fun for fans of the series. While De Ossorio's original film was a scary shocker, the sequels attempted increasingly outrageous tactics to please viewers. For its part, El Buque Maldito combines elements of vampire films with those of The Exorcist, which was released a year earlier and was to inspire dozens of lesser films such as this one. The best is when a meteorological professor suddenly reveals his knowledge of "exorcism" by burning a homemade cross to chase the zombies back into their caskets. The graphic elements have been toned down quite a bit (there's a tame lesbian sequence and very little gore) and the ghouls are not nearly as threatening this time around (hardly any have swords), but the shipboard setting provides an interesting new venue for the Templars. There's also a well-designed shock ending that provides a fitting climax for the galleon's survivors. As with all of his Blind Dead films, De Ossorio comes up with a good concept that is weakened by screenwriting gaffs such as ludicrous plot turns and inane characters who appear unable to think with any degree of logic. Then again, since they only serve as victims for the ghouls, it doesn't make much difference. ~ Patrick Legare, Rovi
  • One of Dario Argento's best thrillers, this horror film has gone on to cult status due to its shocking, bloody style and twist-filled story. Available in America for many years in only a badly cut version titled Unsane, Tenebre tells the story of an American novelist (Anthony Franciosa) whose P.R. trip to Rome to promote his latest tome becomes tied to a series of slayings. The murders -- slashing, stabbing, axing, and strangling among them -- are extremely graphic, but are enacted in a stylish manner that makes them all the more disturbing. Such startling visuals are the film's finest point, and credit goes to both Argento and cinematographer Luciano Tovoli for this aspect. One particularly strong shot has the killer putting out a bare light bulb by running a razor blade through it. Another great shot (later used on the U.S. video box cover) lingers on a murdered woman who is left with her head dangling through a shattered window pane. Most memorable is a sadistic flashback by the killer in which three youths hold him down while a woman forces her high heel into his mouth. The script is a simple murder-mystery that does a good job of throwing the audience off track and keeping things suspenseful as each potential suspect is knocked off. The film's final reel is easily one of the bloodiest ever made and features a couple of great surprises. Performances are generally dull, but they don't take much away from the film's horror impact. The unmistakable score was performed by members of the group Goblin, who performed under their last names due to legal issues. ~ Patrick Legare, Rovi
  • Shock is a mid-level thriller that, while never approaching greatness, is certainly entertaining enough. One part "suspenser," one part psychological thriller and one part film noir, Shock doesn't totally satisfy whatever genre it's put in, but it's hard not to get caught up in the very mechanical twists and turns of its plot. Hard, but not impossible -- those who demand logic and believability will throw their hands up at a number of the blatant manipulations that screenwriter Eugene Ling engages in. But director Arnold L. Werker seems to be having so much fun with this little cat-and-mouser that many viewers will overlook the deficiencies in the screenplay. Besides, there are a number of moments -- such as the early dream sequence -- that work much too well, and the tension as the film nears its climax is very effective. Too, Shock has the wonderful Vincent Price turning in a delicious, yet not hammy, performance. It's early in Price's career, and he hasn't turned to the blatant (if enjoyable) scenery chewing that some of his later roles brought out in him; his work here is careful and thought out, even when he goes for an extreme moment. All in all, Shock is an undemanding, lurid little flick that's more fun than it really should be. ~ Craig Butler, Rovi
  • TV director Herb Wallerstein leads a cast of second-rate reliables on a leisurely walk through creature feature territory. Scripted by Joseph Stefano (Psycho, The Outer Limits) with help from real-life Bigfoot "expert" Roger Patterson, Snowbeast transparently restages Jaws on the slopes of Colorado with a yeti standing in for the Great White. Every base is touched at least once, so we're given a festive "Winter Carnival" that no one wants to cancel, a trio of crusaders whose warnings go ignored, and a camper van taking the place of the Orca. Robert Logan (Across the Great Divide), Yvette Mimieux (The Black Hole), and Bo Svenson (Walking Tall, Part Two) make for an unlikely love triangle, but a lot of early energy is spent drumming up interest in unrequited romance and a failing marriage. It's all tossed aside with a handshake once the beast starts leaving corpses in the snow, rendering this feeble stab at character development moot. Svenson muses over the "Bigfoot controversy" while soaking in a steaming outdoor pool, dating Snowbeast for anyone who remembers the proliferation of bogus Sasquatch documentaries in the mid-'70s. There's a good reason why the monster is never shown for more than a few fleeting seconds; no matter how good the special effects are, it's hard to get scared by anything that fluffy and white. As a result, yeti films have never been wildly popular, and Snowbeast is one of the weaker entries into an already tepid horror subgenre. ~ Fred Beldin, Rovi

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