Nightmare Worlds: 50 Movie Pack [12 Discs]Nightmare Worlds: 50 Movie Pack [12 Discs]

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MOVIE DESCRIPTION:

    Nightmares? You say you want nightmares? Step into the dark and experience cinema's world of 50 classic nightmares. This off-beat collection includes Beast of the Yellow Night (1971), House of the Living Dead (1973), How Awful about Allan (1970), Alien Contamination (1980), Atomic Rulers of the World (1964), The Day the Sky Exploded (1958), Evil Brain from Outer Space (1964), Fury of the Wolf Man (1972), Prisoners of the Lost Universe (1983), Terror at the Red Wolf Inn (1972), Warriors of the Wasteland (1982) and 39 more pull the covers over your head" specialties on 12 DVDs. 1925-87/color/68 hrs., 55 min/NR/fullscreen.

DVD FEATURES:
  • Number of Discs: 12
  • Screen: Color
  • Audio: Dolby Digital Stereo
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Documentary Feature - 1966 (Peter Watkins)
  • British Academy of Film and Television Arts
  •     Won Best Short - 1966
  •     Won United Nations Award - 1966
  • Genie Awards
  •     Nominated Best Actor - 1987 (Winston Rekert)
  •     Nominated Best Score - 1987 (Marvin Dolgay)
  • Library of Congress
  •     Won U.S. National Film Registry - 1998
  • Telluride Film Festival
  •     Film Presented - 1976
ADDITIONAL INFORMATION:
REVIEWS:
  • According to Hollywood lore, screenwriter Wallace MacDonald conjured up the incredible plot for Gene Autry's starring debut while undergoing dental work. The results, truth be told, reflect the certain giddiness typical of nitrous oxide and never before or since was a serial this hilariously surreal. The idea of a radio show actually recreating entire stagecoach holdups for its listening audience, complete with real bullets fired from real guns, is loony enough and once you'd accepted a cliffhanger ending depending solely on whether Gene Autry will make it back to the ranch in time to perform the day's broadcast you will readily believe a vast, and vastly superior, underground empire, whose main concern is to prevent inferior surface people from discovering its existence. Said underground world comes complete with military officers sporting headgear resembling Catholic cardinals and amusingly top-hatted robots (courtesy of a deleted production number from M-G-M's 1933 musical Dancing Lady) who do not shy away from helpfully patting the serial's leading man on his not inconsiderable backside. In other words, the makers of Mascot's The Phantom Empire kept their tongues firmly in cheeks at all time. The mix of ordinary B-Western entertainment and science fiction melodrama is uneasy at best, however, and Queen Tika's (Dorothy Christy) droning on and on about the superiority of Murania to the surface world -- complete with newsreel footage of earthly disasters -- quickly becomes grating. But everyone involved, including youngsters Frankie Darro and champion rider Betsy Ross King, appears to be having the time of their lives and Gene Autry is not nearly as wooden and inept as legend tells us. ~ Hans J. Wollstein, Rovi
  • After receiving word that the area is about to be hit by atomic missiles, a California sheriff sets up a road block on a quiet mountain road to keep drivers from entering the city or adding to the massive traffic jams on the highways. The citizens who are stopped comply, at first confused by the policeman's demands, then panicked once they are briefed on the situation. The sheriff declares martial law and orders a semi truck emptied of its cargo to use as a makeshift bomb shelter. The group is a typical cross section of humanity: a swinging beatnik couple, a kindly old man and his teenaged granddaughter, a cowardly businessman and his sexually repressed wife, a lonely truck driver, and a homicidal maniac. As they work and argue together, strange alliances arise. The bulk of This Is Not a Test is fairly talky like a filmed play, but the performances are fine within the tight constraints of each actor's assigned stereotype. The film moves quickly towards its inevitable conclusion, however, gaining considerable tension with every minute. Ultimately, each character has to make and face a choice regarding their impending deaths. Work together desperately to secure a shelter that has no serious hope of providing safety? Or climb up on top of a mountain alone and watch it all go to hell? Director Frederic Gadette (a TV director, this rarity is his only known feature film) does an exceptional job with bare-bones resources in this honest, humane thriller. ~ Fred Beldin, Rovi
  • Assigned by the BBC to make a documentary about the possible effects of nuclear war on Great Britain, Peter Watkins came back with this powerful and unnerving polemic about the deadly stakes of the arms race and the dangerously absurd notion that a nation could "survive" a nuclear attack. Watkins' film clearly and repeatedly makes the point that the same leadership that brought in the bomb has done almost nothing to protect citizens from its effects. In The War Game, the blast of a hydrogen bomb is almost the least of the horrors that would await England after a nuclear attack; the slow, decaying effect of radiation poisoning, the breakdown of social order and rise of martial law, and the grim faces of survivors who envy the dead are images as disturbing as the firestorms and destruction left by thermonuclear attack. The BBC initially refused to show The War Game on the grounds that it did not present an objective view of its subject; it finally broadcast the film in 1985, 19 years after it won an Academy Award in the United States as Best Documentary Feature. ~ Mark Deming, Rovi
  • A truly dreadful science fiction disaster, The Doomsday Machine cries out to be one of those so-bad-it's-hysterical films. But there are precious few laughs in Doomsday, even of the "I can't believe it's so awful" variety. Rather, one watches Doomsday and grows increasingly amazed at how overwhelmingly boring the picture is. And this is in spite of the fact that there are numerous things that should make one laugh out loud, such as the fact that the producers spliced in at least four different space ships to represent one single vehicle -- and that none of the ships really resembles the other. Or the fact that much of the film was created several years after the main bulk of the picture, utilizing a different set of actors purporting to be some of the same characters. As might be surmised, the screenplay is idiotic and seems to have been written by a kindergartener and rewritten by a nursery school student. The acting is inexcusable, and at times sad: Grant Williams, after all, helped make The Incredible Shrinking Man a classic, and Bobby Van and Mala Powers shouldn't be reduced to fodder such as this. Do I need to add that the direction is atrocious? Only those who truly must see EVERY sci-fi film should bother with Doomsday. ~ Craig Butler, Rovi
  • Death Warmed Up has the honor of being New Zealand's first all-out gore flick, beating Peter Jackson's Bad Taste by a few years and cementing it in history as a long-lost horror gem whose core audience has yet to uncover it. Winner of the 1984 Grand Prix award at the International Festival of Fantasy and Science Fiction Films, whose jury featured none other than the infamous surrealist auteur Alejandro Jodorowsky, David Blyth and his film were jutted into the spotlight, edging out another little horror outing that just so happened to be there that year -- namely, Joe Dante's Gremlins. What makes Death Warmed Up stand out from the very start is its gratuitous love for the red stuff, mixed with a visual flair that echoes the color palette of Mario Bava or even Dario Argento in a roundabout low-budget way. There's also a kinetic pulse to this juicy little gem that's rarely found in horror, either past or present. Sure, it's a fact that most of the film makes zero sense (especially toward the end), but who needs plot when you basically throw a bunch of teens headed by an albino dreamboat and sadistic mutants together in a psychedelic hospital? Recommended alone for the brain surgery scene with the team of sexy nurses, Death Warmed Up has got the early '80s horror juice that just keeps on giving. ~ Jeremy Wheeler, Rovi
  • Embryo (aka Created to Kill) is a tepid, tedious science-fiction thriller which takes an interesting idea - a man's desire to create a perfect woman - and makes it boring. Scientist Dr. Paul Holliston (Rock Hudson) creates his perfect idea of a woman and grows her in a test tube. Victoria (Barbara Carrera), while beautiful to look at, deteriorates rapidly and becomes a demented ruthless killer whom he must stop. Despite a great cast including Diane Ladd and Roddy McDowall, the absurdity of the script, written by Jack Thomas and Anita Doohan, leaves little for director Ralph Nelson to work with. Rock Hudson does his best but is laughable as this silly melodrama reaches its close and he is left with the remains of his "perfect" love. All in all Embryo, like its title, was an interesting idea, which was never developed past its original conception. It would, however, make an ideal double-bill with The Manitou (1978).
    ~ Linda Rasmussen, Rovi
  • Few will argue that this Spanish werewolf flick should be placed among the pantheon of classic lycanthrope films, but The Fury of the Wolfman is a great "bad" film that resembles a conglomeration of better horror efforts. Paul Naschy stars as the picture's title character Waldemar Daninsky, a kindly scientist who resembles Claude Rains until his comical transformations. This effort marked Naschy's fifth appearance as this hard-luck character. Special effects are minimal and the aforementioned transformations are done in the same manner as the 1941 Universal classic The Wolf Man, but instead of being frightening, Naschy's werewolf comes across like a live-action version of the Tasmanian Devil. This works best at the film's climax as Naschy and his cheating wife both transform and do battle. The script -- written by Naschy under his real name Jacinto Molina -- is an amusing patchwork of better films as it incorporates the werewolf story, a mad scientist drama, and even an Island of Lost Souls homage that includes a gloomy castle full of human experiments. Naschy's scientist even claims that his change into a wolf may be because he was bitten by a Yeti! Funniest of all is the badly dubbed dialogue that is ripe with unintentional laughs including a hilarious scene in which Naschy begs his ex-lover-turned-evil-mind-control-expert (Perla Cristal) to operate on him to cure his lycanthropy: "For the sake of the love we had for each other, do it," Naschy pleads, to which Cristal quickly replies, "Yes, I will -- but you have to promise to act like a real man." ~ Patrick Legare, Rovi
  • Known by many different titles, this post-apocalyptic gem is remembered for its dime store budget and uncompromising doses of outrageous violence by one of the masters of Italian cult cinema, Enzo Castellari (The Bronx Warriors, Keoma). This flick not only features exploding arrows, but it's cast includes both George Eastman and Fred Williamson, while the funky score is delivered by none other than Claudio Simonetti (of Goblin fame). Fans of the genre will revel in its early 80's schlock as characters spew horribly dubbed dialogue while zooming around in ridiculous looking bootleg bubble cars made from spare Volkswagen parts. As far as the style in the Italian wasteland goes, the mohawks are all hot and so are the costumes -- especially the hilarious see-through plastic body armor that the hero sports during the big finale. For all you gore lovers, there's exploding heads and torsos abound in one bloody kill after another, racketing up the violence beyond the gratuitous level and into flat-out comedy at times. Capturing the true spirit of the low budget rip-off flicks from early 80's, The New Barbarians is neither smart nor original, but a riot for anyone who gets off on Mad Max and all of its the junky followers. ~ Jeremy Wheeler, Rovi
  • One of a number of television movies of the late 1960s and 1970s that blurred the distinctions between horror and psychological thriller, How Awful About Allan is an above average, generally engrossing little chiller. Exactly how much one enjoys will depend largely on one's fondness for "suspense by implication" rather than blood and gore and on whether one figures out the "twist" ending in advance. These caveats aside, the screenplay is a fairly intelligent piece of manipulation, emphasizing the ability of little touches to provide a sense of discomfort. Much of the film's success is due to Curtis Harrington's fine, balanced direction. Harrington is not afraid to alternate nuance with "shock" moments and believes in letting the pace draw out leisurely on occasion, the better to contrast with the "big" segments. He also uses a very effective "blurry lens" look to capture the point-of-view of the semi-blind protagonist, which has the added benefit of keeping secret the villain's identity for longer than would otherwise be possible. Some of the film has that flat "television" look to it, but overall it's fairly stylish. Allan's biggest asset, however, is its cast. Anthony Perkins, in a role that could have been nothing more than a re-hash of Norman Bates, finds numerous ways to distinguish the character and is a wonderful, solid anchor. Julie Harris is quite effective as his sister, and Joan Hackett brings a special quality to the role of the neighbor. ~ Craig Butler, Rovi
  • Reportedly seven years in the making, this silent adventure based on Sir Arthur Conan Doyle's classic 1912 novel was a watershed mark in special effects filmmaking. Willis H. O'Brien's stop-motion work, which would reach near-perfection in King Kong (1933), was much admired in its day and although primitive by modern standards remains visually engaging. So does Wallace Beery, complete with a theatrical beard, as Professor Challenger, whose theory of prehistoric dinosaurs surviving on a secluded plateau in the Amazonian jungle has made him the target of ridicule. Intrepid reporter Ed Malone (Lloyd Hughes) offers the professor a chance to redeem himself, and with Big Game hunter Sir John Roxton (Lewis Stone) and pretty Paula White (Bessie Love) in tow, they are off on a perilous expedition to South America. Paula, who is returning to the jungle in search of her missing scientist father, falls in love with the handsome reporter, much to the chagrin of Sir John. This triangle drama continues up the perilous climb to the plateau where Professor Challenger's theories are terrifyingly substantiated by all kinds of prehistoric fauna. Soon, a flesh-eating Tyranosaurus is attacking a family of more benign Triceratopses right in front of the astounded humans, who also have to contend with an erupting volcano, the dried-up bones of Paula's poor father, and the bizarre spectacle of stunt-man Bull Montana in a gorilla suit. But with the able assistance of a lovesick pet monkey, the expedition not only makes it safely down from the plateau but returns to England complete with a captured brontosaurus. Unfortunately, the beast is soon loose on Piccadilly Circus (where a theater marquee is advertising The Sea Hawk, 1924, also produced by First National), on Tower Bridge, and in sundry other picturesque London locations before apparently drowning in the River Thames. Originally released in 10 reels, The Lost World was cut to the bone in 1930 and it is this 62 minute version that exists today, beautifully restored by the George Eastman House. Missing, however, are subplots involving Alma Bennett as Lloyd Hughes' demanding London fiance, Virginia Brown Faire as a Brazilian half-caste tempting Lewis Stone and a rendezvous with a tribe of cannibals. Left intact, however, are a few uncomfortable sequences with comic actor Jules Cowles appearing in blackface as Stone's pidgin-accented servant. Willis H. O'Brien's monsters may not frighten contemporary kids, with today's high special effects standards, but they certainly hold up well in comparison to some of the tacky creatures let lose in the 1950s and early 1960s. ~ Hans J. Wollstein, Rovi
  • Shadow of Chinatown is, in all candor, the cheapest looking, most threadbare of all the independently produced sound serials. Thanks to Bela Lugosi's ripe performance as the ace villain Victor Poten, it is in some ways also the most amusing. Unlike his rival, Boris Karloff, Lugosi was apparently unable to sleepwalk through a role no matter how ridiculously shabby the story line and setting, and he adds the same menace and sense of showmanship here as he had in Dracula five years earlier. Despite lackluster writing (by, among others, director Robert F. Hill, who cleverly hides behind the pseudonym of Rock Hawkey), abysmal production values, and amateurish supporting performances, Lugosi heroically delivers his lines with all the tormented darkness of his Transylvanian soul. Former Tarzan Herman Brix (who would become Bruce Bennett in grade-A pictures for Warner Bros. in the 1940s) does well enough as the stalwart but somewhat dense hero, and B-Western regular Charles King is capital as a lovesick henchman; but Joan Barclay makes little sense as the overly dim girl reporter, and Luana Walters comes across as a road company Gale Sondergaard as the ubiquitous Dragon Lady. Shadow of Chinatown was released by Sam Katzman's Victory Pictures and survives in a rather battered print. The sound, however, was probably no worse when the serial first premiered back in 1936, Katzman being notoriously stingy with production values. ~ Hans J. Wollstein, Rovi
  • This ambitious but threadbare exploitation opus does its best to combine modern gore and old-fashioned sci-fi elements but the end results are far from impressive. Writer/director Luigi Cozzi's approach is agreeably unpretentious, stitching together ideas from worthy sources as diverse as Alien, Invasion Of The Body Snatchers and Zombie, but his combination of these elements lacks the inspiration and craftsmanship to make this patchwork approach work. Even at a 90-minute length, Alien Contamination drags interminably due to Cozzi's poor pacing. Some horror fans might find themselves drawn in by the film's array of gruesome makeup effects scenes but even these moments aren't terribly impressive due to poor editing and staging that makes them look unintentionally silly. The script's ham-handed dialogue doesn't help things, veering between phony science jargon that makes Ed Wood's scripts sound like Shakespearean works and groan-inducing romantic banter that fail to spark any interest in the colorless leads. The performances are the final nail in the coffin: genre vet Ian MacCullough acquits himself well but the other performances are either inert (Louise Marleau) or amateurish (Marino Mase). To sum up, Alien Contamination fails to deliver even by exploitation film standards and is likely to disappoint even the most patient viewers. ~ Donald Guarisco, Rovi

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