Beauties & Beasts Box [4 Discs]

MOVIE DESCRIPTION:

Sit down and enjoy five of the weirdest flicks you’ll find in one package. Includes Night of the Bloody Apes (1968), The Mighty Gorga (1969), One Million AC/DC (1969), The Beast that Killed Women (1965), The Monster of Camp Sunshine (1964), plus a bonus disc filled with trailers, short films and more! 4 DVDs. Color/10 hrs., 46 min/NR/fullscreen.

DVD FEATURES:

• Region: 1
• Number of Discs: 4
• Audio: Dolby Digital Mono
• Features:
  • Original theatrical trailers!
  • Gory outtake footage!
  • Archival short subjects: Gorilla and the Maiden/Nightmare/Prehistoric Daze/Diane the Jungle Girl and Her Gorilla of Love/The World's Championship Women's Wrestling Contest/Artists' Paradise/White Gorilla/Bring 'em Back Nude/The Exposé of the Nudist Racket/Nude Ranch/Beauty and the Beast/Back to Nature/Nudist Fashion Show!
  • Bonus trailers for: Face of the Screaming Werewolf/Tender Flesh/The Cyclops/Equinox/Island of the Dinosaurs/The Loch Ness Terror/Lost Continent/The Flesh Eaters/I Dismember Mama/Invasion of the Flesh Hunters/Sound of Horror/Tom Thumb/Valley of the Dragons/Eves on Skis/Goldilocks and the Three Bares/Nudes on Tiger Reef/Nudist Life/Pussycats Paradise and More!
  • Galleries of Amazing Trash-O-Rama exploitation art with radio-spot rarities and sixties sexploitation art!
  • Classic drive-in intermission shorts!
  • and more

ADDITIONAL INFORMATION:

• Director:

  David L. Hewitt, Ed de Priest, Herschell Gordon Lewis

• Producer:

  Guillermo Calderon, Alfredo Salazar, David L. Hewitt, David F. Friedman, Stanford S. Kohlberg, Herschell Gordon Lewis

• Screenwriter:

  René Cardona, Jr., Jean Hewitt, David Prentiss

• Cinematographer:

  Raul Martinez Solares, Herschell Gordon Lewis

• Composer (Music Score):

  Antonio Díaz Conde, Charles Walden, Herschell Gordon Lewis

• Editor:

  Jorge Bustos, Frank Romolo, Robert Sinise

• Special Effects:

  Javier Torres Torija, Herschell Gordon Lewis

REVIEWS:

• Devotees of really rotten monster movies will have a field day with The Mighty Gorga, a bargain basement rip-off of King Kong that brings new meaning to the phrase "dirt cheap." Gorga is one of those low budget affairs that looks as if it were made for about $1.98. There is, of course, nothing intrinsically wrong with working on a tight budget, but some films simply can't make a virtue out of this limitation, and Gorga is one of them. Naturally, it was never intended to be a great film, but more might have been made of Gorga, even within the limits of its genre. So much of the plot is an outright steal from Kong that the makers should be ashamed. Unfortunately, the writers never realized what it was that makes that earlier gorilla epic a classic and so stole only the trappings, not the heart. Gorga's script is silly in plot and embarrassing in dialogue, and the direction and acting are strictly from hunger. Still, what elevates Gorga to its height of awfulness is its "special" effects -- a man in a horrible gorilla suit and a plastic dinosaur. The most amateurish YouTube video has more to offer in terms of technical expertise than the fight between the gorilla and the dinosaur. For those who appreciate terrible monster films, Gorga is a lot of fun; for those without that taste, avoid at all costs. ~ Craig Butler, Rovi
• It was bound to happen, and Herschell Gordon Lewis and David F. Friedman got there first. While hardcore pornography was still almost a decade away from becoming legal and widespread, this groundbreaking feature from 1963 performed the same task for onscreen violence. Blood Feast exists solely to ogle grotesque acts of carnage, scene after scene of bloody bodies that the camera lingers upon lovingly and without shame. The plot is threadbare, the acting is on a par with the clumsiest of high-school plays, and the direction is static and uninvolving. Nevertheless, this is one of the important releases in film history, ushering in a new acceptance of explicit violence that was obviously just waiting to be exploited, as Blood Feast was an instant success and changed the way that horror films were judged (as well as allowing other genres to raise the pain threshold). The desire to gaze upon gory, gaping wounds has something in common with the urge to view naked bodies engaging in sexual acts. Lewis tapped into this subconscious craving to view the private insides of humanity and not only made a bundle from a subsequent career of car-wreck-level motion pictures but also allowed films to go into more intense visual areas. ~ Fred Beldin, Rovi