Cinema of the World

DVD case blurb reads:

Awe-inspiring, brutal and stunning, Wake in Fright is the story of John Grant, a bonded teacher who arrives in the rough outback mining town of Bundayabba planning to stay overnight before catching the plane to Sydney. But his one night stretches to five and he plunges headlong toward his own destruction. When the alcohol-induced mist lifts, the educated John Grant is no more. Instead there is a self-loathing man in a desolate wasteland, dirty red-eyed, sitting against a tree and looking at a rifle with one bullet left...

Believed lost for many years, Wake in Fright has been painstakingly restored by Australia's National Film and Sound Archive and AtLab Deluxe, and is presented in its original uncompromising form.

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All Movie.com Plot Synopsis by Hal Erickson

With Mon Oncle Antoine, actor Jean Duceppe established himself as Canada's principle purveyor of eccentric relatives. Playing the uncle of 15-year-old Jacques Ganon, Duceppe acts as the lad's confidante through the difficult coming-of-age process. The Canadian backwoods and the mining-town milieu of the 1940s are displayed to excellent nostalgic advantage in this retrospective piece from writer/director Claude Jutra (who also plays a supporting role). Though relatively unknown in the states (and often dismissed as unremarkable by below-the-border critics), Mon Oncle Antoine is regarded as a classic of the Canadian Cinema. The film won an unprecedented eight statuettes at the 1972 Canadian Film Institute Awards, including best picture and best director.
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IMDB

Clocking in at around three hours, Kraftwerk and the Electronic Revolution is probably as comprehensive a history of late 20th-century German experimental music as you're ever likely to need. The fact that the documentary only starts to get to the band that is supposed to be its main focus after almost an hour should tell you something about how gargantuan and glacially paced this movie is. I am holding out for a prequel that takes us back even further to the invention of the light bulb and the piano, because I'm not sure we've yet gotten enough of a foundation for where electronic music comes from.

Yes, I'm being facetious. For fans of krautrock, drone, ambient, and electronic music, Kraftwerk and the Electronic Revolution is a fascinating history of how some of the most influential music of our times emerged from the boredom and hopelessness of 1960s Germany. The filmmakers take the subtitle of their movie very seriously, and they want to crawl back to find the Big Bang of cultural influences that would make something as innovative as Kraftwerk possible. It's not an unimportant question, since the ideas the electronic musical collective would establish in their 1970s output would influence everyone from glam rockers like David Bowie and Brian Eno to early hip-hop pioneers and New Wave bands like Duran Duran, and on into today, where techno and arty experimentalists like Radiohead still borrow from the German group's bag of tricks. Even wuss-rockers Coldplay lifted the hooks for their song "Talk" from "Computer Love," somehow achieving the impossible and proving one could actually be bigger nerds than the pasty originals, Florian Schneider and Ralf Hütter. And that Kraftwerk core duo likes to dress up as robots, so you know they're plenty nerdy.

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"Buebchen" is the german word for "Little Boy". The film was also released under the title "Little Vampire" which doesn't make any sense at all.

Synopsis
In a german suburb a babysitter is too busy with her own teenage business and leaves a boy with his little sister alone. Then the girl is missing. The only way the family and society are able to deal with the horror is to ignore it and hide the truth in the closet.

A sharp study of german middle class society in the late 60s.

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From Time Out London

Slow, portentous, absolutely bloody miserable, the fiercely independent Fred Kelemen’s earlier work was the veritable essence of arthouse gloom, so much so that it often prompted unintentional giggles. After a six-year break, his latest marks a positive shift, packaging his deep-rooted existential angst within a much more involving narrative framework. Shot in lengthy takes in digital black-and-white, matching a sonic backdrop of industrial noise against grimy Riga locations, the presentation is still somewhat self-consciously doom-laden, but this time there’s an effective storyline to draw the viewer into Kelemen’s world.

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Description: Woody Allen's comic pseudo-documentary about a fictional 1920s media sensation named Leonard Zelig (Allen), a human chameleon who develops the ability to takes on the characteristics of anyone he happens to be with at the time. A gentle jab at America's obsession with fame and celebrity, as well as a parody of the documentary form, ZELIG uses an updated version of the fake newsreel technique from CITIZEN KANE to depict its hero magically at the side of almost every major personality of the early 20th century, from Eugene O'Neill to Adolf Hitler. Enriched by "commentary" from a variety of contemporary intellectuals including Irving Howe, Susan Sontag, and Saul Bellow, the film traces Zelig's bizarre career as a tabloid hero and side-show freak who finds true compassion only in the arms of his psychiatrist, the renowned Dr. Eudora Fletcher (Mia Farrow).

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In his heart-felt cinematic debut, Edward D. Wood, Jr. himself stars under the pseudonym Daniel Davis as a young man with a dilemma: should he tell his lovely young fiancee (played by real-life girlfriend Dolores Fuller) about his burning desire to cross-dress? She has begun to notice articles of clothing missing from her closet; the suspense builds...what should he do? Bela Lugosi plays the omniscient narrator; note his conviction as he "pulls the strings." Amidst this unintentionally hilarious mish-mash of melodrama, social commentary and inexplicable stock footage, there is something for every taste: countless cross dressers, hallucinatory dream sequences, sex-change surgeries, spirited cat fights, borderline-pornographic simulated sex scenes, poetic monologues, a haunted house, and a stampede of wild buffalo. Released under various titles across the country -- I Lived Two Lives, I Changed My Sex -- this fiasco bombed across the board but managed to gain Wood enough notoriety in the "B"-movie world to launch a career that is today the stuff of legend. Hailed by most critics as the worst film of all time, Wood nearly matched his first effort with such atrocities as Bride of the Monster, Night of the Ghouls, the infamous Plan 9 from Outer Space, and, perhaps the world's first topless horror film, Orgy of the Dead. Although few may count Wood among the best American cinema has to offer, Glen or Glenda certainly places him among its most memorable. -- Jeremy Beday

---allmovie---

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Synopsis
Tinto Brass scored his first major international success with this shocking but stylish tale of decadence in the Third Reich, inspired by a true story. Madame Kitty (Ingrid Thulin) is the proprietor of one of Berlin's most luxurious brothels, where many members of the Nazi high command are her regular customers. Kitty is approached by Helmut Wallenberg (Helmut Berger), an S.S. official who orders her to shut down her business and act as his partner as he founds a new bordello, which will exclusively cater to the elite of the Nazi Party and the German military. Unknown to Kitty, Wallenberg's brothel has been staffed entirely by women recruited by the S.S. for their loyalty to the Reich, and each room has been equipped with secret recording devices, which will allow Wallenberg and his staff to not only gather blackmail material against troublesome officers, but to discover who might be expressing disloyal thoughts about Hitler's regime when their guard is down. Margherita (Teresa Ann Savoy), a pretty young prostitute working for Kitty, is especially devoted to both her job and her country, but when she falls in love with Biondo (John Steiner), a German officer and frequent customer who has grown disillusioned with both the war and National Socialism, she discovers the true purpose of "Salon Kitty," and sets out to destroy the operation, with Kitty's help. Both a scandal and a success in Europe, Salon Kitty initially played the exploitation circuit in the United States in an edited version titled Madame Kitty, though the shorter version still earned an X rating.
~ Mark Deming, All Movie Guide

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IMDB Reviewer wrote:

For the first ten minutes or so I thought 'Alucarda' was going to be a waste of time. It looked very cheap and mediocre. But boy, was I wrong! The movie very quickly kicked into gear and after that it was one fantastic scene after another! I suppose technically this movie could be classified as nunsploitation, as it is most definitely an exploitation movie and it DOES have nuns in it, and, like virtually all the movies in that fascinating subgenre I've seen, it draws a lot of inspiration from Ken Russell's 'The Devils', but I'd be a bit wary of giving it that slightly misleading description. The focus of the movie isn't on the nuns, but the girls they look after, "good" Justine (Susana Kamini) and "evil" Alucarda (Tina Romero), and their strange relationship, and that to me puts it closer to the witch tradition, or even to 70s erotic vampire movies like Hammer's 'The Vampire Lovers' and 'Twins Of Evil', or similar movies by Jess Franco and Jean Rollin. Anyway, this is my first experience with Moctezuma's movies, and if this is anything to go by, I hope it isn't my last! He was a friend of Jodorowsky and produced the cult classic 'El Topo'. 'Alucarda' isn't "just" a horror movie, like Jodorowsky and Ken Russell, Moctezuma creates some unforgettable surreal imagery and that combined with his strong anti-catholicism makes this a very striking movie that will appeal to Bunuel buffs as much as 'Carrie' fans. 'Alucarda' is a very underrated movie and not to be missed!

Reviews
vampiremovies.co.uk
rumourmachine.com

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Paul (Paul Lockwood) is a strip club owner, with a sexually repressed wife, who has been fulfilling his needs at the local brothel. Main madam Claire (Lavelle Roby) hatches a plan to keep him busy with whiskey and sex while a pair of thugs (Duncan McLeod and Robert Rudelson) hide out in the men's room after closing time to try their luck at cracking the safe. Paul gets a little out of hand at the whorehouse, so he's knocked out and dragged back home to his disgusted wife, Kelly (Anne Chapman). Meanwhile, the club's main attraction quits and bartender Ray (Gordon Wescourt) calls up, prompting the frustrated, confused Kelly to try her hand at the striptease herself while her drunken husband sleeps it off. She's a hit, with Ray at least, who seduces her and takes her back to his swimming pool, leaving the safecrackers free to ply their trade. When Paul sobers up and finds that his wife is missing, he heads for the club, not realizing the danger that awaits him. -- Fred Beldin

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IMDB

Description: This great film is based on an actual 1879 historic event in Africa, at Roarke's Drift, a military post occupied by 97 British soldiers. The Englishmen receive word that they are about to be overwhelmed by 4,000 Zulu warriors armed with spears & rifles. The soldiers stay and fight the warriors, desperately using everything they can find to withstand the onslaught.

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Description: I am not surprised to see mostly negative reviews for Fulci's 1987 "Carrie" inspired "Aenigma". It does not stand up to his late 70's/early 80's gore epics that you all are familiar with. But wait, let's remember that Fulci is still visually inventive in 87, with lots of great camera moves and flair. The man knew how to tell a story, folks. He may have been a jerk to his colleagues, but what a great craftsman. He was trying to make a US style teenager quasi slasher popcorn movie here, a lighter less horrifying type of deal. I think it should also be said that this was well cast. The beautiful college girls each play their roles with unique personalities, something you won't find in most US films of this type. The geeky girl in the red dress is a hoot, and so is the famous snail scene. Best of all is the English new wave/pop sappy romance song that sets up the audience perfectly. It's an interesting and engaging story, even if it is clearly inspired by Carrie. And unlike so many other horror films, the ending is rewarding, logical AND suspenseful. I still haven't seen a Fulci film that I don't like, and this is no exception...check it out!

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Gorgeous Laura Gemser pays her lover to kill her husband, releasing her from his cruel sexual treatment, and takes the man's teenage daughter under her wing. Now in Cyprus, Emanuelle is in control of his estate, but life is not so easy as the hitman is out to blackmail her and drag down her stepdaughter into his perverted world. Also starring amazing Livia Russo.

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Description

Tokyo’s Valentine Call is a special kind of phone club. Older salarymen pay to wait for calls from teenage girls, discreet meetings are arranged, and handfuls of yen are exchanged for a quick session of enjo kosai, or paid sex with a high school girl. Plenty of girls are doing it—some to make money for fancy, fashionable clothes and accessories, others to set a trap to rob and brutalize the old perverts. But the Valentine Call staff, horny young Ogisu and the vaguely sinister, makeup-coated Mr. Kuni, have a nasty plan of their own. Listening in on the enjo kosai calls, they conspire to trick the girls into giving them free sex. Mr. Kuni even has a twisted concept behind this scheme. He calls it enboku, his campaign to humiliate the teenage girls, drive them away from prostitution and purify Japan. The enboku plan goes great at first, but then the girls start to wise up to the pair’s tricks and plan their revenge, while Mr. Kuni sets out to take his cruel campaign to even more diabolical extremes…

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Quote:

Full uncut version from the X-Rated Kult release. The film is English dubbed,
there are some French speaking bits in the film for which there were only
German subs for (X-Rated Kult being a German company) which I didn't rip. It
doesn't detract from the enjoyment though as there are nuns, naked nuns and
naked nuns being tortured and fettled! Lovely.

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The Finnish camp classic of all time!

"Sensuela - woman hot as hell, wet as a swamp, she will suck the men inside her!"

Not many films have the dubious honor of ranking as some of the campiest Finnish movies ever made. Teuvo Tulio (1912-2000) started to film Sensuela already in 1964, but interrupted it largely due to the financial reasons. The movie was shot entirely with an old equipment from the 1940's, which explains the dreamy look of the shots and finely detailed color stock. Most of the scenes were shot during 1967-1968, and some of the retakes and extra scenes were still filmed after the premiere. Meanwhile one of the leading actors Ossi Elstelä died in 1969 and his lines were dubbed by Uolevi Vahteristo.

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Description: "Hotter than Bond. Cooler than Bullitt," movie posters proclaimed. John Shaft was indeed a shut-your-mouth detective to reckon with, a fact emphasized from the film's start by Isaac Hayes' Academy Award-winning Best Original Song and Oscar-nominated score.

Richard Roundtree plays the smart, tough, confident lead, a private investigator whose hunt for a kidnapped woman puts him in the middle of feuding syndicates. Gordon Parks directs from a screenplay that Ernest Tidyman (that same year's Oscar winner for The French Connection) co-scripted from his own novel. John Shaft is an icon of change from an era of change. Today, Shaft still tells it like it is.

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IMDB



Description: This blaxploitation favorite delivers all the colorful action that fans of the genre crave as well as some surprisingly intense drama. Larry Cohen's script, which is loosely modeled on the gangster classic Little Caesar, delivers shootouts and fisticuffs galore, but devotes just as much time to exploring what pushed its driven main character into crime. Fred Williamson lives up to the character of Tommy Gibbs by delivering a performance that is charismatic and frighteningly fiery all at once. Other memorable performers include Julius Harris, who brings a genuine sense of regret to his role as Gibb's estranged father, and Art Lund, who delivers a skin-crawlingly sleazy performance as the hero's corrupt policeman nemesis. Black Caesar also benefits from some dollops of sly humor that temper its dramatic edge, the best example being an attack on a mob family which starts out with Godfather-styled music that soon gives way to hard-driving funk as Gibbs and his men attack. The film's gritty appeal is capped by a solid soul music score from James Brown, that is highlighted by the harrowing theme song "Down and Out in New York City." In short, Black Caesar is one of the true highlights of the blaxploitation genre and well worth the time for cult movie fans.

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Female bikers! Catfights! Gang violence! Sukeban Guerilla expands on classic exploitation "bad girl" archetypes with an explosive abandon. Fans of Faster, Pussycat! Kill! Kill! and Switchblade Sisters should brace themselves for the be-all, end-all and show-all of what's possible in the realms of grindhouse girls gone way-past-wild.

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Ilsa, She Wolf of The SS

from imdb,

"Ilsa is an evil Nazi warden at a death camp that conducts "medical experiments". Ilsa's goal is to prove that woman can withstand more pain and suffering than men and therefore should be allowed to fight on the front lines."

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Anita: Swedish Nymphet is a 1973 Swedish-French erotic drama film directed by Torgny Wickman, starring Christina Lindberg and Stellan Skarsgård. Anita (Christina Lindberg) is a 16-year old nymphet who has a hard time with relationships. One day she meets Erik (Stellan Skarsgård).

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IMDB

FROM IMDB: "A serial killer brutally slays and dismembers several gay men in New York's S&M and leather districts. The young police officer Steve Burns is sent undercover onto the streets as decoy for the murderer. Working almost completely isolated from his department, he has to learn and practice the complex rules and signals of this little society. While barely seeing his girlfriend Nancy anymore, the work starts changing him. uninvolving bore, you will never again be so fascinated by how unengaged you are."

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IMDB

Description: Dolemite is a 1975 blaxploitation feature film, and is also the name of its principal character, played by Rudy Ray Moore, who co-wrote the film and its soundtrack.

Moore, who started his career as a stand-up comedian in the late 1960s, heard around that time a rhymed toast by a local homeless man about an urban hero named Dolemite, and decided to adopt the persona of Dolemite as an alter-ego in his act. He included the character on his 1970 debut album, Eat Out More Often, which reached the top 25 on the Billboard charts. He released several more comedy albums using this persona. In 1975, Moore decided to create a film about Dolemite, using many of his friends and fellow comedians as cast and crew. The film was directed by D'Urville Martin, who appears as the villain Willie Green.

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IMDB

JLG/JLG (1995) Jean-Luc Godard stars in this film as a fictional character of his own creation. JLG muses about in his home in Rolle, Switzerland in the dead of winter. He suffers the rude interruption of critics and the cheeky services of a pretty maid while contemplating the end of western culture, cinema, and himself. A busy day... but still with time for tragedy, tennis and television.

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IMDB

Roger Corman directed this psychedelic odyssey concerning the curative properties of LSD, with a surrealistic screenplay written by Jack Nicholson. Peter Fonda is Paul Groves, a television commercial director whose estranged wife Sally (Susan Strasberg) is pressuring him to sign their divorce papers.

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IMDB

Are snuff films real? Has anyone ever actually viewed a real snuff film? This is the question that lies at the heart of Paul von Stoetzel’s Snuff: A Documentary About Killing on Camera.

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Description: An American journalist travels throughout the world in search of a good story by joining a modern-day harem and traveling to Venice to see what really goes on at diplomatic parties. While trying to expose a corrupt government official, Emanuelle stumbles upon a group that uses kidnapped girls to make and sell snuff films. A brush with death leaves Emanuelle wondering if it is perhaps time to hang up her camera for good

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IMDB wrote:

Shocking and disturbing

This obscure French film, still unavailable in English, is a more fictionalized and much more exploitative version of the same real-life murder later covered in Peter Jackson's "Heavenly Creatures". The two girls in this movie, however, are decidedly less sympathetic than the heroines of the later movie and they commit not only murder, but every form of religious sacrilege, as well as some unforgivable cruelty to some birds belonging to a poor, retarded handyman. It is thus pretty hard to feel much sympathy toward them (even if I could understand most of what they were saying).

The two girls are also decidedly younger than their juicy counterparts in "Heavenly Creatures" and the scenes of them prancing around in their underwear or one of the nymphets deliberately enticing a much older man and nearly being raped TWICE make for some decidedly uncomfortable viewing. To the movie's credit these scenes are obviously intended to shock and disturb much more than titillate (and anyone who finds themselves being turned on by them probably has a lot bigger problems than this movie). The ending is very memorable and truly shocking. I would kind of like to watch this movie with English or Spanish subtitles, but I'm not really sure I could sit through it again.

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SUMMARY
An eccentric artist is panned by a well-known critic at his opening for not having a good color sense, so he starts a new series, using his own blood to paint. Soon he is weakened and must find other sources of blood to continue his paintings.
Ed Sutton on IMDb

REVIEW
A Deeper Shade of Red: Color Me Blood Red
Contains minor spoilers. Color Me Blood Red was the final installment in Herschell Gordon Lewis and David Friedman's infamous "Blood Trilogy". The three films (Blood Feast, 2,000 Maniacs, and Color Me Blood Red) would most likely have been consigned to the annals of bad exploitation cinema if not for one thing—they were the genesis of the modern day gore film. Made with a miniscule budget, no-name actors, and primitive FX work, Lewis' films were the first movies to showcase blood and guts in loving detail. And while they're always tongue-in-cheek in their presentation, they still managed to shock the world with their sheer audacity.

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