If You Think You've Seen Horror...Think Again! Two art teachers are obsessed with eternal youth. Somehow they manage to get Elizabeth Bathory's diary. Soon they start to practice bloody rituals that end up unleashing hell on Earth....
Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart--Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh.) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. --Tom Keogh
The love that lifted a man to paradiseā¦and hurled him back to earth again! This film is based on W. Somerset Maugham's classic novel of a young medical student's strange infatuation with a cheap and vulgar cockney waitress (Bette Davis). The infatuation turns into a mutually destructive affair. This is the film that brought Bette Davis to fame and secured her future roles as a tough domineering woman. Fine acting by the entire cast with Davis an absolute knock-out.
The 1934 version of 'The Man Who Knew Too Much' was an international hit for Alfred Hitchcock and transformed him from a British filmmaker to a worldwide household name. The story centres on a British family who befriend a jovial Frenchman while vacationing in Switzerland. The Frenchman is soon mortally wounded and before he dies whispers a secret to Banks. Foreign agents witness this incident and kidnap Banks' daughter to prevent him from revealing this terrible secret. The acting a
The Skulls: For Luke McNamara (Joshua Jackson) an invitation to join the prestigious secret college organization The Skulls is a dream come true. Acceptance into the Skulls would ensure Luke a place at the table and guarantee him both the financial means and the connections to make it into law school. But after the suspicious suicide of his friend Will Luke is forced to confront the possibility that he was murdered for attempting to reveal the secrets of The Skulls and he embarks on a deadly game of cat and mouse. In trying to uncover the truth behind Will's death Luke comes to realize just how powerful The Skulls organization really is. And he learns that the truth like success comes at a very high price. (Dir. Rob Cohen 2000) The Skulls 2: After a college student is tapped to join the elite secret Skulls fraternity he witnesses a girl's death and his life starts to fall apart... (Dir. Joe Chappelle 2002) The Skulls 3: Clare Kramer stars as Taylor Brooks a sexy young undergraduate who is determined to become the first female member of the secret Skulls society. After she coerces the Council into including her in the initiation rites of the elite brotherhood Taylor soon finds herself engulfed in a sinister world of deception intimidation and murder... (Dir. J. Miles Dale 2003)
The opening credits of Spanish Fly promise "Leslie Phillips vs. Terry-Thomas", making this the British comic innuendo version of King Kong vs. Godzilla or Frankenstein vs. the Wolf Man, with the two masters of fnarr-fnarr lecherous English lounge lizardry pitted against each other. It's a sunstruck, terminally silly slice of fluff of the stripe that passed for a sex film in 1976 ("Go and butter yourself", someone says) but seems almost comically innocent these days. The sort of film that boasts special credits for women's fashions by Cornelia James and underwear by Janet Reger, it tells the story of a gap-toothed con man (Thomas) exiled to sunny Spain. He adds ground-up cantharides to undrinkable plonk to create a market for aphrodisiac wine, and impotent underwear tycoon (Phillips) benefits from the effects of the product as he gets to grips with four lovely models, until his wife (Sue Lloyd) shows up and a side-effect means he starts barking like a dog. The stars are game, but the material--from a story by producer Peter James, now a horror novelist--is skimpier than the starlets' bikinis and none of the pretty girls has any comic timing (though they all get topless scenes). Students of British pop culture will note the bizarre juxtaposition of hiring an uncredited Francis Matthews, the upright voice of Captain Scarlet, to dub the roles of a gay Spanish photographer and (for one bad gag) a disgusted dog. On the DVD: The picture is fullscreen. There are no extras.--Kim Newman
They seem to have it all: fame fortune and the hottest club act across the USA. But the price of fame is about to cost them dearly.... When two members decide to quit the future of the band hangs in the balance. Emotions are running high as they are booked for a final gig into an old meat packing factory now the notorious Club 905. When the mutilated body of one of their groupies turns up in a meat locker the band start to panic. Is it possible that the envy and anger amongst the band have spawned an uncontrolled psychopath who won't be happy until he or she is playing solo?
Three Australian naval officers have one night on shore leave in Sydney before they board HMAS Dignity and ship out to the Gulf. Troubled Sam (Ewan Leslie) is looking for any excuse not to go to sea; Dean (Toby Schmitz) carries a guilty secret while attempting to meet up with his fianc''e and future in-laws; while cocky Harry (Matthew Newton) wants to get wasted and get laid to drag the others through one night of excess before reporting for duty. The differing personalities conflicting agendas and tensions between the men ensure for an eventful night on the town.
Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart--Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh.) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. --Tom Keogh
A triple bill of Tarzan movies! Tarzan And The Trappers: Made from three TV episodes from a series that never came to be Tarzan must stop mean white hunters searching for treasure in the jungle. The New Adventures Of Tarzan:More adventures with the King of the jungle Bruce Bennett takes up the lead as Tarzan. Tarzan The Fearless:Tarzan discovers the lost city of Zar when he goes up against a group of Arabs who try desperately to kill him while he tries to hel
Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart--Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh.) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. --Tom Keogh
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