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Watch Straight to Hell Online. Movie Title: Straight to Hell Average customer review: Straight to Hell is available for streaming or downloading. Click Here to Stream or Download Straight to Hell

Alex Cox’s “Straight To Hell” is such a curious and unusual pop film that I’m not quite clear how to go about reviewing it. Perhaps if I can atomize down the elements. The film is based round the time of its release and deliberately has all the cliches of the typical 1960s Italian “Spaghetti” Western; the mood, humour, and style is like that of Jim Jarmusch (who plays “Mr. Dade” in the film), David Lynch, and the Coen Brothers; and the cast is a wonderfully interesting group of Unusual Wave/Punk Icons and edgy, idiosyncratic character actors; the plot: 3 Hitmen and a pregnant girlfriend oversleep and miss their scheduled “hit” and deside to pick a bank to build up for the loss of money, which leads them to shroud out and bury the money; the setting: a virtual “Ghost Town” in Spain–I say virtual, but there are a few occupants: a Spanish tavern keeper, hardware/general store owners consisting of a sexy Latin lady and her war-crazed, half-a-man husband, a Priest and Coffin maker, a mobile butler who consitently serves coffee, a flamboyant singer (ala Liberace), a singer/songwriter who sells hot dogs, the gun-slinging, violent, and caffeine-addicted Mac Mahon Gang, and a few crazed others. Acknowledging the cast during the film is quite fun in itself, from Joe Strummer, Sy Richardson, Dick Shameful, Elvis Costello, The Pogues (all of ‘em!), Courtney Like, Jim Jarmusch, Dennis Hopper, Xander R. Berkeley, and Grace Jones to others who you’ll probably spy in a Jim Jarmusch film or in Alex Cox’s Sid & Nancy. The soundtrack is a pseudo-Western and Latin mixture of Pogues, Pray For Rain, and Joe Strummer, which works excellently in the film, as well as outside it.

Cult stars, guns, gloomy humour, violence, coffee, and a surreal Italian Western setting is what’s in store when you go “Straight To Hell”. Hilarious!

DAY ONE - THE INTRO

Definitly one the most ill-received and underated movies of it’s time. I first heard it was going to be realesed on DVD a couple months after the (awesome but lacking in the extra’s) Repo Man Collector’s Edition came out. I was enraged, since all I had was the shoddy first edition VHS tape, which neither pan’s or scans and fair sits in the middle of the cloak cutting off about 50% of every shot (not to mention the opening credits - for years I view it was was called, RAIGHT TO HE)

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DAY TWO - THE MOVIE

This is a movie for people who like movies out of the ordinary. Hell, this movie is honest flat out fun to see. I mean whats not to like; Senseless Violence, Schickzo Storeowners, Inept Hitmen, Even More Inept Gang Members, Cheesy One-Liners, Clever Swearing, Fantastic Photography, Shapely Set-Designs, Badass Acting, and the WIENER KID!. Not to mention Blood, Money, Coffee, Guns, and Sexual Tension. Reviewers slammed it hard when it first came out, hopefully this time they’ll gape at the movie for what it is and realize it’s comedic genius, it’s ground-breaking create, and it’s overall greatness.

Oh yeah if you don’t know the account it’s basically this; three hitmen and an overly-annoying girl (played by pre-star, post-stripper, pre-plastic surgery-miracle, Courtney Savor, in the only reliable thing she’s ever done), who makes Nancy Spungeon view like Mother Teresa, blow a hit, take a bank, and veil out in a runt, desert town inhabited by a gang of coffee addicted outlaws named the McMahons, a killer caberet singer, a sadly misunderstood weiner kid, a bar maintain who finally get’s some business, a priest with more bullet belts than John Rambo, a crazy sadistic storeowner with a hot french wife, and the town butler who makes distinct everyone has a current cup of coffee at all times, no matter the sercumstance.

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DAY THREE - THE DVD

The report and sound on this disc are going to salvage a 10 out of 10 no matter what, since all my tape does is skip and insist. But the record on this is grand, as well as the color and incompatibility, it’s like watching it in a theatre. The sound is obvious as can be and it is presented in widescreen format at 1:85:1 ratio. The dissimilarity between this and the video is night and day.

There’s only 3 extras one the disc but they are each curious in their maintain true, I only wish they included some deleted scenes and onset (I contemplate Anchor Bay is against this for some reason) . First up, the Audio Commentary with Alex Cox and Dick Extreme, not the most groundbreaking commentary but it is very comical and an racy listen. They both joke on the movie, each other, and some of the cast. Also, you earn to here some heavenly wintry stories about the filming and the people enthusiastic with the movie. Alex and Dick also explain an distinguished life lesson, when in need of a comedic moment, objective throwing a rock and hitting someone is a surefire arrangement to pick up a laugh. Next is the very wintry 20+ miniature documentary called Wait On to Hell, in which they go and interview about 15 or so of the cast and crew and ask them some questions about the movie. Here, you gather to here some hilarious stories (most of which involve the maming of Zander Schloss, who, by the map, finally hit puberty), there were parts in here that had me killing myself laughing. There’s a couple of deleted scenes thrown in for qualified measure as well. Finally, there’s a short video promo(for the studio who produced the movie, I presume) of the Pogues version of the Profitable, the Abominable, and the Shocking theme made up of clips from the movie and home video footage of the making of it.

My only complaint of the entire DVD is the conceal…. uggghk. The thing looks like a grade 8 student who’s project was to do a video camouflage using only Photoshop and a copy of Pulp Fiction. Personally they should have stuck with the current video screen of the Joe Strummer drawing with the town burning in the background. Which is sadly, nowhere to be found in the contents of the DVD, they do however include a small mediocre japanese poster featuring some of the cast members and the soundtrack (and new poster) artwork.

FINAL DAY - THE LAST COMMENTS

If your a fan of Alex Cox or a fan of cult cinema in general, I highly suggest you assume this up. If you have the dilapidated VHS version, toss it out (photocopy the conceal first then glue in on the DVD case) and fetch this instead.
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THE CRUSADES: CRESCENT & THE CROSS presents the epic battle between two Middle Age superpowers: the Christian Crusaders and the Muslims. Fought over two centuries, the conflict decided the fate of the Holy Land of the Middle East. Only a tiny strip of land, just a few hundred miles long, it contained the ultimate prize, the city of Jerusalem. The documentary is driven by the key personalities of the First, Second and Third Crusades, the popes, kings, sultans and knights who, in the name of God, ruthlessly fought for land and power. Experience the murder, treachery, and bloodshed of this legendary chapter of history throuth the eyes of key historical figures such as Richard the Lionheart and Saladin, King Louis VII and Nur al-Din. With breath-taking CGI-enhanced visuals, heart-pounding reenactments, and stunning footage from rarely-seen locations THE CRUSADES: CRESCENT & THE CROSS brings the first three Crusades alive for a new generation in conflict. DVD Features: Timeline; Behind-the-Scenes Featurette “History in the Making: The Crusades”; Bonus Documentary “The Knights Templar”; 16:9 Widescreen Format; Interactive Menus; Scene Selection

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The History Channel Presents The Crusades - Crescent & The Cross was congenial! You have to play against this movie! A astonishing performance by Rosa Maria Sarda & Elvira Minguz make The History Channel Presents The Crusades - Crescent & The Cross a “should conceptualize” movie!

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Watch The Case of the Bloody Iris Online. Movie Title: The Case of the Bloody Iris Average customer review: The Case of the Bloody Iris is available for streaming or downloading. Click Here to Stream or Download The Case of the Bloody Iris

Most cite the 60s as when the first Giallo film was made and in the 70s these films reached their gawk and would continue to go on before fading away around the mid 80s. But the 70s it seemed like every film out of Italy was a Giallo, while some suffered from being the same as all the others some filmmakers were able to offer a twist. The Case of the Bloody Iris is delicate great the standard Giallo of the time, but works well and is one of the better ones of an era dominated by them.

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In many ways I articulate the Giallos can sort of be seen as the Italian slasher movies. If you ogle slasher flicks you can contemplate the influence the Giallo had on them. Slasher films are sort of the bad mans Giallo, but the thing is like the slasher you’ve seen one you’ve seen them all and that does apply to Giallos a lot of the times. The abolish scenes are kinda hard to mess up. Hot women being chased by a psycho killer blooming worthy sells itself, but the investigation scenes if they aren’t profitable than the Giallo won’t be any grand.

The screenplay was written by Ernesto Gastaldi who is no stranger to the Giallo; he wrote many of the more common ones in the 70s most well-known writing for Sergio Martino. The script at times definite can be a bit droll, but it works well overall with mostly spicy characters and the mystery aspect is actually solid. Normally by the middle of the movie you can figure out who the killer is, but I actually didn’t figure it out. While it wasn’t a gigantic surprise it did net by me.

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Director Giuliano Carnimeo going under the name Anthony Ascott does a solid job at keeping the toddle engaging along and there’s no shortage of suspects and nudity. The cancel scenes are done well with some handsome respectable suspense and tension and the investigation scenes are handled well and never crawl. There is always something happening here to maintain it from getting listless. Either we bag a execute or stalk scene or we catch some nudity. The Case of the Bloody Iris moves at a very valid slump and like I said there is always something happening to contain the viewers interest.

The Case of the Bloody Iris in my concept is a very strong Giallo that doesn’t come by the attention it deserves. While this is magnificent noteworthy the standard Giallo of the time everything works rather well. One of the problems with these movies sometimes is there are so many characters who are honest there to be suspects things earn very messy, but here that doesn’t happen. I wasn’t clear what to examine out of this, but it was a lot better than I plan it would be.

The cast is solid led by the amazingly pretty Edwige Fenech as Jennifer. I haven’t seen a lot of her work, but what I’ve seen I have liked. You’ll be hard pressed to procure a woman more sparkling than Edwige who I judge might be the most elegant woman I have ever seen. If you are a fan of Edwige this is principal viewing. George Hilton also stars as Andrea Barto and like Fenech I haven’t seen a whole lot of his work, but what I’ve seen I have liked. The two previously worked together in The Queer Vice of Mrs. Wardh, which was produced by Luciano Martino who also produced The Case of the Bloody Iris.

Overall The Case of the Bloody Iris is an profitable Giallo in my opinion; there is some noble suspense and nudity and the mystery angle works well. While not a perfect movie it’s highly enjoyable; I believe fans of the Giallo and Edwige Fenech should relish.

“The Case of the Bloody Iris” is an Italian Giallo, a type of film often considered the ancestor of recent slasher films — but with more style. One can expect: serial murders of aesthetic women, a psychopath, nudity, “sexual situations”, a police investigation (often ineffective) and lots of blood, along with stylish photography and distinctive music. In other words, salacious righteous fun.

Edwige Fenech plays Jennifer, a photographer’s model who moves into an apartment where the dilapidated tenant had recently been murdered by drowning her in the bathtub. Though a second woman was brutally murdered in the building’s elevator shortly before they moved in, neither Jennifer nor her ditzy roommate seem overly-concerned about two murders in and around their novel apartment.

There are plenty of suspects: a queer elderly woman who buys stacks of crime magazines, a lesbian neighbor and her unlit, violin-playing father, a pleased photographer who employed the drowning victim, the building’s architect who has a phobia about blood, Jennifer’s menacing old-fashioned husband, plus a few others who pop up along the plan.

Jennifer first meets blooming architect Andrea Barto (George Hilton) at the photographer’s studio, their eyes meeting suggestively. Andrea arranges for the girls to disappear into the slay apartment, and soon begins an affair with Jennifer.

The police inspector assigned to the murders is a world-weary impress collector, with an almost useless assistant. There is an comical running joke about the assistant being recognized by passers-by while tailing suspects. The police investigation is very weak; the police turn up no clues to the killer’s identity, only more suspects. In fact, the killer is found out only because one of the victims manages to call for succor in time.

My main criticism of the film is that no one takes what happens seriously. The roommate plays a practical joke on Jennifer by pretending to drown in the bathtub, then later refuses to acquire Jennifer when she says she saw a dark man standing over her bed. When Andrea is threatened at knife point by Jennifer’s archaic husband, he simply starts his car and drives off — without even mentioning it to the police. Indeed, both Jennifer and Andrea have more interest in romance than distress over the possibility being murdered!

There is some nudity, but relatively dinky by new standards: a few brief topless scenes, some costumes that might as well be topless, and a nude appreciate scene. Nothing really salacious by today’s standards, but no doubt more so in the 70s when the film was made.

Reviewers of Edwige Fenech’s films often mention her beauty. She is glorious! But obtain no mistake, Fenech is also a suited and talented actress who usually gives a solid and convincing performance. I strongly recommend her rotten Italian farce “Giovannona Long-Thigh”, or Mario Bava’s dark comedy “Five Dolls for an August Moon” for sampling more of her talent.

This film is scrumptious, but not one to peep over and over. It has all the moral parts, but the parts do not fit together quite as well as they should. A stronger directer could have made a better film.
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Streaming Original Dirty Pair - Girls With Guns Online. Movie Title: Original Dirty Pair - Girls With Guns Average customer review: Original Dirty Pair - Girls With Guns is available for streaming or downloading. Click Here to Stream or Download Original Dirty Pair - Girls With Guns

This is a very nice DVD containing the first 5 episodes of the 10 episode Dirty Pair OAV series. Not to be confused with any of the movies/OAV’s previously released by Streamline. The episodes peruse similar to the TV series in their designs and animation. The pair tackle five more assignments of galactic significance with their usual carefree manner and disregard for property. Distinguished of the fun is in the pair’s rocky friendship. The DVD is well done in several regards. The liberties taken with the dub seem largely to add to the charm of the point to or at least not detract from it. My gigantic complaint with the dub is the spoiled language which, though I don’t despise of itself, is a microscopic overused. The subtitle is more literal and feels competent. Each episode is selectable directly from the main menu and starts from a preview of the episode, which is very convenient when you honest want to know which one it is. You can consume Japanese, English, or English with Op/End Lyrics which is also a nice feature. Credits appear before and after every episode and the lyrics alternate between translated and romanji. Bonus material includes a text-less opening animation but no closing. The portray looked like it was taken from a quality master. The sound I can’t really comment on but it looks like Dolby Digital 2-channel for both English and Japanese and sounded distinct to me. The only thing I could believe to add might be a gallery of some kind, or some liner notes. This was intended for VHS or LaserDisk viewing and made during the 80’s, it’s no Mononoke Hime. Taking this into consideration I mediate this is a titanic DVD that is worth the money. I give it four stars. I only hope ADV can release the TV series in a similar fashion. Please.

I’ll secure to the point. This DVD is about a pair of interplanetary police agency, or something like that, that do their police work while wearing bikinis. In the four episodes they: build a prison warden, extinguish a berserk robot, disarm a bunch of heinous brats, and shut down a casino. Since this is extinct school anime, the graphics are not the best but OK, plots are adequate for 25-minute episodes. No explicit violence or nudity, so it’s OK for kids. I would have given a 3-star rating if it wasn’t for the jokes that the girls crack about each other constantly. Did I mention that they mostly wear bikinis!
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Last Stand At Saber River Movie Streaming. Movie Title: Last Stand At Saber River Average customer review: Last Stand At Saber River is available for streaming or downloading. Click Here to Stream or Download Last Stand At Saber River

The age of the Hollywood western had its apex in the middle of the 20th century, then with the change of current society in the 1960’s, the western genre lost its allure and Hollywood abandoned westerns for other fare. Thanks to Ted Turner and his like for American Western film making, the long lost western has been reborn in a enormous arrangement. Tom Selleck continues to designate audiences as a accurate western hero in the tradition of John Wayne. Selleck is more than adequate for the allotment, mountainous in body and huge in acting skill. He takes the portion of Paul Cable, and turns his character into someone we can absorb, like, and respect.

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Cable comes wait on from the Civil War months before its official kill. He is tired of war and killing, and wants to return home to raise cattle in his home set of Arizona. In trying to run his wartime experiences, Cable runs into more worry at home. He finds his wife terribly embittered by his absence, and his home farm is now hasten by weak union soldiers who are naturally hostile to a returning Confederate soldier. Cable must not only fight to gain his farm, but he must also try to rekindle the fancy that has been lost in his marriage.

The sage by Elmore Leonard is a solid one and very believable. There are no unimaginative or dull scenes, the describe grabs you and holds you throughout. Selleck is terrific as Paul Cable, fighting for his family, his woman, and his life. Selleck once again establishes himself as a solid western actor in the mould of John Wayne. He is every man’s western hero. Selleck carries the record on his mountainous shoulders with ease. He is supported with a exquisite ensemble cast, including Suzy Amis as his embittered gritty wife, and Haley Joel Osment (of “The Sixth Sense” fame) in a minor role as Selleck’s son. Amis portrays a western pioneering woman in perhaps one of the most realistic role ever portrayed. Too many times we observe western wonmen portrayed as prissy and prim, dressed in their long skirts and blouses without a scuff or trace of western sand or dirt. Amis’ portrayal as Mrs. Cable breaks the mould; we inspect her with dirt and dust on her face, with sweat dripping in lines across her face, and with a surprising ability to bear her fill with wagon reins in her hands, or for that matter, a rifle. I personally welcome this portrayal of western women, as it is undoubtedly more realistic than the western wife sitting magnificent in her muti-layered petticoats. David and Keith Cariidine are pleasing antagonists in the fight for the family farm. Harry Carey Jr. plays a itsy-bitsy role as Selleck’s father-in-law.

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As a collector of comely western films, I intend to retain “Last Stand at Saber River”, as it is an good western film in the tradition of the colossal Hollywood westerns; it’s not an account, but it is heavenly film-making and will please those craving for a fair western drama. I recommend it.

James “Konedog” Koenig

Tom Selleck does an salubrious job as a disillusioned civil war feeble certain to bring his family relieve together on their occupy land after he is wounded in the war. This is a western as westerns were meant to be made, not the Young Guns type of violence laden shootfest. If you are Western fan that enjoyed Alan Ladd, Jimmy Stewart, Glenn Ford, Gary Cooper or John Wayne, this is a Western you will appreciate.
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Watch Atlantic City Movie Online. Movie Title: Atlantic City Average customer review: Atlantic City is available for streaming or downloading. Click Here to Stream or Download Atlantic City

Europeans have always contented in introducing America to itself. (I am thinking of de Tocqueville and Nabokov.) There is something very distinguished about seeing ourselves through the eyes of others. In Atlantic City, assumptions about the American map of life, the American dream and the America reality, circa 1978, are examined through the artistry of master French film director, Louis Malle (Murmur of the Heart (1971), Stunning Baby (1978), Au Revoir Les Enfants (1987), etc.)

The film begins with a shot of Sallie Matthews (Susan Sarandon at 34) at the kitchen sink of her apartment squeezing lemons and rubbing them on her arms, her neck, her face as Lou Pasco (Burt Lancaster at 68) watches unbeknownst to her from across the diagram, the window of his apartment looking into hers. She works at a clam bar in a casino on the boardwalk, which is why she smells like fish, which is why she is squeezing lemon on herself to obtain rid of the smell. She is taking classes to be a blackjack dealer. Her dream is to go to Monaco and deal blackjack in one of resort casinos and perhaps come by a view of Princess Grace. She listens to French tapes and achieves…an funny accent. He is a has-been who never was, a pathetic feeble numbers runner well past any dream of his prime, pretending to be a “cherish man” as he picks up a few extra bucks waiting on an invalid woman.

Enter a hippy couple with all their belongings on their backs. It turns out that he is Sallie’s estranged husband, a deceitful minute guy who has found a bag of cocaine that he intends to chop and sell; and she is Sallie’s not too shining sister, very pregnant. They need a status to finish and have the gall to impose on her.

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Both Burt Lancaster and Susan Sarandon were nominated for Academy Awards for their performances, as was director Louis Malle and writer John Guare for his script. But none of them won. This was the year of On Golden Pond with Henry Fonda and Katharine Hepburn taking the Oscars while Warren Beatty won Best Director for Reds. (Best film was Chariots of Fire with Colin Welland winning the Oscar for his novel screenplay.) Nonetheless, Lancaster and Sarandon are outstanding, and they are both beautifully directed by Malle. Lancaster in particular demonstrated that at age 68 he could unexcited gain up the mask with his sometimes larger than life presence. The familiar flamboyance and sheer physical energy that he displayed in so many films, e.g., Reach Encourage, Microscopic Sheba (1952), From Here to Eternity (1953), The Rose Tattoo (1955), Elmer Gantry (1960), to name four of my favorites, are here properly subdued. He moves slowly and is easily winded. He is a sunless, cowardly mature man whom Malle, to our delight, will miraculously transform.

Sarandon’s performance is also one of her best, on a par with, or even better than her work in Thelma and Louise (1991) for which she was also nominated for Best Actress and also did not collect. She is an actress with “legs” (this is a pun and an allusion to an inside joke about her illustrious other attributes-nicely displayed in Exquisite Baby–over which perhaps too mighty fuss has already been made!) –an actress with “legs,” as in a magnificent wine that will only find better with age. She, like Goldie Hawn, Catherine Deneuve and a few others, have the gift of looking as first-rate (or better) at fifty as they did at thirty.

Louis Malle films are characterized by a tolerance of human differences, a deep psychological notion, a gentle touch and an overriding sense of humanity. Atlantic City is no exception. What Malle is aiming at here is redemption. He wants to reveal how this pathetic veteran man finds self-respect (in an ironic device) and how the clam bar waitress might be liberated. But he also wants to say something about America, and he uses Atlantic City, Original Jersey–the “lungs of Philadelphia,” the mafia’s playground, the Unique Yorker’s hurry, a slum by the sea “saved” (actually further exploited) by the influx of legalized gambling in the seventies–as his symbol. He begins with decadence and ends with renewal and triumph, and as usual, somewhere along the arrangement, achieves something akin to the quality of memoir. Even though he emphasizes the tawdry and the commonplace: the untalented trio singing off key, the slums semi-circling the casinos where Lou sells numbers, the boarded-up buildings, the shadowy, minute apartments about to be torn down, Robert Goulet as a cheap Vegas-style lounge act, etc., in the slay we feel that it’s not so dreadful after all.

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I should also mention Kate Reid who played Grace, the invalid, ex-beauty queen widow of a mobster, who orders Lou about. She does a enormous job. Her character too will be transformed.

If the leisurely, expansive Louis Malle was running the world the injurious transgressors would surely collect theirs and the rest of us would earn forgiveness for our sins, and renewal.

For whatever reasons, this film never has received the recognition and appreciation I deem it deserves. It was directed by Louis Malle and stars Burt Lancaster as Lou. (In Atlantic City, first names are all you need to know about those around you.) Malle carefully develops three different tale lines: Lou’s long-term affair with Grace (Kate Reid), a mobster’s widow; Lou’s relationship with Sally (Susan Sarandon) to whom he feels both a paternal and romantic attraction; and his symbiotic relationship with Atlantic City. Both he and the city seem long past their prime. During the course of the film, Sally also becomes a widow. Credit Malle and his respectable cast as well as cinematographer Richard Ciupka for creating and then sustaining an atmosphere of deterioration and menace. Special impress should also be made of John Guare’s screenplay. He, Malle, Lancaster, Sarandon, and the film were all nominated for an Academy Award. (FYI, The respective winners in 1980 were Bo Goldman for Melvin and Howard, Robert Redford for Ordinary People, Robert De Niro for Raging Bull, Sissy Spacek for Coal Miner’s Daughter, and Ordinary People.) Toward the extinguish of his career, Lancaster celebrated a series of roles (including this one) which enabled him to ogle and speak subtle nuances of character and personality which powerful earlier roles neither permitted nor required. My absorb plan is that his performance as Lou is his greatest achievement as an actor.

However, in sure respects, Atlantic City itself really is the dominant character. I choose brief visits to it in the 1970s. The city then bore exiguous resemblance to what it has since become, at least in the casino station. Of course the city then bore limited resemblance, also, to the comely seaside resort it once was 75 years earlier. My guess (only a guess) is that Malle’s work in this film — especially his establishment and enrichment of precisely appropriate tone and atmosphere — had a critical influence on later films such as House of Games (1987), Miller’s Crossing (1990), Billy Bathgate (1991), Road to Perdition (2002), and The Cooler (2003) . As I said, unprejudiced a guess.

One final point: I believe it is a disgrace that the so-called “special features” provided with the DVD version are exiguous to “Theatrical trailer(s) ” and “Widescreen anamorphic format.”

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They’re big. They’re bad. They scuttle along in caverns miles beneath the Earth - until an earthquake opens paths to the surface. Now these monsters of genus Arachnida are invading our world with deadly force. With top special effects co-designed by King Kong’s Willis O’Brien, The Black Scorpion is horror with a sting more lethal than the king-sized ants that overran Los Angeles’s sewers in the classic Them! Can humankind survive these invincible juggernauts? That fate rests on the shoulders of Hank Scott (1950s monster movie stalwart Richard Denning) as the creatures rip a train from its tracks, snatch a helicopter from the sky and, in the film’s most gripping sequnce, battle each other in their subterranean lair. Watch out!

DVD Features:
Featurette:Stop-Motion Masters with Ray Harryhausen; Never-before-seen test footage of the Las Vegas monster and beetlemen; Harryhausen-animated dinosaur sequnce from Irwin Allen’s 1956 The Animal World
Theatrical Trailer:Giant monsters trailer gallery featuring this film, The Beat from 20,000 Fathoms, Clash of the Titans and The Valley of the Gwangi

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Slick to a fault, this glossy action flick takes place in sunny Florida, where Martin Lawrence and Will Smith play two cops–one married with kids, the other a swinging bachelor. The two are forced to trade places to foil criminal mastermind Fouchet (Tcheky Karyo) who has stolen $100 million worth of heroin from a police lockup. Violent, illogical, and filled with wall-to-wall profanity, Bad Boys was the last film produced by the hit-making team of Don Simpson and Jerry Bruckheimer before Simpson’s untimely death, and marked the directorial debut of Michael Bay who followed up with The Rock. Bad Boys will be of interest to action buffs and fans of Tea Leoni, who makes one of her early screen appearances in the central supporting role. –Jeff Shannon

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THE ACID HOUSE is a surreal triptych adapted by TRAINSPOTTING author Irvine Welsh from his own collection of short stories. Combining a vicious sense of humor with hard-talking drama, THE ACID HOUSE plunges the viewer into increasingly bizarre situations: hapless Boab Coyle has a chance encounter with a vengeful God; soft-centered Johnny is forced to contend with a psychotic neighbor and a wayward wife; and “Top Boy” Coco Bryce takes an acid trip that literally takes him back to the womb. Starring Ewen Bremner (Julien Donkey-Boy, BLACK HAWK DOWN), Kevin McKidd (TRAINSPOTTING) and Stephen McCole (RUSHMORE) THE ACID HOUSE reaches into the hearts and minds of the “chemical generation” and casts a dark and unholy light into the hidden corners of the human psyche.

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The Acid House was pleasant! You have to stand pat this movie! A of mark performance by Stephen McCole & Maurice Roeves make The Acid House a “have to animadvert” movie!

The mind-boggling cast includes Stephen McCole, Maurice Roeves, Garry Sweeney, Jenny McCrindle, Simon Weir. This cast just make The Acid House the more fabulous!

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