Robert Altman - The Long Goodbye (1973)

Director Robert Altman, famous for his ability to turn any genre inside out, takes aim at film noir with this evocative adaptation of Raymond Chandler's novel. Altman's Philip Marlowe (Elliott Gould) is a relatively unsuccessful private eye living and working in 1970s Los Angeles. Stepping into the shoes of the notorious detective, Gould delivers a captivating performance that is the definition of '70s hip: he spends the entire film mumbling to himself, smoking cigarettes, and making wisecracks to everyone he encounters.

Saul Bass - Phase IV (1974)

Quiet, haunting, beautiful Phase IV is an intriguing, and largely overlooked, science-fiction masterwork centred on the latent destructive power of the insect world and humanity’s inherent vulnerability in the face of catastrophic change.

Curiously enough, the only feature film directed by Saul Bass - the ingenious credit sequence specialist - contains no credit sequences. The story begins in space, a shot of the sun emanating a solar flare. A colony of ants seem to have picked up a signal from the flare, something that shifts them up the evolutionary scale, something that gives them purpose, a desire to dominate the planet. At first they concentrate on eliminating their nearest threats: spiders, mice, lizards. Later, they direct their sole attention to the next most advanced creatures on the planet: us.

Jose Mojica Marins - O Ritual dos Sádicos AKA Awakening of the Beast (1970)

Brazilian horror icon Jose Mojica Marins explores the drug culture as only he can in this distinctive blend of terror and surrealistic images. A group of leading Brazilian psychiatrists have come together to debate the effects of recreational drugs (particularly LSD, marijuana, and cocaine) on their patients, with noted filmmaker Marins in attendance. As the doctors exchange increasingly bizarre stories -- running from a female college student led into a fatal sexual encounter with a group of pot-smoking bohemians to an older cocaine-addled woman obsessed with miscegenation and bestiality -- one proposes an unusual experiment.

Stephen C. Apostolof - Orgy of the Dead (1965)

Orgy of the Dead wouldn't be worth anyone's time were it not for its star and screenwriter. The star is the inimitable prognosticator Criswell; the screenwriter is the immortal Ed Wood Jr., adapting his own novel. The King of Wretched Cinema weaves an incredible tale of a writer who decides to spend a night in a cemetery, the better to get into the mood to write a book on necrophiliacs. The writer and his girl friend are overpowered by several zombielike nude ladies (all played by LA strippers). Hero and heroine are tied to posts and subjected to the oratory of Criswell, aka "The Emperor." As if Criswell's ramblings aren't torture enough, the couple is then forced to watch the naked necromancers punish several "sinners" who've been condemned to eternal Darn-ation. The festivities come to an end when the sun rises, reducing Criswell and his followers to dust.

Roger Vadim - Don Juan ou Si Don Juan était une femme... AKA Don Juan, or If Don Juan Were a Woman (1973)

So what if Don Juan were a woman? I'm not sure if she would behave something like Brigitte Bardot's 1973 rendition of the famed lover, but it's considerably fun to watch her strut her stuff.

In Roger Vadim's interpretation of the Latin lover, Jeanne (Bardot) eats men for breakfast, lunch, and dinner. She takes a married politician and immediately ruins him by having him photographed at one of her orgies. She uses a hapless folk singer for sex and then leaves, prompting him to slice his wrists and bleed to death while strumming his guitar. She even extends her wiles to corrupting women, luring the innocent wife of a grotesquely self-absorbed businessman into the sack, then turning the tables on both members of the couple.

Sharad Patel - Rise and Fall of Idi Amin (1980)

A pseudo-documentary about former Ugandan dictator Idi Amin. Even Amin's friends were terrified of him, and those who were able to escape his regime brought tales of brutality and perversion which rival those of Hitler. Among these stories were reports of cannibalism practiced by Amin in the old African tradition of consuming the power of an enemy. Many of these tales, including the cannibalism, are sensationalized in this film.

Gregg Araki - Mysterious Skin (2004)

"The summer I was eight years old, five hours disappeared from my life. Five hours,
  lost, gone without a trace..." These are the words of Brian Lackey (Brady Corbet),
  a troubled 18 year-old, growing up in the stiflingly small town of Hutchinson,
  Kansas. Plagued by nightmares, Brian believes that he may have been the victim of
  an alien abduction.

Jack Hill - Spider Baby or, The Maddest Story Ever Told [+Extras] (1964)

This highly influential cult classic from writer-director Jack Hill (Switchblade Sisters, Foxy Brown) tells the demented and darkly comic tale of the Merrye children -- Elizabeth (Beverly Washburn), Virginia (Jill Banner) and Ralph (Sid Haig)-- all of whom suffer from a rare genetic malady that causes its victims to mentally regress to a condition of "pre-human savagery and cannibalism."

Álex de la Iglesia - Perdita Durango aka Dance With The Devil [Uncut] (1997)

Perdita Durango joins Romeo Delarosa, a Santeria black sorcerer and bank robber, and becomes his lover as they cross the Mexican border into Texas. Pursued by a dogged FBI agent, Romeo becomes involved in the shipment of a truckload of baby embryos to Las Vegas to be used for experimentation by a cosmetics firm, unaware that he has been betrayed by his cousin and all that awaits him at the other end is a trap. Along the way Romeo and Perdita take a whitebread teenage boy and girlfriend prisoner, intending to use them as human sacrifices in a Santeria ceremony.

Rémy Belvaux - C'est arrivé près de chez vous aka Man bites dog (1992)

Not that it was the first media-evil movie ever -- for that, you'd have to go back at least as far as Billy Wilder's Ace in the Hole -- but it scooped Serial Mom, Natural Born Killers, To Die For, the endless spate of 1990s films whose directors suddenly noticed that methods of mass communication were inherently corrupt and corruptive. Even The Blair Witch Project owes a debt to Man Bites Dog's grainy mockumentary shaky-cam style. Like it or not -- and you'd be excused for not liking it -- this Belgian award-winner has probably influenced every subsequent media take-off from the sublime (Series 7) to the ridiculous (Ed TV).

L.Q. Jones - A Boy and His Dog (1975)

A Boy and His Dog is a weird, offbeat sci-fi movie about one of the genre's favorite subjects: the survivors of a nuclear holocaust. The year is 2024, and America has been buried under a deep covering of radioactive dust. On the surface, roaming bands of marauders kill each other for women and canned goods. A half-mile below, domed cities preserve -- or should I say embalm -- a ghastly parody of middle-class life.

The boy of the title is Vic (played by Don Johnson), who's spent 18 years struggling to survive on the surface. The dog is Blood, a cheerful mutt who can communicate telepathically.”

Herk Harvey - Carnival of Souls [Director's Cut] [+Extras] (1962)

Herk Harvey’s macabre masterpiece gained a cult following through late night television and has been bootlegged for years. Made by industrial filmmakers on a modest budget, Carnival of Souls was intended to have the “look of a Bergman” and “feel of a Cocteau,” and succeeds with its strikingly used locations and spooky organ score. Mary Henry (Candace Hilligoss) survives a drag race in a rural Kansas town, then takes a job as a church organist in Salt Lake City. En route, she becomes haunted by a bizarre apparition that compels her to an abandoned lakeside pavilion. Criterion is proud to present the ultimate special edition of this eerily effective B-movie classic that continues to inspire filmmakers today.

Andrea Tonacci - Bang Bang [+Extras] (1970)

Fun bit of trivia: When the film was submitted to the Brazilian board of censors for the first time, the military dictatorship allowed its exhibition, but prohibited its exportation.

David Hamilton - Tendres Cousines (1980)

On the eve of World war II, adolescent Julian’s family enjoys life on its southern French state to the fullest, blissfully unaware of the apocalyptic future. Adult relatives, staff and boarders, in part refugees from Nazi territories, indulge in French cuisine and libertine love. When Hitler’s invasion of Poland causes France to mobilize, only youngster, seniors and females remain to run the estate. Julien is now the man of the house, and the most desirable sex partner.

Peter Geyer - Jesus Christus Erlöser AKA aka Jesus Christ Saviour (2008)

Berlin, Deutschlandhalle, November 20 th 1971. Kinski emerges into a lone spotlight on an empty stage. Shoulder length hair, plain jeans, a shirt with flower and polka dot patterns. No set, no stage effects, no costume. By reciting his own version of the New Testament's “Jesus Christ Saviour”, he realizes a project well over 10 years in the making.

It is the time of the Hippie movement, and Andrew Lloyd Webber's musical “Jesus Christ Superstar” is celebrating a sensational success in Germany as well. It is also a time of nonviolent resistance.

But Kinski's JESUS is not some Hippie Happening. It is to be a highly emotional, highly personal recount of “mankind's most exciting story: The Story of Jesus Christ…the freest and most modern of all men, who prefers to be massacred rather than fester alive with all the others. About a man who is the way we all would like to be. You and I”.

Ousmane Sembene - La Noire de... aka Black Girl (1966)

In Movies as Politics, Jonathan Rosenbaum makes a case for Senegal writer-director Ousmane Sembene's Black Girl as the symbolic genesis of sub-Saharan African filmmaking, at least to the extent that the authorship belonged to a born and bred African and not a well-meaning European ethnographer like, for instance, the extraordinary Moi, un noir's Jean Rouch. Based on one of his own anti-colonialist stories, Sembene's film begins with the arrival of Diouana, a stylish young black woman, to the French Riviera. Giddy on dreams of attaining true cosmopolitanism, Diouana has accepted a job as a domestic to a diffident married couple. In Senegal, she was a nanny to their children. But once she arrives in France and gets set to sweep floors, scrub bathtubs, and prepare spice-free versions of her homeland cuisine for houseguests (the couple's kids apparently study abroad), she comes to the slow realization that her employees are more like masters and her domestic position is really just paid slavery.

Jesus Franco - Das Frauenhaus AKA Blue Rita (1977)

Blue Rita is more or less what you'd expect from a Jess Franco film: very explicit - very kinky - very strange - very incoherent - very bad. The plot, as far as I could say, is about some Parisian strippers who double as secret agents: they kidnap enemy (whose enemy? Never mind) spies and use sexual torture methods to make them talk. To give Franco credit, the production design is colorful and the cinematography is often striking. But the editing is incompetent and the pace is deadly. What puzzles me is how Franco convinced so many young women in his films to bare everything and be treated as pieces of meat by the camera, but I guess the men don't come off much better either. Still, if you just want to stare at naked women on the screen "Blue Rita" will do the job....but so will many other AND better films.
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Samuel Fuller - The Naked Kiss (1964)

DIR Samuel Fuller
PROD Samuel Fuller
SCR Samuel Fuller
DP Stanley Cortez
CAST Constance Towers, Anthony Eisley, Michael Dante, Virginia Grey, Patsy Kelly, Marie Devereux, Karen Conrad, Gerald Michenaud, Betty Robinson, Breena Howard, Sally Mills, Edy Williams, Betty Bronson, Neyle Morrow
ED Jerome Thoms
MUSIC Paul Dunlap
Sundance
The setup is pure pulp: A former prostitute (a crackerjack Constance Towers) relocates to a buttoned-down suburb, determined to fit in with mainstream society. But in the strange, hallucinatory territory of writer-director-producer Samuel Fuller, perverse secrets inevitably simmer beneath a seemingly wholesome surface. Featuring radical visual touches, full-throttle performances, brilliant cinematography by Stanley Cortez, and one bizarrely beautiful musical number, The Naked Kiss is among Fuller’s greatest, boldest entertainments. —The Criterion Collection


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Claudio Caligari - Amore tossico (1983)

DIR Claudio Caligari
PROD Giorgio Nocella
SCR Guido Blumir, Claudio Caligari
DP Dario Di Palma
CAST Cesare Ferretti, Michela Mioni, Enzo di Benedetto, Mario Caiazzi, Silvia Starita
ED Enzo Meniconi
The inhumanity of heroin in this 1983 film is not completely different from the soon-to-break AIDS epidemic, in that seduction disguises death within its pleasures, and death rarely comes immediately or painlessly. Drawn by boredom or pushed by the crush of an uncaring environment, a few teens become hooked on heroin in this story that is set in Ostia, a bleak Roman seaport, a wasteland of the industrial age. The teens have battered, black-and-blue arms that reflect their surroundings and their similarly mangled lives of prostitution and/or armed robbery. One teen convulses from a bad mix of cocaine (with the monument to the dead filmmaker Pasolini in the background – he was killed in Ostia in 1975). While the dying teen is sped off to the hospital, her lover’s fate is not much different than her own, and only slightly more violent. —allmovie guide
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Edward D. Wood Jr. - Jail Bait (1954)

"Jail Bait" was Ed Wood's second feature film, after his debut film "Glen Or Glenda".
.....featuring many of the Wood trademarks –a ridiculous and muddled plot...rigid actors ; a bizarre Mexican mariachi guitar score, 'borrowed' from "Mesa of Lost Women"...hokey dialogue...as well as a wonderfully inept performance from the pre-"Hercules" Steve Reeves. 
This is also surely one of the few films to devote an opening credit to a lingerie company ("Chic & Pandora...Knitwear, Ladies Suits, Dresses, and Lingerie" ).

Originally titled: "The Hidden Face", this was Ed Wood's attempt at the film noir..  murder mystery/detective film.

Another among the entrants in the 'borrowed' category for this film..is some outrageous, and more than a little offensive minstrel show footage, borrowed from a 1951 film called "Yes Sir, Mr. Bones", an inexplicable jaw dropper of a scene.

All in all..a must see for Ed Wood fans...and film lovers everywhere....as you discover why..in the words of "Jail Bait's"  Dr. Boris Gregor ...“Plastic surgery at times seems to me to be very, very complicated.” 

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