Cristina Aurora Kotz Cornejo - 3 Américas (2007)

After an unexpected catastrophe, troubled teen América (Kristen Gonzalez) must move from Boston to Argentina, where she butts heads with her domineering grandmother (Ana María Colombo), forms a close connection with an older man (Nicolás Meradi) and struggles to understand the Spanish-speaking population. Directed by Cristina Aurora Kotz Cornejo, this unflinching drama co-stars Gy Mirano, Gilberto Arribas and Martin Campero.

Curtis Bernhardt - Possessed [+Extras] (1947)

Joan Crawford won an Academy award in 1945 for Mildred Pierce, and, two years later, she was trying her utmost to win another. Her gripping, melodramatic star turn helped make Possessed a hit and a prime example of post-war film noir. Crawford can’t find happiness with either Van Heflin or Raymond Massey, and her fiery emotions drive her into a lethal frenzy. Based on Rita Weiman’s book One Man’s Secret, Possessed is told almost entirely in flashbacks, the goal being to figure out what drove Crawford’s character crazy.

James Whale - The Invisible Man (1933)

A mysterious man, whose head is completely covered in bandages, wants a room. The proprietors of the pub aren't used to making their house an inn during the winter months, but the man insists. They soon come to regret their decision. The man quickly runs out of money, and he has a violent temper besides. Worse still, he seems to be some kind of chemist and has filled his room with messy chemicals, test tubes, beakers and the like.

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.

Van Guylder - Hollywood Babylon (1972)

"Interesting little exploitmenatary!? Is that a word? This is a documentary of sorts on Hollywood in the 20's and 30's. It shows reenactments of many of the major scandals which mostly involved sex. As this film is for "adults only", the vignettes involve mainly naked people running around and/or having sex. I thought this was quite an interesting little history lesson about the golden days of Hollywood and yet an exploitation movie at the same time. Neat little concept. 70's exploitation queen Uschi Digart is one of the co-stars and it is based on the book of the same name by Kenneth Anger. Released by Something Weird Video. - Chainsaw Fodder

Josef von Sternberg & Arthur Rosson - Underworld (1927)

Josef von Sternberg's 1927 Underworld was given a rare airing at the New York Film Festival, introduced by festival director Richard Pena as the 'ur-gangster film.' Whether it is ur  remains to be seen, since gangster films have been floating around the edges of American movies since the early silent period in D. W. Griffith's Musketeers of Pig Alley and Raoul Walsh's 1915 feature Regeneration. In fact, with von Sternberg as director, it is hardly a gangster film at all. It more of a reverie on what a gangster film could have become if the Depression hadn't got in the way.

Roy Del Ruth - Red Light (1949)

Nick Cherney, in prison for embezzling from Torno Freight Co., sees a chance to get back at Johnny Torno through his young priest brother Jess. He pays fellow prisoner Rocky, who gets out a week before Nick, to murder Jess...who, dying, tells revenge-minded Johnny that he'd written a clue "in the Bible." Frustrated, Johnny obsessively searches for the missing Gideon Bible from Jess's hotel room. Meanwhile, Nick himself gets out with murder still in his heart. But another factor is in play that none of them (except the murdered Jess) had planned on.

King Vidor - The Big Parade (1925)

In the spring of 1917, America enjoys peaceful prosperity, while war rages in Europe. In New York, laborer Slim Jensen toils on a skyscraper, while in the Bowery, Michael "Bull" O'Hara tends bar. On the other side of town, wealthy idler James Apperson scoffs at the idea of working in his father's factory. All three men's lives are interrupted by the news of America's declaration of war against Germany. Disinterested in the war news, Jim is bewildered by the patriotic fervor that stirs the crowds and inspires an enthusiastic parade.

Sidney Lumet - Fail-Safe (1964)

When a military computer error deploys a squadron of SAC bombers to destroy Moscow, the American President (Fonda) tries to call them back. But their sophisticated fail-safe system prevents him from aborting the attack, so he must convince the Soviets not to retaliate. In desperation, the President offers to sacrifice an American city if his pilots succeed in their deadly mission over Moscow. A four-star techno-thriller that builds tension and suspense with every tick of the nuclear clock.

Fred M. Wilcox - Forbidden Planet (1956)

Forbidden Planet is a combination of science, romance, comedy, and horror. The basic story involves a space rescue to a distant alien world, in search of a long-missing, previous expedition. They discover an eccentric scientist, his beautiful daughter, a powerful robot, and a horrible secret.

This suspenseful screenplay, that is way ahead of its time, by Cyril Hume, (story by Irving Black and Allen Adler), was a VERY LOOSE adaptation of Shakespeare's "The Tempest," mixed with elements from Freudian psychology.

Gary Nelson - The Black Hole (1979)

The crew of the spaceship Palamino stumbles across the ``lost'' ship U.S.S. Cygnus, hovering on the edge of an immense black hole. Once aboard, they find the ship is manned by robots - it's only human inhabitant, one Dr. Hans Reinhardt; an eminent scientist, missing for the past twenty years. His plan - to enter the Black Hole . . . Whether Dr. Reinhardt is a genius or a mad-man, one thing is for sure, he will not be denied his life's dream. What lies beyond the Black Hole? Immortality . . .or, Oblivion . . . ?

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.

Anthony Mann - Men in War (1957)

In Korea, on 6 September 1950, Lieutenant Benson's platoon finds itself isolated in enemy-held territory after a retreat. Soon they are joined by Sergeant Montana, whose overriding concern is caring for his catatonic colonel. Benson and Montana can't stand each other, but together they must get the survivors to Hill 465, where they hope the division is waiting. It's a long, harrowing march, fraught with all the dangers the elusive enemy can summon. Who will survive?

Byron Mabe - Space-Thing (1968)

Col. James Granilla is on a mission to learn about the Terranians and destroy their vessel. Terranians capture him, and he quickly blends in and gains their trust. In order to learn about them he ends up making love to their disgusting alien bodies (not so disgusting if you ask me).

This film is pretty corny. It's not pornographic, just lots of nudity such as films of the time had. The women in this film are quite beautiful, except for one way over-tanned blonde who looks like a ganguro girl.

Douglas Buck - Cutting Moments (1997)

Warning: This is a very shocking short

 In the center of a monotonous suburban existence, Sarah lives silently and in subservience to her icy husband Patrick. They have been together far too long, and Patrick's affections for his wife have all but vanished. Instead, his sexual urges are tempting him to lust after their own son. Realizing how far gone her husband is, Sarah undertakes drastic, shockingly sickening measures to salvage some sense of her life and purge her years of festering resentment.

Phil Karlson - 99 River Street (1953)

99 River Street is one of director Phil Karlson's brutal, sweaty excursions into film noir, and it has as many detractors as it has admirers. Certainly, there's a lot to applaud in River, starting with the economical way in which Karlson tells this complicated story. Karlson, as usual, is in love with close-ups, and there's a reason for it: they force the audience to concentrate on the character at hand, to experience his experience in a direct and no-nonsense manner.

Jerami Cruise - August Underground's Mordum (2003)

AUGUST UNDERGROUND'S MORDUM

SNUFF EDITION

 This is the limited Snuff Edition for the second movie in the August Underground trilogy. Not only Mordum is the sickest of the series, but also the one that benefits the most from the Snuff treatment. The original August Underground was already a 2-disc, and Penance came originally with extra features, but Mordum was first released barebones. I know this is not everyone's cup of tea, so for those who dig it I hope you enjoy the upload.

This "movie" is shit. It's totally grotesque, incoherent and there's no actual storyline, to come up with a synopsis here. (and even if there was, you wouldn't really care, right?)

Juan Piquer Simón - Mil gritos tiene la noche AKA Pieces (1982)

I'm gonna wager that most of you know this film already. If so, I shouldn't need to rhapsodize about it. But if you're reading this, and you haven't seen it yet... Jesus man, what are you waiting for? PIECES is pretty much the ne plus ultra of why CG was created - it's terrible, hilarious, amazing, hugely entertaining, wrongheaded, tasteless, gory as fuck, sleazy and altogether wonderful. There's severed limbs and heads a-plenty, a hero who lets his dick do most of his thinking, titty across the board, a random kung-fu fight and some gloriously awful dialogue that begs to be quoted and re-quoted until the sun burns out. (Best line: "The most beautiful thing in the world is smoking pot and fucking on a waterbed at the same time.") This thing... it's epic. Juan Piquer Simon, you will always have a place in my heart. You sick fuck.

Doris Wishman - My Brother's Wife (1966)

MY BROTHER'S WIFE, Wishman-heads are back in safe territory with plenty of cutaways to paintings, chairs, and shoes and awkward dubbing. But more than a roughie, this film is Wishman's take on the 40s film noir genre, with a doomed love triangle, scheming criminals, hard-boiled dialogue and a number of far-fetched plot twists amidst the typical Wishman trappings. To keep the plot moving, a cast of familiar faces play each sad and pathetic character. To play the unhappy hausfrau, Wishman tapped June Roberts, a baby-faced nude model whose figure could cut glass and who bears a striking resemblance to Mike Vraney and Something Weird's #1 lady, Lisa Petrucci. Roberts would also grace the films of Barry Mahon, Michael Findlay, and Joseph Mawra, but her talents would be best tested by sexploitation maestro Joe Sarno in a leading role in MOONLIGHTING WIVES and supporting roles in FLESH AND LACE, THE NAKED FOG, RED ROSES OF PASSION and THE LOVE MERCHANT.

Robert Aldrich - Hush... Hush, Sweet Charlotte (1964)

Charlotte Hollis, wealthy southern spinster, is shunned by her community for the grisly murder some 40 years prior of her intended, John Mayhew. Even though her guilt in the matter was never proven, the townspeople liken her to a modern-day Lizzie Borden. The murders are similar in nature and the children even taunt her with cruel rhymes. For this reason she lives a life secluded from the mainstream of society.