A couple travels to an old castle in France for the reading of the will of the woman's recently deceased wealthy uncle. It turns out that he left her his castle and its grounds. They turn down an offer by a local businessman to buy the castle, and not long after that strange things begin to happen, most of them directed at the young woman.
A small group of survivors at a military installation who survived World War 3 attempt to drive across the desolate wasteland to where they hope more survivors are living. Hopefully their specially built vehicles will protect them against the freakish weather, mutated plant and animal life, and other dangers along the way.
Released as Mark of the Devil to U.S. theaters (accompanied by complimentary barf-bags for squeamish patrons with urpy tendencies), this gory torture-fest was produced in Germany under the title of Hexen bis aufs Blut Gequ lt (Witches Tortured Till They Bleed). The story is comprised of equal parts Ken Russell's The Devils and Michael Reeves' sardonic Witchfinder General (aka The Conqueror Worm). It involves the demented Count Cumberland (Herbert Lom), an Austrian nobleman who implements the witch-hunting policies of the Inquisition as a means of obtaining land, riches, and nubile young wenches -- particularly the lovely Vanessa (Olivera Vuco), who has been accused of heresy and witchcraft. Cumberland's accomplice in the torture and terror, Baron Christian Von Mem (Udo Kier), realizes too late that his mentor is the true evil stalking the land, not the terrified innocents whose trials are a mockery of justice. Christian is sacrificed to the enraged villagers during the inevitable revolt at the film's climax, while the Count makes a hasty escape -- thus enabling the birth of a sequel, Mark of the Devil Part 2. Both films were repackaged in the mid-70's and released in time to join the ranks of the European demon-possession subgenre (American release ads proudly proclaimed Damn The Exorcist ). The barf-bags were not entirely unjustified for this graphically sadistic exercise which assaulted audiences with explicit scenes of torture, including the removal of one poor victim's tongue.
The cult classic known as ‘the greatest British zombie biker movie ever made’ returns with the ultimate full-throttle restoration: Nicky Henson (Witchfinder General), Beryl Reid (The Beast In The Cellar) and Oscar® winner George Sanders (All About Eve, Village Of The Damned) star in this beloved ‘70s mind-blower about a motorcycle gang who burst from their graves to crush a world of psychedelic hippie pleasures under the wheels of black leather occult mayhem. You’ve got to believe it’s come back: Psychomania – from veteran horror director Don Sharp (Kiss Of The Vampire), the blacklisted Hollywood screenwriters of Horror Express, and featuring some of the wildest cycle stunts of the decade – has now been restored from the only uncut 35mm print in existence and packed with new Bonus Features produced exclusively for this edition.
A poor writer discovers that a species of rats has banded together to impersonate humans and supplant them unnoticed, in a manner reminiscent of the transformations in Eugene Ionesco's Rhinoceros, or the covert conspiracy of pod-people in The Invasion of the Body Snatchers. This film's story is based on a book by the Soviet writer Alexander Greene.
Slave of Pleasure, My Mistress Electra, Prisoner of Pleasure
Street Date 11/07/2013
Publisher: After Hours Cinema |
One of the most notorious of old Times Square’s “mini-cinemas,” the Avon 7, and the films produced under its banner, have become the stuff of legend. Located on 724 7th avenue (hence, the Avon “7”), the venue was known early on for its live sex acts, which were its main draw. To sedate the restless audience during intermissions between live sex, the theatre would screen self-produced adult films. With BDSM becoming prevalent in sex films by the late 70s and early 80s, the Avon 7 would reach the epoch of its career, and during this period would produce some of its most recognizable and infamous titles.
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