Full Moon’s DEADLY TEN project is now LIVE!

Full Moon Features has started principal photography on two of their feature films in their DEADLY TEN anthology as of June 11, 2019.  The DEADLY TEN is Full Moon’s highly anticipated initiative that sees the studio producing ten original feature films, and live-streaming these productions free for fans at The site will also feature pre-production videos, FX tutorials and casting sessions for each movie that fans can access 24 hours a day. The DEADLY TENanthology will premiere exclusively on Full Moon Features streaming channels.

HALLOWEED NIGHT: MEET THE WEEDJIES is the inaugural feature film in the DEADLY TEN series with director Danny Draven (REEL EVIL) taking the helm of the ganja-filled take of Charles Band cult classic GHOULIES. The wacky, weed-choked comedy creeper features a motely crew including Full Moon/Empire Pictures legendary actress Barbara Crampton (RE-ANIMATOR), The Howard Stern Show’s Richard Christy and Medicated Pete, comedian Ester Goldberg, EVIL BONG franchise veteran Mindy Robinson, Playboy superstar Bridget Marquardt, and internet film critic Shawn “Cool Duder” Phillips. HALLOWEED NIGHT was written by Shane Bitterling and produced by Charles Band. Lensing will take place in the city of sin itself, Las Vegas, starting on June 11, 2019.

Immediately following production of HALLOWEED NIGHT, Full Moon will start lensing filmmaker and former FANGORIA magazine editor Chris Alexander’s NECROPOLIS: LEGION.  Gothic, brooding and bloody, the film is a surreal, Eurotrash-tinted companion film to the classic 1986 Band-produced Empire Pictures exploitation film. The film features a demonic vampire witch named Eva (Ali Chappell) who drinks blood through her breasts, while possessing a young writer (Augie Duke) doing research on her story. Production will take place in Canada starting on June 22, 2019.

All inquiring minds and curious eyes are welcome as live-streams the entire production process of both these films, uncensored.

Sign up for FREE today at DEADLY TEN!



Joe D’Amato’s Eurotrash melodrama is as nasty as it gets

Even among the skeezy depths of Joe D’Amato’s cinematic oeuvre, his 1975 sex thriller EMANUELLE AND FRANCOISE is a jaw dropper. The director made his share of unofficial sequels to the popular Silvia Kristel-starring erotic EMMANUELLE movies, most starring the lovely Laura Gemser, but this trashterpiece (also known as EMANUELLE’S REVENGE) is among the best and is almost as cheerfully vulgar than his crown-jewel of vileness, the disturbing 1977 entry EMANUELLE IN AMERICA. Echoing the plot of the decade-and-change later Lucio Fulci softcore drama THE DEVIL’S HONEY, EMANUELLE AND FRANCOISE wallows in perversion to tell its operatically extreme tale of vengeance and sexual humiliation and though D’Amato’s lens captures ample upset, the entire thing is just so damned entertaining and groovy (Joe Dynamo’s funk soul score is a marvel) that you can’t help but kinda love it.

D’Amato regular George Eastman (the monster-man in ANTHROPOPHAGUS and ABSURD and the lead stud in EROTIC NIGHTS OF THE LIVING DEAD) stars as Carlo a preening svengali-esque hustler brute who toils on the back-end of the entertainment business, grafting gigs and delighting in the exploitation and degradation of his lover, the sweet-natured and fragile Francoise (Patrizia Gori). As the film opens, Carlo subjects the girl to one blow too many and she jumps in front of a train.  Enter Francoise’s sister Emanuelle ( in this incarnation played by SALON KITTY’s Rosemarie Lindt), who traces the sad tale of her sister’s decline via letters, with each despicable incident leeringly illustrated by D’Amato for the audience’s outrage and titillation. Soon, Emanuelle hatches a plot to seduce, trap and torture the bastard, locking him in a room armed with a two-way mirror, drugging him and subjecting him to endless images of her getting off with a succession of lovers, both male and female.

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Reverent Dan Curtis documentary celebrates an undervalued auteur

Though his successes were many – both in and outside of the genre – producer/director Dan Curtis rarely receives to sort of dues his legacy warrants as a serious master of horror. Here is the man who brought Gothic dread screaming to the small screen and made an art out of it. His iconic daytime soap opera DARK SHADOWS became a phenomenon after he introduced the ancient vampire Barnabas Collins (Jonathan Frid) into the storyline and suddenly the show, its star and its creator were propelled into the limelight, creating a demand for dandy bloodsuckers who were both fearsome and fearlessly sensitive. Barnabas was the romantic and reluctant vampire, a motif that would stay with the genre, informing the identity of the monster in so many movies and written works to come.

But Curtis’s talents and vision extended beyond the shadow of DARK SHADOWS and David Gregory’s heartfelt new documentary MASTER OF DARK SHADOWS aims to proved just that.  Painting a reverent portrait of the savvy producer in his salad days right up to the creation and – after the show lurched through its first season – evolution of his game changing horror soap opera, Gregory’s film pushes further, deep into Curtis’ reach on screens large (his creepy 1976 haunted house masterpiece BURNT OFFERINGS, the brilliant DARK SHADOWS feature films) and small (everything else) well into the  early 1990s. In fact, if MASTER OF DARK SHADOWS has a flaw at all, its that we don’t get enough of it, with one wishing more love was ladled on such masterful Curtis telefilms like THE NORLISS TAPES, THE NIGHT STALKER and DEAD OF NIGHT; the film could easily – and pleasurably – have run another hour.

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Rustblade Records releases the soundtrack for the classic Italian horror film

Director Michele Soavi’s startling blackly comic horror masterpiece DELLAMORTE DELLAMORE (released in English territories under the goofy name CEMETERY MAN) is one of the final great films coming out Italy, released long after the gory glory days of the European horror boom and a movie that was at odd with the smugness of its decade. Based on the novel by DYLAN DOG creator Tiziano Sclavi, the film stars British actor Rupert Everett as Dellamorte, a hapless graveyard caretaker in a small Italian village who – along with his simple-minded assistant Gnaghi (François Hadji-Lazaro) – discovers that the dead buried in his cemetery refuse to stay deceased, rising again to feast on their families. When the lonely young man falls in love with the comely widow (the stunning Anna Falchi) of a dead millionaire, he is crestfallen to have his romance aborted by his beloved’s own zombification, leading to the final unspooling of his senses and a sequence of events that are alternately absurd, erotic, hilarious and horrifying.

There’s no other movie quite like DELLAMORTE DELLAMORE, patchwork of bizarre eccentricity that it is,  and indeed,  Manuel De Sica’s all-over-the-map score is the perfect aural backdrop for Soavi’s shenanigans. Now, Italy’s Rustblade Records have released De Sica’s wild collection of cues in a beautiful deluxe vinyl packaged, with a pretty purple record housed in an attractive sleeve and with a sexy gate-fold poster tucked inside. It’s a great framework for one of the weirdest and coolest horror movie soundtracks of all time.

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Blu-ray Review: THE COMING OF SIN

Jose Larraz’s elegant and depraved masterwork comes to Blu-ray as part of Arrow’s Blood Hunger box set

In the annals of exploitation cinema, Spanish filmmaker Jose Larraz had one of the more unique voices; a multi-hyphenate artist who dabbled in many mediums, including comic books, and whose filmed fixations on beautiful women and hot sex were matched for his interests in darker, more psychological explorations. And while his resume certainly boasts a more than a few middling efforts, Arrow Video has collected a trio of his undisputed masterworks in their new “Blood Hunger” Blu-ray box set, where fans and fans-to-be can find gorgeous transfers of essential Larraz pictures like WHIRLPOOL, VAMPYRES and THE COMING OF SIN. It’s that last-listed title that brings us here. Because I’d never seen THE COMING OF SIN until now. And it’s just as astonishing a work of erotic horror as I’d heard it was, the depraved equal to WHIRLPOOL and sensual kin to VAMPYRES, a balletic three-hander that forsakes plot in favor of fevered couplings and ratcheting tension.

The film (released in many markets under the riotous and misleading title THE VIOLATION OF THE BITCH) stars Lidia Stern as Triana, a beautiful but simple Gypsy servant girl whose masters “loan” her out to an older, sexually voracious artist named Lorna (Patrice Grant) at her beautiful country estate. Before you can say “The Rain in Spain”, Lorna is smugly boasting that she will refine Triana’s palette, teaching her how to read, to speak, to socialize. And to fuck. Because it’s clear from the moment the two women meet that there is a strong sexual connection and Larraz revels in sustaining that tension, creating a dripping erotic aura that only relaxes once his film veers into full blown mania.

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Blu-ray Review: THE WITCHES

One of Hammer’s strongest ’60s shockers comes to Blu-ray from Scream Factory

Director Cyril Frankel’s 1966 supernatural drama THE WITCHES (based on the novel “The Devil’s Own” by Peter Curtis) might be one of Hammer’s most misunderstood and undervalued productions, with casual admirers of the venerable studio’s output often either ignoring or dismissing it. This is likely due to the film being released squarely in the center of Hammer’s “Golden Age”, when the company had had a near decade-long paydirt mining and perfecting Gothic melodrama and more sensational shockers. It defied audience expectations and needs, in some respects. But Frankel’s eerie mystery is more in-line with the studio’s post-PSYCHO “Mini-Hitchcock” thrillers, material like Frankel’s own queasy NEVER TAKE SWEETS FROM STRANGERS, but one armed with a supernatural twist and buoyed by two mature female leads in the cast. But unlike Hammer’s 1965 scenery-chomper DIE, DIE MY DARLING – in which an aged and deranged Talulah Bankhead out-babied BABY JANE – THE WITCHES is no pandering horror-hagsploitation potboiler. It’s something far more evolved and interesting (and I say that with ardent adoration of the hagsploitation subgenre).

THE WITCHES stars Hollywood legend Joan Fontaine (Hitchcock’s REBECCA) as hard-nosed school teacher Gwen Mayfield who, after enduring a nightmarish experience in Africa (a berserk pre-credits sequence featuring monstrous witch doctors and tiki-men bursting into her classroom while Fontaine collapses, screaming), has endured a right and proper nervous breakdown. Once back on her feet, she accepts a job teaching the children of a tiny rural English Hamlet, an ideal position in a seemingly idyllic and peaceful community. However, almost from the moment she arrives, Gwen suspects something is “off”. The local minister turns out not to be a minister at all, despite wearing the collar for “comfort”; odd pagan talismans appear in tree trunks; some of the population seem to be in a kind of somnambulist state; and the town seems to be trying very hard to sabotage the budding romance between a pair of perfectly sweet and healthy teenagers. When people begin to die and Gwen starts to believe the whispers of witchcraft drifting through the village, she aims to do something about it, an act she might live to regret.

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Blu-ray Review: TERROR IS A MAN

Severin unearths the 1959 Filipino horror classic

“More horrifying than FRANKENSTEIN! More Terrifying Than DRACULA! “

To my everlasting shame as a cult film connoisseur I must admit to having watched little to nothing of Eddie Romero’s output.As a producer and director, Romero was responsible for such classics as BEAST OF THE YELLOW NIGHT, TWILIGHT PEOPLE, BLACK MAMA WHITE MAMA. THE WOMAN HUNT and BEYOND ATLANTIS but its his “Blood Island trilogy” that stands out in the hearts of horror aficionados.

TERROR IS A MAN is the first of this very loose trilogy and one of the Philippines’ first Horror films to be shot in English. Directed in 1959 by Gérard de Leon but only picked up for North American distribution by Hemisphere 10 years later,  TERROR’s basic theme is taken from HG Welles’ Island of Dr Moreau. When William Fitzgerald  (Richard Derr) is washed ashore on an island, the only survivor of a shipwreck, he’s found by Dr. Girard (Francis Lederer) a park Avenue surgeon and (apparently) genetic scientist who has isolated himself to pursue his experiments free from distractions (and ethical constraints) and assisted by his wife Francis (Greta Thyssen) and his assistant Walter (Oscars Keesee).Quickly, we learn that the island has no means of leaving and no means of communicating with the outside world.  Fitzgerald is told that any return to civilization will have to wait until the supply ship returns in several months. Plenty of time for him to explore the island, the native culture of the indigenous people, stumble into the mysterious experiments and get to know the disenfranchised wife a bit better.

Actually…a lot better!

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Blu-ray Review: BLUE MOVIE


Controversial Dutch sex comedy comes to Blu-ray from Cult Epics

Blending edgy MIDNIGHT COWBOY arthouse neorealism with cheeky softcore pornography, director Wim Verstappen’s controversial and long unseen 1971 Dutch sex comedy BLUE MOVIE has finally spurted its way to Blu-ray courtesy of Eurotrash heroes Cult Epics and it’s cause for a kind of celebration. Because the movie (produced by the notorious Pim de la Parra) is a vital piece of the Dutch film industry’s evolution. It’s also tons of dirty, breezy fun and a fascinating time capsule of its time and place.

The lanky, Hugh Metsers plays Michael, an amiable lad just out of prison for shagging an underage girl who suddenly finds himself appendage deep in the early days of the swingin’ 70s. With the help from his ever-stressed and oddly paternal parole office, Michael is set up in a modern apartment complex and urged to both find a job and a nice single lady to settle down with. Alone and horny, Michael catches the eye of a slew of sexy housewives and soon, he’s moving from suite to suite, “borrowing sugar” and getting his rocks off with a bevy of liberated ladies. Before he knows it, this Dutch Don Juan become a kind of sexual guru, setting up a series of orgies and milking his new found freedom for all its worth.

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Joseph H. Lewis’ taught noir finally makes it to Blu-ray

The joy of loving cinema – and I’m not talking about devouring whatever the latest juggernaut product is being fed to us every Friday night at the multiplex or cheapie lazily streaming on Netflx – is that no matter how much we know or see, there are ALWAYS hundreds upon hundreds of pictures hiding, waiting to be discovered. And if you’re a fan of the unofficial subgenre French film critics dubbed “film noir”, there are so many of them out there, from poverty-row potboilers, to major studio “B” movies. And thank God for boutique labels like Arrow Video for taking the time and effort to dig up many of these mini-masterpieces and give them the affection and attention they deserve.

Among Arrow’s latest offerings is director Joseph H. Lewis’s MY NAME IS JULIA ROSS, a lulu of a thriller that served as the basis of the almost equally obscure 1987 mystery DEAD OF WINTER. That unofficial remake is certainly a fine distraction, with a cast that includes the great Roddy McDowall and Mary Steenburgen, but it can’t hold a candle to Lewis’ original. This is prime nastiness, with a damsel in deep distress, reptilian, money-crazed villains of every age and gender and suspense so thick you can cut it in half.

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Looking back at the scrappy and silly 1985 teen action drama

Those of us who lived and came of age in the 1980s no doubt find it amusing that the decade’s film, music and fashion have become objects for contemporary pop culture fetishists. But that’s how this train rolls. The common zeitgeist almost always becomes exotic, exciting, important.

Still, who knew that director Matthew (DRAGONSLAYER, writer of CRIMSON PEAK) Robbins’ earnest 1985 teen drama/crime caper THE LEGEND OF BILLIE JEAN would emerge as a classic. Certainly not the critics of the period who dismissed its heavy-handed metaphors and cartoonish social statements as kid stuff and fluff, nor the young people it was targeted towards, who mostly ignored it theatrically and got tired of its presence on home video and cable very quickly. And while time hasn’t healed the picture’s ample flaws, there’s an undeniable energy to the piece, with broadly drawn performances by a doozy of a cast and of course, there’s that thundering Pat Benatar song (“Invincible”) that weaves its way into the soundtrack of the film itself. Re-released by Mill Creek Entertainment as part of their retro VHS line of Blu-ray’s as the “Fair is Fair” edition, the movie is definitely worth a watch (or re-watch) and is anything but boring.

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