Sunday, May 21, 2017

Movie Ads of the Week: BUTCHER, BAKER, NIGHTMARE MAKER (1982) a.k.a. NIGHT WARNING (1983)

William Asher's horror-thriller BUTCHER, BAKER, NIGHTMARE MAKER -- an International Film Marketing release featuring Jimmy McNichol, Susan Tyrrell, Bo Svenson, and an early appearance by Bill Paxton -- opened in St. Louis, MO on March 19, 1982.

Comworld Pictures, the exploitation outfit formerly known as Osmond Enterprises, took over distribution of the film as NIGHT WARNING. The ad above is from the Santa Cruz, CA opening on January 7, 1983.

Wednesday, April 19, 2017

The Endangered List (Case File #161)

original 16mm version


35mm blowup re-edit

Photographed, Edited,
Produced and Directed
Greg MacGillivray
Jim Freeman

Mark Martinson
David Nuuhiwa
Nat Young
Billy Hamilton
Corky Carroll

Bub Browne

Music by
Val Johns

Filmed in
California, France, Hawaii, Portugal



Released by
MacGillivray-Freeman Films

Running time: 90 minutes

World Premiere: July 29, 1970 (Hollywood, CA)



A Rainbow Adventure Film

Distributed by
American National Enterprises

Running time: 90 minutes

World Premiere: August 11, 1971 (Chula Vista, CA)

Los Angeles Times - July 24, 1970

Honolulu Advertiser - August 24, 1970

Sunday, April 16, 2017

Movie Ad of the Week: WARRIORS OF THE APOCALYPSE (1986) a.k.a. TIME RAIDERS (1987)

Fans of low-budget '80s post-nuke action films have probably seen the Filipino-shot WARRIORS OF THE APOCALYPSE (a.k.a. SEARCHERS OF THE VOODOO MOUNTAIN), but how many were lucky to catch it during its U.S. release via the short-lived Film Concept Group? The ad above is from its Pensacola, FL opening on April 25, 1986.

FCG still had the film in circulation over a year later, though they had changed the title to TIME RAIDERS and were themselves operating under a different name (whatever MSP is short for). The ad above is from Shreveport, LA on May 7, 1987.

Alexandria, LA - May 15, 1987

The Town Talk - May 20, 1987

Wednesday, March 15, 2017

The Endangered List (Case File #160)


Reggie Cristofer
Steve Cole
Diane Marateo
David Ewing
Carol Roberts
Sally Englert
Mary Squire
Robert MacKerroll
Scott Kipp
Jared Koss
Larry Blair
Janna Howard
Joe Callaghan

Marlene Rogoff

Story and Screeenplay
Marlene Rogoff

Produced by
George Springmeyer

Executive Producer
Paul V. Dillow

Director of Photography
Marty Mullin

Edited by
Oscar Barber
Ruth Blakeslee

Music by
Secret Society

Released by
Victoria Productions

Palm Beach Post - March 31, 1988

Palm Beach Post - April 3, 1988

Wednesday, March 08, 2017

The Endangered List (Case File #159)



Rika Mizuki
Mari Mukai
Hideo Saeki
Hidekatsu Shibata
Mikio Terashima
Tamami Wakahara
Shôhei Yamamoto
Jôji Ôhara

Directred by
Kôji Wakamatsu

Written by
Yoshiaki Ôtani

Cinematography by
Hideo Itô

Hajime Isogai

Wakamatsu Productions

U.S. Version
Felix Lomax [Bob Cresse]
R.L. Frost [Lee Frost]

Olympic International Films

B&W / U.S. version: 72 minutes


In this bizarre world of distorted human pleasures, we have come to accept the most heinous crimes against mankind as just another example of the degeneration of our species. Even the most jaded individual could not forgive the creators of the Love Robots. Love Robots are beautiful young girls, abducted right off the street who, through a procedure that rivals anything the Marquis de Sade might have dreamt of, are turned into monsters, capable of killing a man or loving him on command. The Love Robots then become an item for sale, willing to accept any master and perform any act. The Love Robots must surely be the lowest ebb of slave trading. Now through the bold new techniques of an eroduction this sordid practice is brought to light in a manner that, until very recently, could not have been shown. Only now can the intimate eye of the camera reveal the lust, greed and abnormal practices in such shocking detail. Only now can no one fail to realize the consequences of the tragic ...

Bob Cresse, the distributor of THE LOVE ROBOTS, produced a hardcore remake of the film in 1976, THE LOVE SLAVES. Directed by Bob Chinn under the pseudonym "Robert Husong," it's now available on Blu-ray from Vinegar Syndrome.

Sunday, March 05, 2017

Movie Ad of the Week: DOUBLE EXPOSURE (1987) a.k.a. TERMINAL EXPOSURE

The Niko Mastorakis action-comedy TERMINAL EXPOSURE, which we believed was a direct-to-video release during the summer of 1989, actually received a theatrical release in Florida through United Film Distribution under the title DOUBLE EXPOSURE. Here it is in Orlando on September 18, 1987.

Wednesday, March 01, 2017

Lost regional horror-comedy THE DISMEMBERED coming soon on Blu-ray from Garagehouse Pictures!

Garagehouse Pictures exhumes a lost regional horror-comedy unseen for over fifty years!

Some nutty gangsters thought they pulled off the crime of the century… but it’s going to cost them an arm and a leg!

After a daring jewel heist, a trio of thieves hold up in an old dark house inhabited by a motley bunch of restless ghosts that only want to dispatch their new guests in the most horrible manner possible – that is if they can get to them before the spirits of an unruly group of dismembered corpses from the nearby cemetery!

Shot in Philadelphia in 1962, THE DISMEMBERED claws its way out of the grave of cinematic obscurity to debut on home video for the very first time courtesy of a new HD Blu-ray from Garagehouse Pictures. THE DISMEMBERED is a film so forgotten that at the time of this writing it doesn’t even have a listing on the Internet Movie Database. Directed by Ralph S. Hirshorn, THE DISMEMBERED is an offbeat ghosts-and-gangsters satire that plays like a cross between Roger Corman and Casper the Friendly Ghost, and the evokes the spirit of American International Pictures and the drive-in B movie. Featuring homicidal ghosts, creeping severed limbs, cobwebbed sets, graveyard atmosphere and weird musical improvisations by the Main Street Ghouls, THE DISMEMBERED is one strange little movie with lots of ghoulish charm.

THE DISMEMBERED will be available April 25th from Garagehouse Pictures.

Specs for THE DISMEMBERED are as follows:

• Transferred & digitally mastered in 4K from the director’s only 16mm film print
• Sound digitally remastered from the original optical tracks
• Audio commentary with director Ralph S. Hirshorn and Andrew Repasky McElhinney (CHRONICLE OF CORPSES)
• THE END OF SUMMER (1959) – 11 minute short film by Ralph S. Hirshorn
• Liners notes by Dan Buskirk ( film critic and host of the Fun 2 Know podcast)
•Trailers for Garagehouse Pictures releases
• Art by Stephen Romano
• All regions

1962 / 65 mins. / B&W / Mono / 1.66:1 / Not Rated

Sunday, February 26, 2017

Movie Ad of the Week: EFFECTS (1979/1980)

Dusty Nelson's horror meta-movie EFFECTS, filmed in Pittsburgh and starring local talent such as Joseph F. Pilato (DAY OF THE DEAD) and Tom Savini, had its world premiere in the Steel City at the Kings Court theater on November 8, 1979.

It was picked up by Stuart S. Shapiro, a distributor who specialized in offbeat music, horror and cult films (TUNNELVISION, RUST NEVER SLEEPS, THE PSYCHOTRONIC MAN, SHAME OF THE JUNGLE), and given a limited theatrical release in 1980 through his International Harmony company (Shapiro also ran the video company Harmony Vision and created the USA Network's popular weekend late-night series NIGHT FLIGHT). EFFECTS returned to Pittsburgh and the Kings Court on October 24, 1980.

Wednesday, February 22, 2017

The Endangered List (Case File #158)

HENTAI (1966)

Sayuri Sakura
Kyôji Kokonoe
Kôtarô Mori
Masayoshi Nogami
Kuniko Masuda
Noboru Misawa
Ken Sugiyama
Kenji Hagi
Ken Akaishi
Noboru Takeishi
Shigeo Sone
Jirô Urashima
Miki Jô
Hiroko Okamoto

Directed by
Hiroshi Nishida
Takashi Shiga

Written by
Hiroshi Nishida

Produced by
Noboru Nishiyama

U.S. Version
Felix Lomax [Bob Cresse]
R.L. Frost [Lee Frost]

Music by
Noboru Nishiyama

Minoru Chiba

Re-Recording Mixer
Sam Kopetzky

Nihon Cinema Film K.K.

Olympic International Films

B&W / 81 minutes / U.S. version: 71 minutes

Los Angeles - September 2, 1966


An important and respected Tokyo industrialist named Kasama hires Kyoko and Sugita, two young and eager detectives, to find his missing daughter. The few clues he is able to give them reveal that the missing girl had recently made friends with an unsavory group of people, one of whom appears to be connected with a powerful and mysterious nightclub owner called Takami. Kyoko, a brave and lovely girl, goes to work for Takami in order to learn more about his organization, even though he forces her to submit to his passionate advances and eventually delivers her to a special client for peculiar sexual experiments.

She and Sugita gradually learn that Takami operates a large narcotics ring headed by an unknown "Big Boss" who always appears masked, that together they abduct pretty young girls, addict them to heroin, rape them and put them to work as prostitutes. One of these seduced and addicted girls, she discovers, is Kasama's missing daughter. With the help of an international narcotics agent, Kyoko manages to escape from Takami and his goons, and while the Tokyo police track down and arrest the members of the gang, she and Sugita rip the mask of respectability from the brutal "Big Boss' - Kasama, their prominent client. To his utter horror, this ruined man learns that he has unknowingly raped, drugged, and prostituted his own child. Hentai is not a pretty story, but neither is the condition of Kasama's beloved daughter when she is finally returned to him, her body ravaged and her mind destroyed by her father's abnormal lusts.


The boom in Japanese movie production during the last ten years has established the Japanese as masters of the craft in at least two major areas: tastefully made sex/violence pictures, and imaginatively mounted science fiction films. An excellent example of the former is HENTAI (Abnormal), a recently completed product of the Japan movie mills that was brought into this country by Olympic International Films for U.S. distribution.

HENTAI is a pulse-pounding detective story which incorporates all the elements of a successful mystery: drama, intrigue, suspense, strong characterization, and a shocking, completely unexpected twist ending. Add to this a quartet of stunningly beautiful Japanese girls and a hard-hitting screenplay that features plenty of action and wild scenes of all types.

HENTAI is basically about a man-woman team of detectives that is retained by a wealthy industrialist to locate his missing daughter. During their search they encounter many dangers and accidentally uncover a nest of evil that stretches throughout all of Asia. The heroine in the story is the lovely Kyoko, half of the detective team. Her partner is Sugita, a private eye with a roving eye who flips for every pretty girl he meets along the road.

Effectively combining narration by both halves of the detective with dialogue, HENTAI tells a powerful story. It is an exceptional picture and should not be missed when it opens all over America.

                                                    -- Wildest Films, October 1966

BOB CRESSE said...

I was getting the Japanese films so cheaply it was a joke. I'd buy the rights for America, Belgium, and England for $4,000. Then I'd sell the Belgium and England rights for $4,000, and we'd have America for free. Unfortunately, the Japanese films did not go over well here. The American audiences liked the Japanese women, but they couldn't relate to the Japanese men. The funny part is that these were often very well made films. And to show the depth of Lee's talent, look at one of these Japanese films, which Lee would dub himself. He'd get three or four actors and actresses and sit in the sound studio and direct the dubbing and he'd do a good job. Because of the vowel and consonant sounds, it's much easier to dub a German or Italian film than it is to do one from Japan. But Lee could do it pretty well.

                           -- Interview by Mike Vraney (Cult Movies #9, 1993)

Sunday, February 19, 2017

Movie Ad of the Week: THE ZEBRA KILLER (1974) a.k.a. COMBAT COPS (1975)

Kentucky-based filmmaker William Girdler's third feature, THE ZEBRA KILLER, was released with a PG rating by Arthur Marks' General Film Corporation in 1974. Top-billed Austin Stoker did two more movies with Girdler (ABBY and SHEBA, BABY) before starring in ASSAULT ON PRECINCT 13 for John Carpenter. The ad above is from Indianapolis on August 28, 1974.

Two months later, the film had a new blaxploitation ad campaign and was playing urban theaters as THE GET-MAN. Here it is in Buffalo, NY on October 25, 1974.

The title was changed to COMBAT COPS a few months later so the film could be paired with a reissue of Marks' DETROIT 9000 for a police-themed double bill. This ad is from Louisville (where the film was shot) on March 5, 1975. For overseas theatrical and video, the title was changed again, to PANIC CITY.