Favorite Catalog Releases From 2021

This has been an unbelievable year for catalog releases and this list could very easily go into the dozens so here's a list of a just few of my favorites.

I remember paying $20.00 for multi-gen bootleg VHS with burned in Greek subs or such for some of this back in the dark ages of cult film collecting. 

 SATAN'S BLOOD 1978 Vinegar Syndrome Blu

Director & writer Carlos Puerto's sex & gore-filled Satanic romp has had a couple of DVD releases in the past but with a new 4K scan of the 35mm negative Vinegar Syndrome's Blu-ray brings all the skin & Satanic goings-on out in gorgeous clarity. One of the first post-Franco regime Spanish horror films that took advantage of the relaxing censorship standards, there's also was some help here production-wise from Juan Piquer Simón (PIECES) and Vinegar adds a great bunch of extras including a 45-minute Spanish documentary on the film, still gallery and best of all a commentary track by Samm Deighan and Kat Ellinger.

Along with the exploitive elements on full display, it's also a beautiful looking film filled with a moody gothic atmosphere some very creepy set design (including an unsettlingly macabre doll), and a climax that'll stick in your brain for quite a while afterward. 

AN ANGEL FOR SATAN 1966 Severin Films Blu

One of last of Barbara's B&W Italian Gothics to receive a quality release, Severin's Blu-ray of this perverse (and sometimes still shocking) gem will have you thankfully tossing all those ropey bootlegs and quasi-legit DVDs in the waste bin.  

Directed by Camillo Mastrocinque this one hits all the marks - beautiful B&W cinematography by Giuseppe Aquaris, a haunting soundtrack by Francesco De Masi and the breathtaking presence of Barbara Steele. Although there is the expected witches curse, this is not exactly a horror film as its more of an unsettlingly Gothic melodrama with some obvious underpinnings of S&M and sexual perversion. 

Severin's release contains a very nice commentary from Barbara and David Del Valle in which she touches on her entire career in Italy and in addition there is a second more scholarly one from Kat Ellinger. A nice extra is the 1967 short BARBARA AND HER FURS (which is a must-see experience) 

THE HUNTER WILL GET YOU (L'ALPAGUEUR) 1976 Kino Lorber Blu

Although he started out his career as one of the faces of French New Wave cinema Jean-Paul Belmondo in the 70's and 80's was the star of a great string of police/thriller action films among them this 1976 release directed by Philippe Labro.

A twisting turning tale has Belmondo playing a mercenary hiring out as a type of rogue policeman who works for various agencies as he has carte blanche to do what he needs to do to get his man. After busting a drug smuggling ring, he goes after “L’Épervier” (“The Hawk" played by Bruno Cremer from SORCERER), a ruthless thief who employs petty criminals to help him rob banks and then murders them.

 Featuring of course the usual jaw dropping stunts (performed by Belmondo himself) this is one of a group of great Belmondo action films that Kino has brought out. Now please can we get PEUR SUR LA VILLE (THE NIGHT CALLER) with Belmondo chasing a serial killer in Paris. 

Kino's Blu features an audio Commentary by Howard S. Berger, Steve Mitchell and Nathaniel Thompson and an interview with director/writer Philippe Labro.

DOCTOR X 1932 Warner Archive Blu 

Featuring a stunning restoration from a recent 4K scan of the last surviving Technicolor nitrate print this Michael Curtiz directed & wonderfully lurid pre-code shocker joins last year's release of its companion film MYSTERY OF THE WAX MUSEUM.

Fast-talking newspaperman (Lee Tracy - who specialized in playing fast-talking guys) is on the trail of "The Moon Killer" which leads him to the clinic run by Dr. Xavier (Lionel Atwill) along with Atwill's daughter (Fay Wray) and a whole host of potential red herrings with the clinic's staff of doctors (all of whom have some unique habit or psychoses).

A great pre-code horror with thinly veiled allusions to prostitution, double entendre wisecracks, along open talk of cannibalism. The "synthetic flesh" sequence still packs a jolt, and nobody can chew up scenery like Atwill.  

Warner Archive has included a nice batch of extras including two commentaries, a documentary on Curtiz and the alternate B&W version of the film. 

THE DESIGNATED VICTIM 1971 Mondo Macabro Blu

Mondo Macabro continues to surprise us with great underseen gems including this Italian riff on Patricia Highsmith's STRANGERS ON A TRAIN. Directed by Maurizio Lucidi and a script co-written by Aldo Lado (WHO SAW HER DIE?) it features the wonderful Tomas Milian along with Pierre Clémenti, Katia Christine, and Marisa Bartoli. Clementi and Milian are wonderful playing off each other and there's some great use of Venice locations (which I'm always a sucker for).

Plus, Mondo Macabro brought out a much-needed beautiful upgrade release of Piero Schivazappa's FEMINA RIDENS (THE LAUGHING WOMAN) on Blu along with a passel of other great releases including ITS NOTHING MAMA, JUST A GAME, and the very bizarre & interesting HUMAN ANIMALS.

BURY ME AN ANGEL 1972 Shout Factory Blu 

Blessed with one of the greatest taglines in the history of film "A howling hellcat humping a hot steel hog on a roaring rampage of revenge" this has been long missing on home video and is now out as part of the Shout Select line. Originally announced by Shout as part of The Angel Collection DVD set that was to also include ANGELS HARD AS THEY COME (which was also released by Shout on Blu in 2021) and ANGELS DIE HARD this package along with a Nurses/Students and a Filipino action set fell off the radar as Shout began winding down their New World releases about a decade ago. 

Directed by Barbara Peeters (SUMMER SCHOOL TEACHERS & most of HUMUNOIDS FROM THE DEEP) it's the rare biker film that is told from a female point of view - both as far as the film's director and its lead character.

The film mixes a road movie with the biker genre as 6 Ft. Dixie Peabody (playing "Dag") sets out on a journey to avenge her brother's death. Like a lot of biker films, it consists of long takes of bikes cruising along desert highways with the appropriate fuzz guitar soundtrack and along the way there's some bloody violence, a bit of nudity and a jarring twist in the ending. Dan Haggerty (GRIZZLY ADAMS) who pops up in a few biker films shows up here as a hippie artist.    

Nothing earth-shattering plot-wise but it's always great to get another classic biker film in HD and its companion release ANGELS HARD AS THEY COME (written by Jonathan Demme) is an interesting biker version of RASHOMON. 

Here's hoping we can get some more New World titles and these Shout Select releases are limited, so once they're gone they're gone. 

WEIRD WISCONSIN: THE BILL REBANE COLLECTION Arrow Blu

Along with last year's William Grefe collection, this is another fascinating journey into the world of low-budget regional filmmaking. Featuring haunted pianos, alien invaders and a talking monster truck among other wonders, Rebane's films while never to be considered great are fascinating pieces of movie history and exude a certain grungy low-budget charm.

Missing from the box is his magnum opus THE GIANT SPIDER INVASION (released on Blu by Code Red), BLOOD HARVEST (available from Vinegar Syndrome), and two of his later efforts THE CAPTURE OF BIGFOOT and RANA: THE LEGEND OF SHADOW LAKE (both held by Troma) but there's still much to love here including my personal favorite THE DEMONS OF LUDLOW and a highly informative documentary on Bill and his career.

ALL THE HAUNTS BE OURS: A COMPENDIUM OF FOLK HORROR Severin Blu

Consisting of 12 Blu-rays, 3 CDs and featuring 20 films along with hours of special features, short subjects, interviews, commentaries etc. this is one of the top releases of the year for me.

Kicking off with Kier-La Janisse's epic 194 min. documentary WOODLANDS DARK AND DAYS BEWITCHED it then takes a world-wide tour of the genre including (with many making their HD debut) EYES OF FIRE (USA 1983), WITCHHAMMER (Czechoslovakia 1970), VIY (Soviet Union 1967), LAKE OF THE DEAD (Norway 1958, ROBIN REDBREAST (UK 1970) and IL DEMONIO (Italy 1963) among others.

There's also a hefty book, a CD soundtrack with music from the documentary and actress Linda Hayden (THE BLOOD ON SATAN'S CLAW) reading Arthur Machen's The White People. 

All in all, a beautiful (and thankfully compact) package that is perfect for a winter,s night viewing (or listening).

MILL OF THE STONE WOMEN 1960 Arrow Blu

Directed by Giorgio Ferroni and one of the first Euro-horror films to be produced in color this has had several notable home video releases before, however this new release from Arrow is the definitive one by far.

Containing four(!!) unique cuts of the film we also get a packed set of extras including a commentary from Tim Lucas, visual essay by Kat Ellinger, archival interviews, alternate opening credits, poster gallery and more.

One of the most ravishing looking horror films (with all apologies to Mario Bava) from the golden age of Euro Gothic horror this is eye candy of the highest degree and has never looked better. 

BEYOND TERROR 1980 Cauldron Films Blu

 A long-lost Spanish oddity that throws together juvenile delinquency mayhem, gothic horror and some Blind Dead inspired attacks this sleazy and gore/nudity packed shocker one on the more surprising releases of the year (especially considering its long unavailable status on home video). 

Directed by Tomás Aznar, this may initially seem to be a weird viewing experience with seemingly three separate stories grafted together (with the horror element not kicking in until the climax) but there's a  nightmarish flow to the film that draws you in. Probably not the best film for Euro-horror newbies to dip their toe into, it's definitely worth a look for those into the more "out-there" examples of the genre.

Another one of those that I initially owned via a bootleg from a murky European PAL video tape release this has been given a 4K scan from the original negative that brings out the earthy and hazy intended color palette of the film (and now you can actually see what's going on).

Some other favorites from 2021:

Vinegar Syndrome's Camille Keaton in Italy collection

Synapse beautiful work on THE LIVING DEAD AT THE MANCHESTER MORGUE

88 Films EROTIC GHOST STORY

Arrow Films massive Shaw Brothers box

Vinegar Syndrome's rescue of the lost NEW YORK NINJA

Kino Lorber's NIGHT GALLERY Season 1 box

Impluse STAR OF DAVID: BEAUTIFUL GIRL HUNTER

Criterion's Melvin Van Peebles box

Imprint LET'S SCARE JESSICA TO DEATH

and many more....

Things I'm looking forward to in 2022...

AGFA has teased the release of a HUGE Doris Wishman Blu-ray collection (maybe two separate boxes) which will include the recent 4K restorations, which going by the recent sample of films put up on the Criterion Channel, is going to look gorgeous. 

Severin has dropped some hints concerning a Black Emanuelle/Laura Gemser box. Laura in HD! Sign me up!

Synapse films in their usual methodical way (with the results sure to be worth the wait) have been working on a new restoration of TOMBS OF THE BLIND DEAD which has been shown at some recent festivals. Along with three(!!) different cuts of the film I'm sure Synapse will have a great batch of extras. 

Shout Factory has announced a couple of long-missing video titles from the Group One catalog with ALLIGATOR and THE SWORD AND THE SORCERER.

Vinegar Syndrome is going to release a new 4K(!!) restoration of the Swedish exploitation classic THRILLER (aka THEY CALL HER ONE EYE) starring the great Christina Lindberg along with Forgotten Gialli: Volume Four (containing  Stelvio Massi's ARABELLA BLACK ANGEL)

Cauldron is releasing Lucio Fulci's great poliziotteschi COUNTERBAND with Fabio Testi.

88 Films release of THE BLACK CAT 

RUN ANGEL RUN 1969

 "He Squealed On His Gang...And The Word Was Out...WASTE HIM!"

 RUN ANGEL RUN from 1969 is notable for having several "firsts" attached to it. It was the first biker film that William Smith (THE LOSERS 1970) appeared in and in which would be a genre that he in the coming decade he would become synonymous with. It also marked the acting debut of blog favorite Margaret Markov (BLACK MAMA WHITE MAMA 1973)

and most importantly was the directorial debut of the great Jack Starrett (RACE WITH THE DEVIL 1975) who would go on to helm a string of drive-in classics along with being a vastly underrated actor (check him out as the evil deputy in FIRST BLOOD).

Produced by Joe Solomon (WEREWOLVES ON WHEELS & ANGELS FROM HELL and who specialized in these) and Paul Rapp SCREAM FREE & THE STUDENT NURSES) it was released during the pivotal year of 1969 for biker films that also included the classics THE CYCLE SAVAGES, FIVE THE HARD WAY, HELL'S BELLES, HELL'S ANGELS '69, NAKED ANGELS, SATAN'S SADISTS, and of course EASY RIDER. All of which would lead to an explosion of choppers, iron crosses, and sleaziness which burst on the screen the following year. Although an exploitation genre film at its core (including a couple of brutal offscreen rapes) there is a surprisingly rather tender love story in RUN ANGEL RUN that makes this film a bit of an outlier.   

Angel (William Smith) has incurred the wrath of his fellow outlaw cycle gang members as he has sold a tell-all story about the biker lifestyle to a major weekly news magazine (titled "Like") for the sum of $10,000.  Unfortunately, Big Bill Smith did not seem to think this one through too carefully as not only does he have to wait two weeks to collect his payment but in addition, he must drive from his home base of L.A. up to San Francisco to retrieve it. Adding to his problems he is thrown in jail and upon having bail posted by his girlfriend, Laurie (Jack Starrett's daughter Valerie Starrett) he learns surprisingly (to him at least -somewhat oddly it would seem) that he is the subject of a massive manhunt by the biker community. All of whom are angrily clutching the magazine while snarling vengeance.

Heading off on his chopper with Laurie he is immediately sent upon by a gang of bikers who pursue him to a railroad yard where Starrett stages an excellent chase sequence involving a moving train that climaxes with Laurie jumping into an open boxcar (probably courtesy of stunt woman Randee Lynn Jensen) and Angel jumping his bike on a flatcar which is helped by some quick editing and changeover from a chopper to a motocross bike for the jump. The sequence also has some multi-screen editing and is a precursor to what a great director Starrett was and his feel for staging terrific action sequences. 

After tangling with some hobo-rapists Angel and Laurie take to the backroads and finding themselves in a small, isolated town they set up home in an abandoned house and attempt a kind of domestic tranquility (which is shaky at best) as Angel gets a job with local sheep rancher Dan Felton (Don Kemp THE GIRLS FROM THUNDER STRIP) where he initially seems eager to settle down. He bonds with Felton after repairing the rancher's antique motorcycle and begins to learn the intricacies of sheep farming including "sheep dipping"(??). Things turn dark when Angel's old gang tracks him down and begin their brutal revenge which tragically involves Felton's teenage daughter Meg (Margaret Markov).

Made for under $100,000 and shot in 13 days it went on to gross 13 million at the box office putting it directly behind A BOY NAMED CHARLIE BROWN and just ahead of THE WILD BUNCH making it one of the most successful films of the outlaw biker drive-in genre. Starrett gets the most out of the film's meager budget and it does get bogged down for short periods of time with some of the mundane plot elements there's slow-building tension as Angel's old gang tracks him down. Although the scenario of the biker wanting to quit and go straight would be used later (such as 1970's ANGEL UNCHAINED), RUN ANGEL RUN is deservedly considered one of the best among the golden period of biker films. 

Thanks to an engaging script and the presence of William Smith who even in this early big screen appearance has a gravitas that comes bursting through. Although seeming eager to settle down with Laurie ("the straight life") he slowly begins to get frustrated only coming to life slowly with the restoration of Felton's antique motorcycle and later during the film's violent climax.

Markov who although in a small early role here shows the beginnings of her later cult status as an actress in the coming decade who is not only a beautiful face on the screen (she is one of those actresses that the camera seems to love) but bringing a wonderful presence to her film roles. After her marriage to actor and later producer Mark Damon she would drop out of sight but in the past several years has turned up in several DVD extras and documentaries. 

The screenplay was written by Jerome Wish (his other two credits are THE GAY DECEIVERS and ANGELS FROM HELL) and a V.A. Furlong. As this is the pseudonym-sounding V.A.'s only screen credit I'm wondering if it could actually be Jack Starrett? The busy Stu Phillips (BEYOND THE VALLEY OF THE DOLLS, THE CURIOUS FEMALE, FOLLOW ME, and a truckload of other credits) supplies the score with the catchy & melodic (and a bit out of place) title theme by country superstar Tammy Wynette with some additional songs by The Windows.   

The full-frame DVD from Media Blasters is taken from a VHS master and features a Joe Bob Briggs commentary.

RIDE THE HOT WIND 1971

    

  

     Long before major Hollywood films dealt with the returning Vietnam Veterans and their sometimes difficult transition to civilian life the low budget biker films of this era often dealt with this and while they often did this with this on a pure exploitation level they did (mostly by default as I highly doubt they were looking to make serious social commentary) inject some feeling and pathos to the characters.
    Looking to break away from his Disney/Mouseketeer persona Tommy Kirk (OLD YELLER) stars in this 1971 genre effort which was co-written and directed by Ted "Duke" Kelly who's only other IMDB credit is the even more obscure "G" rated MY NAME IS LEGEND from 1975 which also starred Tommy Kirk. Kelly's notable claim to fame is that he's referred to as "a friend of Audie Murphy" in several sources and there are also a few references to his work as a stuntman but there are no credits that bear this out. I was also hard-pressed to find any evidence of a theatrical run for RIDE THE HOT WIND with no one-sheets or other promo material in circulation. It's probably played a few drive-in double or triple bills before fading into obscurity. There was a mega-rare VHS release back in the day that in spite of my renting every biker movie I could lay my hands on back in the days of video rental I never came across. Currently, there is a nice widescreen copy (with some appropriate grindhouse-style cigarette burns and dirt) available to stream on Amazon that carries the Vinegar Syndrome logo at the closing.

    Opening with stock footage of Vietnam combat during the credits (some of it quite graphic) we jump to a stateside military trial (which looks like it was filmed in a school gymnasium) where Capt. William Shanks (Tommy Kirk although billed here as the more adult-sounding "Tom" Kirk) is on trial for the massacre of Vietnamese women and children. Obviously based upon the actual incident concerning William Calley and the My Lai Massacre, it's a bold attempt at a contemporary issue from an exploitation film and in the hands of a more capable cast and crew (more on this later) could have really been an interesting and provocative story.
   After being found guilty Shanks is court-martialed and sent to a military prison where he is humiliated and brutalized in a brief montage (director Kelly loves his montages here). Upon getting a pardon he hits the road hitchhiking and is picked up by soft-core queen Marsha Jordan (MARSHA: THE EROTIC HOUSEWIFE and COUNT YORGA VAMPIRE) who invites him to her hotel room for a tumble. He finds work in an advertising agency and begins a relationship with a co-worker which leads to the first of TWO(!!) falling-in-love montages that we're treated to during the course of the film. Once his identity is known is to his employer Shank is summarily fired and unable to find other stable employment he falls in with a biker gang after beating up their leader during a fight at a roadside diner.

     The seemingly hopeless and befuddled biker gang defer to Shanks on everything (referring to him as "Captain") and he in turn yells and berates them every time they engage in biker-movie type activities including assault, robbery and the kidnapping and rape of two women. Shank dreams of escaping to Mexico with his unbelievably sweet biker girlfriend but things spiral downward to the nihilistic ending as Shanks and his gang are pursued by the local law enforcement (led by a jut-jawed and steely-eyed Ted Kelly). At one pint the biker gang launches into a party complete with dancing that must have reminded Kirk of his previous "beach party" movies.
     The film's plot contains some interesting points that if explored more deeply would have made for far more engaging viewing, but Kelly's flat direction and not picking up some of the deeper motivations to Kirk's character makes one wonder why they were introduced in the first place. Along with the above mentioned My Lai reference, there's also an interesting use of flashback from the biker violence to Shank's time in Vietnam that's clumsily approached, Kelly as the pursuing sheriff carries some begrudging respect and pity for Shanks which adds some nuances to the film's climax and their relationship is reminiscent of  LONELY ARE THE BRAVE and TELL THEM WILLIE BOY IS HERE.
     There's a lot of potential here and one wonders what a director like Jack Starrett or perhaps even Richard Rush could have done with this concept with William Smith, Bruce Dern, or Adam Adam Roarke in the lead role. Kirk seems to have only two emotional states in the film being either sullen or lashing out in over-stated anger every 10 minutes and strangely for the leader of the biker gang we never actually see him ride a motorcycle. Along with Kirk and the famously well-endowed Jordan, there are a couple more recognizable faces lurking around including Cheryl Waters (ACT OF VENGEANCE and MACON COUNTY LINE) as Shank's biker girlfriend and Sherry Bain (THE HARD RIDE and WILD RIDERS) as his advertising agency romance.
   The film's score is composed of library tracks one of which will be familiar to some viewers as it's been used in ad bumpers for local TV news. According to some signage seen it was filmed in the Lake Los Angeles area near Lancaster.