More Details About Dusk to Dawn Horrorthon
More Information
<p>There will also be horror trailers between the films, one free popcorn per patron and other giveaways and surprises! 10% off coupons for nearby Mel's Drive-In (open 24 hours) will be available to hungry patrons. </p>
<p>Santa Sangre, 1989, MGM Repertory, 123 min. Director Alejandro Jodorowsky used this long-awaited return to the big screen (after cult faves El Topo and The Holy Mountain) to conjure up a feverish nightmare of gaudy, surreal images — some sacred, some profane and many just plain shocking. Coming on like Ken Russell during THE DEVILS era, he fashions a dreamlike odyssey of an emotionally scarred youth (Alejandro’s son, Alex Jodorowsky) still suffering from the sight of the bloody battle to the death of his carnival showman father (Guy Stockwell) and mother (Blanca Guerra). Imagine Fellini and Bunuel dropping acid together to remake PSYCHO in backwater Mexican slums with nods to old Universal horror as well as masked Mexican wrestling (!) and ‘70s Euro giallo films, and you’ll get an idea of the wonderful strangeness on display. Produced by Dario Argento’s brother, Claudio."…a wild kaleidoscope of images and outrages, a collision between Freud and Fellini. It contains blood and glory, saints and circuses, and unspeakable secrets of the night." - Roger Ebert, Chicago Sun-Times
New 35mm Print! Pieces (Mil Gritos Tiene La Noche), 1982, Grindhouse Releasing, 89 min. Dir. Juan Piquer Simon. In this infamous grindhouse thriller, a young boy with twisted ideas about sexuality due to his overly prudish mother, grows into a serial killer on a rampage, collecting body parts to assemble his jigsaw puzzle of the ideal woman. Christopher George (TV’s "Rat Patrol") is the hardboiled cop on his trail in a bizarre college town. Filmmaker Simon keeps the absurd number of red herrings coming at breakneck speed. Adding to the strange quality of the film – it’s set in Boston but was shot in Puerto Rico! With Paul Smith (Midnight Express).
Scream…and Die!, 1973, Grindhouse Releasing, 96 min. A scary, atmospheric chiller about a psycho sex killer directed by José Ramon Larraz (Vampyres) and marketed in America as The House That Vanished (in a bid to lure Last House On The Left fans). But this British/Spanish co-production has more in common with the Italian giallo thrillers of the era (Note: The killer sports black leather gloves and there loads of red herrings!). Model Andrea Allan and her shady boyfriend break into a house in the woods. When the owner unexpectedly returns, the two uninvited guests hide in a closet and end up witnessing a murder – though they never see the killer’s face. Allan escapes into the forest, hides in a junkyard and returns to her flat in the morning, only to find her beau missing. Soon, several unusual people enter her life, including a bizarre downstairs neighbor who raises pigeons and an artistic young man (Karl Lanchbury) who makes masks. Allan’s fears are confirmed when her roommate is the next to die…"Larraz is a talented Spanish director who’s mostly known by American film audiences as the man behind the erotic horror film Vampyres…well worth a look if you enjoy unusual European thrillers."—Kimberly Lindbergs, Cinebeats
Atom Age Vampire (Seddok, L’erede Di Satana), 1960, Holland Releasing, 87 min. Dir. Anton Giulio Majano. This variation on Franju’s Eyes Without A Face still remains one of the most gonzo versions ever perpetrated on an unsuspecting audience. An obsessed scientist (Alberto Lupo) bent on restoring the beauty of a scarred, runaway stripper (Suzanne Loret) with skin grafts and radiation therapy, periodically transforms himself into a hideous monster to kill women to retrieve the pituitary glands required for the treatment. This essential Italian sleaze-horror classic has only been available in seriously-cut-for-TV prints for decades, missing big chunks of footage. We’ve got the original American theatrical release version.
Night of the Bloody Apes (La Horriplante Bestia Humana), 1969, Grindhouse Releasing, 83 min. Veteran Mexican genre director René Cardona remakes his earlier DOCTOR OF DOOM in color with added gore and nudity. A doctor desperate to save his dying son gives him an ape heart transplant, with periodic transformations into a brutish simian killer as the unintended consequence. Throw in a slow-witted cop (Armando Silvestre) and his girlfriend — a female wrestler (Norma Lazareno) conscience-stricken after accidentally putting her opponent in a coma — and you have the ingredients for mucho entertaining drive-in fare. "…All of this adds up to top entertainment …certainly deserves its reputation as a must-see film for all fans of trash and exploitation cinema. Unencumbered by any semblance of sense or good taste, it stands as one of the best and wildest examples of early Mexican horror…" - James Mudge, BeyondHollywood.com
Burial Ground, 1981, Grindhouse Releasing, 85 min. Dir. Andrea Bianchi. An archeology professor invites friends down to his villa for the weekend. While awaiting their arrival, he visits a nearby Etruscan tomb, not guessing that he will be the catalyst for a mass resurrection of the ancient undead. Bourgeois couples become zombie fodder almost from the time they arrive, amping up the gruesome gore factor like few other Italian zombie films. A laugh-out-loud, so-bad-it’s-good lollapalooza of politically incorrect guts-and-grue that is best viewed with an audience to be fully appreciated. With Karin Well, Gianluigi Chirizzi and Peter Bark as the weird, incestuous manchild, Michael. (This original print is slightly faded.) More on this film Plus great classic horror trailers between the films, one free popcorn per patron and other surprises! 10% off coupons for nearby Mel’s Drive-In (open 24 hours) available to hungry patrons.</p>
American Cinematheque
The American Cinematheque is a non-profit, viewer-supported cultural organization dedicated exclusively to the public presentation of the Moving Picture in all its forms. The Cinematheque presents the best of film and video - ranging form the classics to the outer frontiers of the art form.
