THE SADIST OF NOTRE DAME -- Blu-ray Review by Porfle

Originally posted on 3/21/18

 

By now, I've seen a fair amount of Spanish cult director Jess Franco's films, and, despite his popularity among countless ardent fans, I've always found his works to be a great big grab bag of good and bad all swirling around together like socks in a dryer--mostly mismatched and full of holes, but occasionally wearable.

With 1979's THE SADIST OF NOTRE DAME, we see the result of Franco taking his earlier sex-and-horror film EXORCISM (already the result of much tinkering and consisting of various different cuts including a XXX-rated one), re-arranging and repurposing the existing footage, and adding several minutes of new footage to create what he himself considered the definitive version.

Franco stars as Mathis Vogel, who once studied for the priesthood at Notre Dame but ultimately failed the final audition, so to speak, due to the fact that he was a raving loon. 

Now, after years in institutional exile, he returns crazier than ever as your stereotypical "religious fanatic" intent on punishing "sinful women" and becomes a dreaded Jack the Ripper-style serial killer.

Vogel's twisted mind is a maelstrom of conflicting impulses as he stalks and murders women he considers whores (promising that this will purify their souls) while being irresistibly aroused by them.

Franco succeeds in portraying him as a sick, pathetic troll of a man tormented by his own desires while even his former friend in the priesthood denies him the absolution for his crimes that he desperately craves.

He meets and is obsessed by pretty Anne (Franco's lifelong lover and muse Lina Romay) who works for a lurid sex magazine where he submits autobiographical sex stories, and, through her, stumbles upon a group of upper-class swingers who meet regularly in a castle for perverted S&M sex shows followed by intense orgies. 

The rest of the film follows Vogel's stalking and killing of members of the group, usually after he has voyeuristically observed them having sex involving dominant-submissive roleplay.  Romay's fans will enjoy seeing her romping about in various stages, although I found most of the other anonymous, undulating nudes somewhat less appealing.

Much of the violence is surprisingly non-graphic while still managing to be deeply disturbing, especially when juxtaposed with ample amounts of nudity and fevered Freudian sexuality. 

Occasionally, however, there are flashes of more graphic violence that increase the shock value, and, taken as a whole, this must've presented late 70s audiences with quite a heady concoction.

Meanwhile, there's a subplot (mostly from the original version, I think) involving some bickering police detectives on Vogel's trail.  This is meant mainly to show us that the net is indeed tightening around our perverted protagonist as he goes about his murderous ways, although some of the conflict between the veteran French detective and a young hot-shot cop on loan from Switzerland is interesting.

Besides Lina Romay (PAULA-PAULA, THE SINISTER EYES OF DR. ORLOFF), the cast also includes Olivier Mathot (TWO FEMALE SPIES WITH FLOWERED PANTIES), Pierre Taylou (HOT NIGHTS OF LINDA), and Antonio DeCabo (VIRGIN AMONG THE LIVING DEAD).

Technically, THE SADIST OF NOTRE DAME is the wildly-prolific Franco's standard rushed production--he often burned through several projects at once--filled with quick set-ups, lots of zooming and meandering camerawork, and the occasional evidence of a talented film visualist at work. 

Often Franco simply allows his cinematic mind to wander, resulting in long stretches that may delight his fans while lulling others to sleep.  The story itself is pretty threadbare and dependant upon its outlandish, grotesque imagery and themes for whatever impact it may have on individual viewers.

The new Blu-ray and DVD release by Severin Films is taken from the only known existing copy of the film, a 35mm print scanned in 4K after reportedly being discovered "in the crawlspace of a Montparnasse nunnery."  The various resulting imperfections only add to its visual appeal for me since I find perfect, flawless clarity in a film to be off-putting.  When it comes to old-style exploitation such as this, I like a print that looks like it has been around the block a few times.

I found THE SADIST OF NOTRE DAME sporadically interesting but never particularly appealing for either its horrific or erotic qualities. Francophiles, I assume, will find it fascinating.  And still others will doubtless agree with the Spanish film board's assessment of it--proudly touted in the film's publicity--as "an absolute abomination."

Special Features:
The Gory Days Of Le Brady – Documentary Short On The Legendary Parisian Horror Cinema
Stephen Thrower On Sadist Of Notre Dame – Interview With The Author Of ‘Murderous Passions – The Delirious Cinema Of Jesus Franco’
Selected Scenes Commentary With ‘I’m In A Jess Franco State Of Mind’ Webmaster Robert Monell
Treblemakers: Interview With Alain Petit, Author Of ‘Jess Franco Ou Les Prosperites Des Bis’
Spanish language or English dubbed with subtitles

THE SADIST OF NOTRE DAME -- Blu-ray Review by Porfle

CASTLE OF THE CREEPING FLESH -- Blu-ray Review by Porfle

 

(Originally posted on 2/4/21)

 

Fans of creepy old castles filled with evil curses--not to mention creeping flesh--will no doubt find the title CASTLE OF THE CREEPING FLESH (Severin Films, 1968) an irresistible invitation to explore the darkest nooks and crannies of this murky German horror-fest.

We're introduced to decadent urban party animals Baron Brack (Michel Lemoine, KISS ME MONSTER) and the lovely but somewhat sleazy Elena (Elvira Berndorff) as they ditch one wild party in favor of a more private one at Brack's secluded villa.

They're joined there by a gaggle of other funseekers, but not before Brack appears to rape Elena in a frenzy of wild-eyed lust. But we wonder about the obviously conflicted Elena since she begins to urge "Harder!" during the act and then spends its aftermath with a dreamily ecstatic look on her face before fleeing into the dark forest.

 

At last they all end up in the even more secluded title castle where the dreaded Earl of Saxon (Howard Vernon, SHE KILLED IN ECSTASY) and his mad, hulking servant Alecos (Vladimir Medar) are quite clearly up to no good behind the Earl's eerily placid fascade, and it all has something to do with the cursed history of his family--including rape, murder, and other unpleasant goings-on.

There's also a dungeon-like surgical cellar with two strangely-garbed doctors wielding some scary-looking scalpels and other instruments as they perform horrific acts on sheet-shrouded patients for no telling what sordid and sinister reasons which, shockingly, will eventually involve the one somewhat likable member of the party, Marion (Claudia Butenuth).

It's all rather solidly set in the "old, dark house" vein but with heaping helpings of sexual perversion (most of the film's alternate titles and publicity seem to feature the word "lust"), including a generous amount of nudity for 1968, and some good old fashioned violence, not the least of which involves a rampaging bear.

 

None of which, to be honest, is all that interesting or exciting save for those who are really into this sort of lurid late-60s Eurosleaze and don't mind settling in for a slowburn sort of plot that takes its sweet time leading us through its various twists and turns.

As such, it's not a bad way to spend an hour and change, although the frequent insert shots of an actual living creature being sliced open and having its still-pulsating internal organs poked and prodded for real are jarringly out of place and seem designed to appeal to the basest blood lusts of a limited segment of the viewing audience. This queasy footage is severely inappropriate and woefully unnecessary to what is already an adequately horrific film on its own.

Still, the creepy-old-castle fans out there with a sweet tooth for 60s Euro-cinema of the gloomily Gothic variety should have little trouble enjoying CASTLE OF THE CREEPING FLESH, at least to a sufficient extent to warrant giving it a visit. Others, however, are advised to attend a more conventional party like the one depicted during the main titles and limit their castle excursions to Disneyland.



Buy it from Severin Films



Special Features:

    Adrian in the Castle of Bloody Lust – Archival Interview with Joyce Hoven and Percy Hoven
    MARK OF THE DEVIL Q&A with The Hoven Family at Austrian Pulp Film Fest
    Locations Featurette
    Trailers – English / German / Alt Title APPOINTMENT WITH LUST
    Textless Opening Credit Sequence
    German Opening Credit Sequence

Disc Specs:

    Scanned uncut & uncensored from the German negative for the first time ever in America
    Aspect Ratio: 1.66:1
    Audio: English Mono and German Mono
    Subtitles: English
    Closed Captions: English SDH
    Region 0/Free

CASTLE OF THE CREEPING FLESH -- Blu-ray Review by Porfle

DOCTOR BUTCHER M.D. (aka ZOMBIE HOLOCAUST) -- Blu-ray Review by Porfle

 Originally posted on 7/17/16

 

I really scored this week, getting to see two notorious exploitation titles from the 80s that I hadn't seen before.  Well, not quite, since they're both pretty much the same movie. 

Thanks to Severin Films, both are now available in a 2-disc Blu-ray set under the title DOCTOR BUTCHER M.D. (1980), which includes that noteworthy "video nasty" along with its predecessor, ZOMBIE HOLOCAUST. 

The initial film, an Italian gorefest directed by Marino Girolami (father of Enzo G. Castellari of "Inglorious Bastards" fame) and featuring both loinclothed zombies and ravenous cannibals on a tropical island, was then purchased by ballyhoo master Terry Levene and somewhat "Americanized" for the 42nd Street crowd. 

In addition to some general editing for time and a different score, the main changes consist of the new name (from "Zombie Holocaust" to "Dr. Butcher, M.D.") and an entirely new prologue and main titles sequence with footage taken from an unfinished anthology film called "Tales That Will Tear Your Heart Out" and starring its producer Roy Frumkes as a zombie whose presence is totally unrelated to the original storyline.

What the two versions have in common is the story of a New York hospital plagued by a rash of weird cadaver mutilations that stymie Dr. Peter Chandler (Ian McCulloch) and Lori Ridgeway, a hospital staff member who's also an anthropologist (Alexandra Delli Colli, renamed "Alexandra Cole" for the altered version). 

After catching the culprit actually eating the heart of one of the cadavers and then jumping to his death to avoid capture, Peter and Lori organize an expedition to the man's native island in the West Indies where it is said that primitive tribes still engage in cannibalism.

With Peter's assistant George (Peter O'Neal) and an annoying photo-journalist named Susan (Sherry Buchanan) in tow, they meet up with Dr. Obrero (Donald O'Brien) in his island research retreat and head out for the dreaded Kito Island.  Soon after arriving, their party is attacked by bloodthirsty cannibals who dismember and devour anyone they can lay their hands on. 

Thus, after a prolonged stretch of exposition and build-up, the stage is set for an almost non-stop parade of some of the most grisly and disgusting gore effects that a low budget and ample imagination can provide.  They range from obviously fake-looking to near Tom Savini-quality gore, and even the less convincing stuff displays a sort of giddy showmanship. 

(The main FX fail, in fact, is when a dummy thrown from the hospital roof loses an arm upon hitting the ground, whereupon in the next shot the victim's arm is intact.)

Entrails are strewn, eyeballs plucked out, scalps lifted--and that's before the zombies show up.  It turns out the living dead are the result of Dr. Butcher's mad experiments in his island laboratory, which he soon stocks with the survivors of the expedition in order to include them as additional unwilling subjects in what resembles an even more horrific variation of "The Island of Dr. Moreau."

This guy's a real sadistic bastard, which means that we're in for some more grotesque makeup FX which must've delighted gorehounds over the years while giving anti-"video nasties" crusader Mary Whitehouse and her ilk heart seizures.  The exposed brain effect with its pop-top skull foreshadows a very similar, and much more expensive, one in Ridley Scott's HANNIBAL.

Marino Girolami's direction is serviceable as are the modest production values--the film has the same basic look as other Italian cannibal and zombie pictures of the era by directors such as Lucio Fulci and Ruggero Deodato, as well as later ones by Bruno Mattei (ZOMBIES: THE BEGINNING, IN THE LAND OF THE CANNIBALS, MONDO CANNIBAL).  The dubbing is often amusingly bad, yielding (as expected) some lines of dialogue that are real corkers. 

The acting isn't always top-notch either, but the cast give it their all.  Alexandra Delli Colli shows off her nude body a few times to stunning effect, especially in her big human-sacrifice scene during the film's climax.

The 2-disc Blu-ray from Severin Films is a treasure trove of extras.  The keepcase itself features a reversible cover insert and a barf bag.

Disc one contains the feature film DOCTOR BUTCHER M.D. plus the following extras:

"Butchery and Ballyhoo": an interview with Terry Levene
"Down on the Deuce": Roy Frumkes and Chris ("Temple of Schlock") Poggiali's nostalgia tour of 42nd Street's grindhouse theaters
Roy Frumkes' unfinished segment from "Tales That Will Tear Your Heart Out"
"The Butcher Mobile": an interview with "Gore Gazette" publisher Rick Sullivan
"Calling Dr. Butcher": an interview with editor Jim Markovic
"Experiments With a Male Caucasian Brain": an illustrated essay by Gary Hertz
Theatrical and Video trailers

Disc two contains the feature film ZOMBIE HOLOCAUST and these extras:

"Voodoo Man": an interview with star Ian McCulloch
"Blood of the Zombies": an interview with FX master Rosario Prestopino
"Neurosurgery Italian Style": an interview with FX artist Maurizio Trani
Filmmaker Enzo G. Castellari Remembers His Father/Director Marino Girolami
Interview with Actress Sherry Buchanan
"New York Locations Then vs. Now"
Ian McCulloch sings his hit "Down By the River"
Theatrical trailers

The films are anamorphic widescreen with English 2.0 sound.  No subtitles.  "Zombie Holocaust" can also be viewed with its original Italian soundtrack.  Picture quality is a bit rough at times due to the source material but the films probably look as good here as they're ever going to look.

All in all, DR. BUTCHER M.D. is a gorehound's delight, with its slower first half giving way to a veritable charnel house of hokey horror later on.  Which might truly horrify if it were meant to be taken at all seriously, instead of being such total dumb fun that your main reaction to its ample atrocities may be simply to laugh yourself sick.

Release date: July 26, 2016

DOCTOR BUTCHER M.D. (aka ZOMBIE HOLOCAUST) -- Blu-ray Review by Porfle

HORROR EXPRESS -- DVD Review by Porfle

Originally posted on 11/3/11

 

Growing up with Forry Ackerman's "Famous Monsters of Filmland" magazine, I tended to drool over all the tantalizing stories and pics about cool-looking horror films that, for one reason or another, I never got to see over the years.  One of those was the Spanish shocker HORROR EXPRESS (1972), which, thanks to the new Blu-Ray/DVD combo from Severin Films, I've finally gotten to experience in all its 70s-Gothic glory.

Fans of Christopher Lee and Peter Cushing should be ecstatic about this pairing of the two horror superstars as reluctant allies against a deadly supernatural force aboard the Trans-Siberian Express.  It's 1906, and stuffy Professor Alexander Saxton (Lee) has discovered the missing link in an icy cave in Manchuria.  Transporting it West by train, he runs into an old rival, Dr. Wells (Cushing), and his diminutive assistant Miss Jones (Alice Reinhart).  The prehistoric creature returns to life and escapes from its crate, causing a reign of terror aboard the train which Saxton and Wells must join forces to stop.

The horrific fun gets under way right there in the station when a thief breaks into the crate, gets a load of it contents, and drops dead, his eyes a blank white.  The baggage man meets the same fate during the monster's escape, as do several other passengers in a series of lively death scenes.  Julio Peña of THE WEREWOLF VS. THE VAMPIRE WOMAN plays the increasingly irked Inspector Mirov, who suspects Saxon himself of foul play until he meets the creature face to face.  At that point, what started out as a simple horror-adventure yarn suddenly turns sci-fi when we discover that an alien entity capable of transferring from one body to another is behind it all.



This new wrinkle, reminiscent of John Campbell's "Who Goes There?" and its subsequent screen adaptation THE THING, adds a whole new element of suspenseful horror to the story as the being's victims either become possessed or have their brains sucked dry.  More weird science comes into play when Saxon and Wells do an autopsy on the missing link and discover that his optic fluid contains images of everything it has seen, including a view of planet Earth from outer space. 

Speaking of autopsies, the film features a couple which were fairly strong stuff back in '72 with graphic images of pop-top skulls and exposed brains.  Other makeup effects are good, including the glowing red eyeballs of the being's hosts and the blank, bleeding ones of its victims.  The reanimated ape creature sports a nice body suit with appropriately hideous facial features that have been partially decayed over time. 

Just when the story has already gone in a number of unexpected directions, Telly Savalas arrives as Captain Kazan to awesome things up even more.  Kazan and his fellow Kossacks barge their way onto the train and start terrorizing everyone, with Savalas having a scenery-chewing field day in the role.  All hell breaks loose after Kazan inadvertently forces the entity's hand and sets the film's chaotic and zombie-packed finale into high gear--Lee hacks his way through the living dead with a sword, Cushing struggles to unhook a baggage car full of civilians from the speeding train as it heads toward a cliff, and Telly goes all bloody-blank-eyes on us.  It just doesn't get any better than this.

Director Eugenio Martin adds a number of clever directorial touches to this handsomely mounted production, which is undermined only by some bad dubbing and awkward handheld camerawork.  In addition to the full-size antique locomotive, a very cool model train (left over from Savalas' PANCHO VILLA) chugs through beautiful miniature Siberian landscapes with numerous cutaways adding to the forward momentum of the film's pace.  An unusual musical score by John Cacavas is alternately atmospheric and cheesy.



Heading an outstanding cast, Peter Cushing's wryly humorous Dr. Wells is a fine counterpoint to Christopher Lee's stuffy Professor Saxton and it's fun to watch them play off each other.  One of the choicest bits of humor comes when Inspector Mirov remarks to them, "What if one of you is the monster?", to which an indignant Cushing responds, "Monster?  We're British, you know!" 

Gorgeous Silvia Tortosa (WHEN THE SCREAMING STOPS) is captivating as Countess Irina Petrovski, whose traveling companion is a mad monk named Father Pujardov (Alberto de Mendoza).  Resembling a cross between Jesus and Rasputin, Pujardov is the stereotypical "crazed religious fanatic" whose allegiance to the entity gives the actor a chance to go way over the top.  Also on hand are a number of Spanish character actors familiar to Spaghetti Western fans. 

The DVD from Severin Films is in 16x9 widescreen with English and Spanish Dolby Digital Mono soundtracks.  No subtitles.  In place of a commentary track there's an 80-minute audio interview with Peter Cushing from 1973 which should delight his fans.  (Cushing reveals during the audience Q and A that he got into acting mainly due to his love of Tom Mix westerns.)  We also get an introduction by Fangoria editor Chris Alexander, new interviews with director Eugenio Martin and composer John Cacavas, the film's trailer, and "Notes from the Blacklist: Producer Bernard Gordon Discusses the McCarthy Era."

Whether you're an old fan or just seeing it for the first time like me, HORROR EXPRESS is a delightfully entertaining old-school horror/sci-fi romp that's bursting at the seams with ridiculous fun.  They don't make 'em like this anymore.

HORROR EXPRESS -- DVD Review by Porfle

THE SINISTER EYES OF DR. ORLOFF -- DVD Review by Porfle

 

Originally posted on 1/24/11

 

 

Incredibly prolific Spanish filmmaker Jesús "Jess" Franco has a devoted following, but the uninitiated might be puzzled as to why after watching THE SINISTER EYES OF DR. ORLOFF (1973).  It's not an awful film, just exceedingly bland.

Montserrat Prous plays Melissa Comfort, an heiress who has been paralyzed from birth.  Plagued by a recurring nightmare in which she wanders the darkened mansion as a little girl and witnesses the violent death of her late father (Franco himself in a cameo role), Melissa is placed in the care of eminent psychiatrist Dr. Orloff (William Berger) by her aunt, Lady Flora Comfort. 

It soon becomes apparent that there's a plot against Melissa which may involve members of her own family, including her Aunt Flora, step-sister Martha, and perhaps even Dr. Orloff himself.  Melissa is aided by faithful servant Mathews (José Manuel Martín) and a concerned neighbor, pop star Sweet Davey Brown.  But when people around her start dying off one by one, it may be only a matter of time before she's next.  The question is--who's really doing the killing?

 

 

The third of Franco's "Dr. Orloff" films, this is remarkably tame stuff for someone known for his exploitation flicks.  The slow-moving story features the occasional murder, but all are quick and relatively bloodless.  Aside from an incidental glimpse of nudity during one of the killings, there's nothing here that one couldn't find in a standard made-for-TV thriller from the era.

A reliance on handheld camerawork and shaky zooms gives the film a crude look, although it's hardly unwatchable.  Franco does display a few flashes of imagination in his direction and keeps things moving along well enough that patient viewers won't have much trouble sticking with it to the end.  The story itself is utterly predictable and there's little actual suspense until the mildly exciting finale, all of which is accompanied by a melodramatic organ and piano score.

Performances are adequate for this type of movie, though it's admittedly hard to judge the actors' dialogue delivery since I understand very little Spanish.  William Berger isn't all that sinister as Orloff and is, in fact, pretty dull, even when we get a closeup of those titular eyeballs.  Montserrat Prous is okay as Melissa--more interesting, though, are Loreta Tovar and the lovely Kali Hansa as spoiled socialites Martha and Aunt Flora.

 

 

 

As Davey Brown, Robert Wood is notable mainly for his awful 70s wardrobe and insipid singing.  His scenes with Edmund Purdom as Inspector Crosby, in which Davey struggles to convince the policeman that something rotten is going on in the Comfort manor, give the film what scant comedy relief it has.  Franco regular Lina Romay appears briefly as Davey's girlfriend.

The DVD from Intervision is full-screen with Dolby 2.0 Spanish mono soundtrack and English subtitles.  Picture quality is good although that Eastmancolor doesn't age very well.  On my copy, the subtitles disappeared for a few minutes around the 46-minute mark.  The bonus feature is a recent 18-minute interview with Jess Franco. 

THE SINISTER EYES OF DR. ORLOFF is a nice low-budget effort that's fairly painless to sit through if you keep your expectations low.  Just don't expect it to be very sinister. 

THE SINISTER EYES OF DR. ORLOFF -- DVD Review by Porfle

The Latest in Euro-Horror from BCI: A Terrifying Two-fer!

PREPARE FOR THE HOLIDAYS

WITH A FEAST OF EURO-HORROR FROM BCI!

“THE LORELEY’S GRASP”AND

“HORROR RISES FROM THE TOMB”

Available For the First Time, Remastered in High Definition;

Serving on DVD November 13th

Los Angeles , CA – What better way to usher in the holidays than with a heaping helping of Euro-horror? BCI Eclipse, a Navarre Corporation Company, under their Deimos label, unveils the latest additions to their ever-growing Euro-horror library with the November 13^th DVD release of Amando de Ossorio’s The Loreley’s Grasp (Las Garras de Lorelei) and Horror Rises from the Tomb (El Espanto Surge de la Tumba), starring and written by Spanish horror film icon Paul Naschy. Continuing its dedication to preserving and presenting classic Euro-horror films on DVD , Deimos presents these two classic horror films for the first time in their most complete, uncut original versions, remastered from the original negative in high definition. For side dishes, each film boasts a tasty selection of bonus features, including the original Castilian and English-dubbed audio tracks, theatrical trailers, photo galleries and alternate scenes. SRP is a paltry $19.98 for each title. Order date is October 5^th.

Written and directed by Amando de Ossorio, The Loreley’s Grasp reaches out from the depths. In a university town by the Rhine river, young women are turning up dead…savagely torn to pieces and their hearts ripped out of their bodies. With casualties mounting and local authorities at a loss, helpless to find who – or what – is causing these horrible murders, a nearby school for young women hires an experienced hunter to find and kill the murderer. The hunter will soon find out that horror is only skin deep and that his target is an alluring and mysterious being – the Loreley – who is already searching for another victim to use in a gruesome ancient ritual.

Written by Jacinto Molina (aka Paul Naschy) and directed by Carlos Aured, Horror Rises from the Tomb is another terrifying chapter in the Euro-horror legacy of Paul Naschy. In 15^th century France, the warlock Alaric de Marnac is beheaded for crimes against humanity and his equally guilty mistress also viciously killed, but not before the pair put a curse upon the descendents of their executioners. Featuring midnight séances, the undead rising from marshes, generous doses of nudity, blood-drenching heart-ripping and eerie atmosphere, Horror Rises from the Tomb rightfully deserves its place of a hallmark of Euro-horror.

The Loreley’s Grasp hands out these gripping special features:

o Complete, uncut version
o Anamorphic Widescreen (1.85:1)
o Liner notes by author Mirek Lipinski (www.naschy.com) with rare photos and stills
o Two audio tracks: In Castilian with English subtitles and English dubbed track
o U.S. Theatrical trailer
o Spanish credit sequence
o Still gallery

Bonus features emerging from Horror Rises from the Tomb include:

o Complete, uncut version
o Anamorphic Widescreen (1.85:1)
o Two Audio Tracks: In Castilian with English Subtitles and English Dubbed Track
o Introduction by star Paul Naschy
o Liner notes by author Mirek Lipinski (www.naschy.com) with rare photos and stills
o Audio Commentary with Writer/Star Paul Naschy and Director Carlos Aured, moderated by Angel Gomez Rivera
o Still gallery of photos from the film & posters and other advertising materials from around the world
o U.S. Theatrical Trailer
o Spanish Credit Sequence

The Loreley’s Grasp (Las Garras De Lorelei)

Street Date: November 13, 2007
Catalog #: 47162-9
Running Time: 85 Minutes
Rating: NR
Retail Price: $19.98

Horror Rises from the Tomb (El Espanto Surge De La Tumba)

Street Date: November 13, 2007
Catalog #: 47163-9
Running Time: 90 Minutes
Rating: NR
Retail Price: $19.98

The Latest in Euro-Horror from BCI: A Terrifying Two-fer!