Horace Pinker, a murderous TV repairman, is finally caught and executed via the electric chair. The teenager who helped capture him thinks that its all over. But it’s not and Pinker returns from the grave as pure electricity thanks to a pact with the Devil. This means that he can travel through TV and the human body and he’s only got one thing on his mind – revenge.

Shocker.1989.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 49 min
Size: 	2.95 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.220
Audio
#1:  	English 5.1ch AC-3 @ 448 kb/s
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary with Director of Photography Jacques Haitkin, Producer Robert Engelman and Composer William Goldstein compered by by Michael Felsher)
#3:  	English 2.0ch AC-3 @ 192 kb/s (Commentary by Wes Craven)

https://nitro.download/view/B371841993C507B/Shocker.1989.576p.BDRip-AVC.ZONE.mkv

Language(s):English
Subtitles:English

The post Wes Craven – Shocker (1989) first appeared on Cinema of the World.

Desert ants suddenly form a collective intelligence and begin to wage war on the inhabitants. It is up to two scientists and a stray girl they rescue from the ants to destroy them.

	
Phase.IV.1974.BDRIP.VS.4K.576p.x264.FLAC.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 23 min
Size: 	2.09 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.221
Audio
#1:  	English 1.0ch FLAC @ 371 kb/s (Main Audio)
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary with film historian Matthew Asprey Gear)

https://nitro.download/view/AD46D5F5F081B7C/Phase.IV.1974.BDRIP.VS.4K.576p.x264.FLAC.KJNU.mkv

Language(s):English
Subtitles:English SDH

The post Saul Bass – Phase IV (1974) first appeared on Cinema of the World.

The film tells the story of an American journalist covering the Salvadoran civil war who becomes entangled with both leftist guerrillas and the right wing military. The film is sympathetic towards the left wing revolutionaries and strongly critical of the U.S.-supported death squads, focusing on their murder of four American churchwomen, including Jean Donovan, and their assassination of Archbishop Óscar Romero.
The film was nominated for two Academy Awards: Best Actor in a Leading Role (Woods) and Best Writing, Screenplay Written Directly for the Screen (Stone and Boyle).

5.46GB | 2h 2m | 1280×696 | mkv

https://nitro.download/view/652D4E344B322D2/Salvador.1986.720p.BluRay.X264-AMIABLE.mkv
https://nitroflare.com/view/8DE77EBB78555A5/salvador_Subs.rar

Language:English
Subtitles:English

The post Oliver Stone – Salvador (1986) first appeared on Cinema of the World.

Quote:
Back in the 80s, Roger Ebert derisively referred to slashers as “Dead Teenager Movies,” so the title Dead Kids feels like a nice thumb to the eye. Even if it isn’t, it’s still a fucking great title that tells you all you need to know: there be dead kids here (and of course, American distributors got squeamish and renamed it Strange Behavior). An Ozploitation flick by way of New Zealand, Dead Kids is a deceptive entry in the slasher cycle since it merely poses as a typical splatter film before setting off on its own tangents. Per usual, you can’t expect Australians to do anything straightforward. We love them for that, though.

Rather than litter their homeland with the corpses of dead kids, these Aussies instead turned Auckland into the American Midwest, where a small college town is haunted by a spree of murders. Town sheriff John Brady (Michael Murphy) suspects shenanigans at the school’s psychology department, as a professor (Fiona Lewis) is continuing the behavioral experiments of a deceased quack (Arthur Dignam). As John’s son Pete (Dan Shor) and his friends are drawn into the experiments, bodies continue amount alongside evidence that points to a tragic event in town history that refuses to stay buried.

Really, the alternate title is more fitting here; while there are plenty of dead kids to go around, it’s more noteworthy that everyone acts like a weirdo. I don’t know if it’s a result of the cultural mish-mash going on, but this is a pretty poor imitation of Americans and an even more baffling depiction of humans in general. Nobody acts naturally, so interactions are typically stilted and awkward to the point of creating a convincing aesthetic. The off-kilter vibe is so thick that the killer could cut through it with his butcher knife. One of the first scenes has father and son sharing a bathroom, and the latter’s nude for whatever reason (note: there is rarely any rhyme nor reason to be found). That’s one way to set a tone, I guess.

It’s what gives the film its unique flavor, though, and it winds up being less a straightforward slasher and more of a cock-eyed giallo (probably a redundant turn of phrase but still—this is a pretty weird one). While the film opens with a typical opening prologue, the slashing turns on its head during the next set of murders, which has a weirdo in a Tor Johnson mask stalking some teens at a party. If that doesn’t sound strange (and awesome) enough, it takes a jarring turn when the killer reveals himself for the audience. Far from a resolution, it’s just the first layer peeled off of an onion that grows more conspiratorial as the film advances.

You should probably be able to figure out the film’s direction once Pete and his buddy (Marc McClure) first encounter the university’s experiments, still lorded over by video recordings of the dead doc who hams it up like a late-night horror show host. The overall vibe is slightly reminiscent of Dead and Buried, only the particulars are even wackier (1981 was a very good year for folks convinced that every small town is secretly the murder capital of the world, which is probably only true of those residing below the Mason-Dixon Line).

For example, the investigation leads the cops to track down leads relating to all of the fat girls on campus, a turn that finds Murphy grilling Lewis in deadpan fashion (and it takes talent to deliver a line like “you been doing experiments on fat girls?” without cracking up). It winds up being a more intriguing and logical mystery than expected since it connects quite well once the script stops withholding information (something it’s fond of, quite frankly—you have no idea why Chief Brady holds such a grudge against the college until the film’s 11th hour). I love that it’s eventually one hell of an elaborate revenge plot, which I guess is true of most of these things.

But this one’s really got the goods, both before and behind the camera, where Aussie B-movie maven Anthony Ginnane assembled some familiar and soon-to-be-familiar faces. A young guy named Bill Condon (Candyman: Farewell to the Flesh, Gods and Monsters) wrote the script, while Two-Lane Blacktop producer Michael Laughlin directed; the duo would team up again for Strange Invaders, the second part of a loose trilogy that never saw completion. The cast is also an enjoyable collection younger talent paired with veterans, with Louise Fletcher headlining despite only showing up in a handful of scenes.

She’s Brady’s live-in girlfriend (though, again, this isn’t really made explicit until later on—she just sort of shows up at the beginning, and her relationship to the Brady boys is ambiguous) and provides the climax’s crucial exposition that explains just what in the hell is going on. Ginnane also didn’t skimp on the music budget, as Tangerine Dream provides a suitably moody score. However, in a surprise upset, Lou Christie upstages everyone’s favorite German soundtrackers with “Lightning Strikes,” a 60s ditty that serves as a dance number at the ill-fated house party (and as my enduring memory of the film, honestly).

Indeed, Dead Kids is one odd duck. Full of all the gruesome stuff horror audiences began to crave by this point (a needle-to-the-eye bit still makes me squirm), the film is also outfitted with bizarre flourishes that give it an offbeat gait right up until its awkward stumbling to the finish line, where the movie abruptly ends. Severin has been on an Ozploitation kick lately, and Dead Kids represents another fine Blu-ray upgrade for fans who have been stuck with a decade old DVD at this point. A pair of commentaries headlines the extras, one featuring Condon, Shor, and Dey Young, while Laughlin supplies the other (via Skype!). Two trailers and an isolated soundtrack fill out the disc, which will hopefully bring attention to this cool oddity that belongs on the Mount Rushmore of Aussie schlock from this era.

1.75GB | 1h 41mn | 1024×424 | mkv

https://nitro.download/view/EB100A2B935F132/Michael_Laughlin_-_(1981)_Dead_Kids.mkv

Language(s):English
Subtitles:None

The post Michael Laughlin – Strange Behavior AKA Dead Kids (1981) first appeared on Cinema of the World.

Quote:
Erica is unmarried only temporarily in that her successful, wealthy husband of seventeen years has just left her for a girl he met while buying a shirt in Bloomingdale’s. The film shows Erica coming to terms with the break-up while revising her opinions of herself, redefining that self in its own right rather than as an extension of somebody else’s personality, and finally going out with another man. Erica refuses to drop everything for Saul, an abstract expressionist painter, simply out of love for him because he expects her to. It is not so much loneliness that is her problem, and the problems that men, flitting around this newly “available” woman like moths round a flame, bring to her sense of independence.

3.09GB | 2h 04mn | 1024×552 | mkv

https://nitro.download/view/46D4A1DBEC11E2A/An.Unmarried.Woman.1978.576p.BluRay.AAC.x264-HANDJOB.mkv

Language(s):English+commentary
Subtitles:English

The post Paul Mazursky – An Unmarried Woman (1978) first appeared on Cinema of the World.

“No one likes to dwell on past failures, but it’s good to see Jack Tanner back again. As a Democratic presidential candidate in the 1988 race, Tanner seemed hopelessly outmatched, a dark horse trailing the pack. But as an ex-candidate returning to the Democratic National Convention in 2004, Tanner is blissfully outside the fray, and while we’re following him, we are as well.

Of course the pain of Tanner’s distant defeat is eased further by the fact that he was never a real contender. The star of Robert Altman and Garry Trudeau’s satirical mock documentary miniseries Tanner ’88, just collected as a 2-disc Criterion set, Michael Murphy’s Tanner was a bland, vaguely liberal cipher who found his spine too late and in the wrong place. (Does any of this sound familiar?) But if Tanner didn’t make much of a showing in the polls, he’s as good an ex-candidate as Jimmy Carter is an ex-president.

The new ‘interviews’ with the characters that prefaced Sundance Channel’s reairing of Tanner ’88 earlier this year sometimes outstripped the episodes that followed, and the four-episode sequel Tanner on Tanner is no letdown. In a sense, the title is misleading, since the first Tanner is not Jack but his daughter Alex (Cynthia Nixon), who’s grown from a Barnard firebrand into a self-styled radical, a documentary filmmaker fighting the system one credit-card film at a time. Her latest idea, no doubt motivated by exigency as much as inspiration, is to make a film about her father’s run for office, a gimmick that will get her into the Boston convention, assuming her new Discover card arrives in time. Though devious cameraman Deke, now editing porno flicks to pay his bills, is still around, he’s been functionally replaced by an eager young film student who’s filming the making of Alex’s film, and not above using some of Deke’s old tricks to get what he needs. (To say more would spoil it, but suffice it to say that if watching Tanner ’88 beforehand is not essential, it’s bound to significantly increase your enjoyment.)

Tanner ’88 satire hasn’t aged so well, and Trudeau’s writing often builds towards canned punchlines which subvert the documentary atmosphere, but Tanner on Tanner is a looser creation with a bigger target. In a sense, it’s not about politics at all, but celebrity (though the intimation that the two are often indistinguishable is no doubt intentional). In the first episode, the formerly shy Tanner staffer Andrea Spinelli (Ilana Levine), now a brass-balled producer, breaks away from a crucial meeting in a swank restaurant to chat up Martin Scorsese at a neighboring table. (She mispronounces his name, but seems to win him back by suggesting remedies for his asthma.) Though the two episodes available for preview stop just short of the full-on convention push, the promised run-in between Alex Tanner and Alexandra Kerry—making a documentary about her dad’s run for president—twists your mind in knots just thinking about it.

The clunky cameras of 1988 have been replaced by sleeker models, but Tanner on Tanner has a similar feel to its predecessor, right down to the cornball synthesizer score, which now sounds as nostalgic as it does desperate. It’s a wise move, since the deliberately crude aesthetics fit the broad-strokes characterizations, though the portrayal of Alex Tanner as a shrill, semicompetent trust-fund baby might come off as sexist or dismissive were it not for Nixon’s uniformly winning performance. ‘Most documentaries have no content,’ Altman told The New York Times, and his low opinion of nonfiction film is evident in every one of Tanner on Tanner’s shaky frames. It’s an odd stance to take in what, regardless of the election’s outcome, will likely be remembered as the year documentaries became a permanent part of the political process. Who knows—in 16 years, it might be Alex running for office. “

https://nitro.download/view/EF123A7B153618D/Tanner_on_Tanner.rar

Language(s):English
Subtitles:None

The post Robert Altman – Tanner on Tanner (2004) first appeared on Cinema of the World.

Synopsis:
Sixties couples Michael and Donna and Paul and Erica become involved with the intense Count Yorga at a Los Angeles séance, the Count having latterly been involved with Donna’s just-dead mother. After taking the Count home, Paul and Erica are waylaid, and next day a listless Erica is diagnosed by their doctor as having lost a lot of blood. When she is later found feasting on the family cat the doctor becomes convinced vampirism is at work, and that its focus is Count Yorga and his large isolated house.

2.50GB | 1 h 32 min | 1024×554 | mkv

https://nitroflare.com/view/FE2381E3823F248/Count.Yorga.Vampire.1970.576p.BluRay.AAC.x264.part1.rar
https://nitroflare.com/view/23D1583341464EF/Count.Yorga.Vampire.1970.576p.BluRay.AAC.x264.part2.rar
https://nitroflare.com/view/96B6EA576E4155C/Count.Yorga.Vampire.1970.576p.BluRay.AAC.x264.part3.rar

Language(s):English+commentary
Subtitles:English(muxed)

The post Bob Kelljan – Count Yorga, Vampire (1970) first appeared on Cinema of the World.