Posts Tagged ‘Synapse Films’

So — what really happened in Roswell, New Mexico in 1947? Was it a UFO crash? A weather balloon, as the government later stated? Or something else entirely?

Well, don’t look to 1998’s quasi-documentary Six Days In Roswell for any answers. But that doesn’t mean this bizarre Borat -prototype isn’t all kinds of fun.

The Minneapolis-based brains behind the Trekkies documentaries thought they’d take a look at the world’s largest annual UFO festival as part of their ongoing (although it seems to have stalled out in recent years) cinematic examination of the more bizarre corners of Americana, and the result is, in fact, a pretty solid hoot, yet never degrades its subject, which is rather welcome in the TFG household since my wife and I are firm believers that there is, indeed, something out there. Still, even we’ve got to admit that the flying saucer crowd contains its fair share of eccentrics, and while they get plenty of screen time here to make their case, the filmmakers (specifically director Timothy B. Johnson, producer Roger Nygard, and “star”/host Rich Kronfeld), while never going out of their way to make these folks look — you know, normal — resist the easy impulse to point fingers and portray them as being freaks and losers. Mostly you get the feeling that the folks who head down to Roswell over the July 4th holiday every year are eccentrics with a passion, and surely the world could use a whole lot more of them and a lot fewer corporate-ladder-climbing yuppie assholes.

Rick Kronfeld is our “point of entry,” so to speak, to the whole UFO crowd — he’s essentially portraying a character “based on an exaggerated version of himself” (for instance he doesn’t really still live at home with his mother, doesn’t work at the non-existent “Gopher Pride” electric-power-strip manufacturing company, etc.) and his whole raison d’etre for going down to Roswell is because he wants to be abducted by aliens and that kind of thing just never happens here in Minnesota.

The rest of the film essentially consists of his “in-character” interviews with folks down there and explorations of the various activities that make up the annual UFO festival. Respected UFO researchers like Stanton T. Friedman and Budd Hopkins are allowed to (briefly) make their cases, but mostly he just talks to regular folks, and you come away feeling that the average “UFO nuts” is, essentially, somebody just like you and me — who happens to believe they were abducted by aliens.

Now, how much of this set-up is “for real” and how much is purely staged is a good question, and that’s where the DVD commentary with Johnson, Kronfeld, and Nygard comes in handy. They lay out exactly what’s what in no uncertain terms (and do so in a very entertaining manner), but definitely watch it through first without the commentary and then listen to it to see what you as a viewer may have gotten right and wrong (some of it’s certainly obvious, but other things — such as the fact that they actually went to Roswell two consecutive years, for both the big 50th anniversary shindig in 1997 and again in 1998 — is much less apparent).

And on the subject of DVD extras, the fine folks at Synapse Films have loaded this one up with goodies. Not only do we get the aforementioned commentary, but there are also trailers for the film, a “making-of” featurette, a slew of deleted scenes, and an intriguing selection of earlier works (often of the home-made-when-they-were-kids variety) from Messrs. Johnson, Kronfeld, and Nygard, to boot. As far as the technical specifications go, the full-frame transfer (this was shot on 16mm and blown-up to 35mm) and stereo soundtrack are both just fine.

All in all, Six Days In Roswell is a blast. A certain Mr. Baron Cohen definitely owes these guys a debt of gratitude, but unlike his films, this one never slides into snide condescension of its subject matter, and never becomes more about the “star” than the events he’s observing. Okay, so it’s not an actual documentary per se — it’s still pretty damn honest.

"Christmas Evil" Movie Poster

This time of year the question is often asked, “What is the best Christmas movie ever made?” The usual contenders always seem to emerge, of course — “It’s A Wonderful Life,” “A Christmas Story” , yadda yadda etc. etc. Horror fans may suggest either “Black Christmas” or “Silent Night, Deadly Night.” But no less an authority than John Waters has gleefully declared writer-director Lewis Jackson’s 0verlooked 1980 B-movie masterpiece “Christmas Evil” (a.k.a. “You Better Watch Out,” actually Jackson’s original — and preferred — title) to be the absolute best of the bunch, and I’m with him on that all the way. Not so much a straightforward horror film as a black, tragicomic morality tale, this bizarre little flick hits all the right notes and is so self-assured in its absolutely singular bizarreness that you can’t help but sit back in awe as  the bleakly absurd spectacle of it all plays out before your eyes.

If you'd seen this with your own two eyes when you were a kid, wouldn't you be scarred for life, too? Especially if the woman in question was your mother?

When little Harry Stradling was a kid, he was the sort of tyke who just couldn’t wait for Christmas. He’d stay up all night, pacing back and forth in his room, hoping to hear Santa landing on the rooftop and sliding down the chimney. Unfortunately, he learned that old Kris Kringle wasn’t real the hard way — one Christmas Eve he thought he heard something downstairs, went to investigate hoping to catch Old St. Nick in the act, and found his dad, dressed in a Santa suit, going down on his mom. He’s never been the same since.

Fast forward about 30 or 40 years and our guy Harry (played by distinguished Broadway actor Brandon Maggart, who never had much of a career in film, apparently wants nothing to do with this one anymore, and is now best known for being the father of Fiona Apple) is  a rather disturbed and introverted sort, the kind of troubled soul his New York City neighbors should probably keep an eye on — except he’s already keeping an eye on them. Or, more specifically, on their children. He’s making a list and checking it twice, cataloging who’s been naughty and who’s been nice. And this Christmas, he’s finally going to do something about it.

Harry's got it all in his book, right down to the neighbor kids' hygiene habits

Harry works at a toy factory, you see, where he’s recently been promoted from the line up to some low-level management position or other. He misses being down on the factory floor “close to the toys,” as he says, and he’s unimpressed with the executive “suits” he now has to kiss up to. Amidst talk of  post-Christmas plant downsizing (quite prescient in 1980) and a nebulous new management directive  forcing the workers to give to charity while ownership does nothing of the sort (again, a disgustingly common enough practice these days but rather novel for its time) at the company holiday party, Harry starts to hatch his master plan in his mind. Harry’s trauma-inducing bout with accidental voyeurism has caused him to grow into something of a Christmas purist, if you will, and he’s out to save all that is right and true with the holiday season and to — umm — excise all that isn’t. In short order he procures a van, a bunch of toys, a Santa costume, and some weapons, and he decides to bring back the less-than-jolly St. Nick legends of old to life — the ones where he’s both jolly and vindictive, handing out toys only to those who deserve them, and vengeance to those who don’t.

Harry's getting an idea ---

Soon it’s Christmas Eve, and having blown off his brother’s family for the second holiday in a row (he took a pass on spending Thanksgiving with him, his wife, and their kids, as well), he instead springs into action in his custom (hand)-painted Christmaswagon. Kids at an orphanage get a whole load of goodies. The friendly folks at a large family holiday get-together get a visit where he displays his friendly side (as do they to him). But a yuppie scumbag emerging from a midnight mass service at a church in ritzy part of town gets skewered through the eyeball after declaring that Santa better give him something good because he has “superlative taste” (can’t say I blame Harry for that one), and the guy who suckered Harry into picking up his shift at the factory earlier that night so he could go out drinking with his buddies on Christmas Eve meets his red-suited, white-bearded maker, as well.

Santa Harry

Soon, Harry’s a hunted man, as townsfolk who think he’s acting a little bit weird around their kids take up torches and pitchforks and chase him through the New York/New Jersey streets like a modern-day version of the mob hunting down Frankenstein’s monster. But little do they know Harry has a surefire method of escape that delivers one of the most jaw-droppingly awesome endings in movie history. For some reason it’s hotly debated conclusion that some people just can’t get their heads around, but I’m here to tell you that not only is it absolutely astonishingly perverse it its obvious, albeit surreal, simplicity, it’s literally the only way this story could, or for that matter should, finish up.

DVD Cover for "Christmas Evil" from Synapse Films

Available for years only as a bare-bones release from Troma, in 2006 the good folks at Synapse Films finally issued a bona fide and thoroughly comprehensive “special edition” release of full director’s cut of this twisted gem. Not only does it feature a sparkling new widescreen anamorphic transfer of the film with remastered 2.0 stereo sound that’s an absolutely joy to watch and listen to, but there are two commentaries, one featuring director Lewis Jackson where he gives an awesomely involving account of just how low-budget exploitation films such as this came to fruition in the late 70s/early 80s and all the various pitfalls along the way as it moved from script to screen, but there’s a second commentary track featuring Jackson joined by the film’s most famous fan, the legendary John Waters himself! Needless to say, it’s a riot from start to finish. Also included are a selection of stinging lobby comment cards from a test screening of the film, deleted scenes, screen test outtakes, and a comic-style “essay” on the film from “Motion Picture Purgatory” author/illustrator Rick Trembles. Great stuff all around.

What can I say? Everything about “Christmas Evil” works, from the red-and-green-heavy color schemee utilized throughout to Maggart’s amazing, and strangely involving, performance in the lead, to the laugh-out-loud grotesquery, to the police lineup of drunken guys in Santa suits, to the often-quite-incisive sociall commentary,  to the already-mentioned supremely awesome ending. It’s an absolute one-of-a-kind piece of moviemaking. And while Lewis Jackson, sadly, has never made another film, truth be told he doesn’t need to. This stands as a singular work of genuinely madcap, unhinged genius that will never be duplicated and, frankly, in the annals of Chritmas moviemaking, never surpassed.

"Header" Movie Poster

"Header" Movie Poster

What’s a header?

I’m not going to tell you. Because you don’t want to know. Really. You don’t. But you do want to see this film. If you want to know what a header is. And maybe even if you don’t. And whether you do or don’t, you won’t really like the answer. Or maybe you will. If you’re sick. I mean really sick.

Confused yet? Good. Me too.

But truth be told, first-time director Archibald Flancranstin (with a name like that, it’s got to be real)’s 2006 shot-on-high-def video indie horror  “Header,” based on the story “Redneck Greek Tragedy” by cult horror author Edward Lee later adapted into comics form by Verotik, isn’t a very confusing film at all. It’s pretty straightforward. It’s also almost incomparably OTT, at times pretty amateurish, indisputably gross, and at times it’ll make you laugh in spite of yourself. Right after it makes you puke.

In other words, it’s a perfect addition to our little unofficial “countdown” of good movies to watch in the days leading up to Halloween that you stand a pretty good chance of never even having heard of, much less seen. But bring a strong stomach, because goddamn are you going to need it.

Let’s just say that the movie won’t keep you guessing about what a header is for very long. It’s the ultimate form (in this flick at least, hopefully not in reality) of hillbilly revenge, and you have to wonder if author Lee is right in the head (okay, pun intended) for even thinking of it. But I digress.

The action here takes place somewhere below tobacco road, where ATF agent-on-the-take Stewart Cummings (Jake Suffian) is struggling to move up the federal law enforcement ladder and getting nowhere and so has resorted to a not-lucrative-enough side business of running dope and hooch for local moonshiners so that he can afford the expensive medication needed by his girlfriend, Kathy (Melody Garren), who suffers from some undisclosed illness that prevents her from working or even, apparently, getting out of the house.

Somewhere in the nearby vicinity, meanwhile, small-time white trash car thief Travis Clyde Tuckton (Elliot V. Kotek) has just gotten out of prison and given that his mammy and pappy dies while he was in stir he’s got nowhere to go but to the home of his legless grandpappy, Jake Martin (Dick Mullaney), an old-time shoe- and boot-maker who lives in a crummy lean-to and dreams of the days when he could walk around and give out headers to his heart’s content.Being that he can’t, though, he’s about to pass on this disgusting little secret family tradition to his fresh-out-of-the-joint grandson and get his jollies by watching. And that’s all I’m saying about that.

The divergent paths of these characters are about to collide in ways that give the original story’s handle of “Redneck Greek Tragedy” the “most obvious title of the year” award, and will, as I mentioned before, leave you sickened and chuckling in equal turns, if not both at once on more than one occasion.

Like just about any of the movies we tackle on this blog, “Header” is not without its problems. The acting is uniformly amateurish, with some truly unbelievable quasi-southern accents, but at the same time that can be kind of charming, too, if you don’t mind watching actors you’ve never heard of ham it up (and look for both author Lee and another cult horror literary icon, Jack Ketchum, in brief cameos). And Mullaney is great fun as the twisted old grandpa. In addition, some of the gore effects are pretty cheap, although on the whole they’re not bad considering this whole thing only cost a couple hundred grand. A lot of the pseudo-“edgy” high-def video editing is more annoyingly jarring than it is stylish. And there’s nothing particularly unusual or inventive in Flancranstin’s choice of shots and camera angles.

Still, those are pretty small gripes for a film that sets out to do one thing above all else, that being shock and repulse the hell out of you and make you feel pretty damn guilty for laughing at some of the seriously horrific shit on display, and certainly succeeds in that regard hands-down.

If you like all your horror films to frighten you, then you can safely give “Header” a pass. But if, in lieu of scares, you’ll settle for jaw-dropping “what the fuck did I just see?”-ness, then you’ll no doubt find “Header” to be a pretty engrossing little flick. The story’s pretty solid and it’s pretty damn ballsy to think anyone even committed this thing to celluloi—errr, excuse me, video. And even if you don’t like it, you will remember it. That’s a cinch-lock guarantee. Those memories won’t necessarily be pleasant, but they will be unshakable, and there’s something to be said for that in and of itself.

"Header" DVD Cover From Synapse Films

"Header" DVD Cover From Synapse Films

After languishing in indie non-distribution hell for a few years during which time it got the occasional screening at a handful of horrorand genre film festivals where it usually met with highly-qualified and sometimes even grudging praise, “Header” generated enough of a buzz in the horror underground to warrant being picked up by the always-reliable Synapse Films for DVD distribution. It’s a fairly solid little package that’s generally up to pretty high technical standards (although some of the dialogue is rather tough to pick up on in places since the “southern” accents have the effect of garbling what’s said and burying them behind the music and sound effects in the 5.1 mix doesn’t really help matters much) and  includes a thoroughly comprehensive series of behind-the-scenes interviews with most of the principal cast and crew. A commentary would have been nice, I suppose, but the interview segments cover more or less any “making-of”-type information you’d want to know.  All in all not an exhaustive selection of extras, then, but plenty good enough.

So that’s “Header.” Scary? No. But horrific?  Oh yes. Most definitely.

Original European poster for "Syngenor"

Original European poster for "Syngenor"

Whatever happened to the guy in the rubber suit?

Ever since “The Creature From The Black Lagoon,” the rubber  reptilian (usually) monster has been something of an on-again, off-again mainstay in the world of horror cinema, and while CGI has certainly made putting an actual human inside one of these slimy sweatboxes redundant at best, it’s fair to say that the era of this particular type of movie baddie was over long before today’s computer effects wizards went to work.  The purported “sophistication” of more modern audiences convinced filmmakers long ago that a dude in a goofy costume just didn’t have what it takes to scare people anymore, and while I can’t say for certain, it seems to your humble host that the 1990 horror-sci-fi semi-thriller “Syngenor” is quite probably the last stand of the rubber-bedecked bad guy, and for that reason alone, it’s worth a look.

First off, it should be stated that “Syngenor” is a sequel — of sorts. Actually, it’s not so much a “part two” as it is another movie featuring the exact same monsters as William (“Creature”) Malone’s 1981 ultra-low-budget (but nevertheless effective) “Scared To Death.” It’s not in the least bit necessary to know the first thing about the earlier  film, though, in order to fully comprehend this later offering, so I won’t go into detail about it here beyond saying it’s definitely worth a look,  and it’s a fair bet that most audiences (such as there were) that caught “Syngenor” during its ultra-brief theatrical run didn’t know the first thing about the previous Syngenor flick, either. Malone himself was not involved with the movie in any way—he had written a brief outline of a script which was later changed more or less wholesale by screenwriters Michael Carmody and Brent V. Friedman, and the directing duties were handled by George Elanjian, Jr., so this thing probably doesn’t even count as a “follow-up” to “Scared To Death” — like I said before, the best way to describe it would probably be to call it a movie that features the same monsters as another, earlier movie.

The plot is pretty simple stuff — a couple of low-life yuppie types pick up a couple of ladies of  “easy virtue” and take them back to the flashy corporate headquarters (actually L.A.’s disused Ambassador Hotel, infamous for being the site where Bobby Kennedy was assassinated) of Norton Cyberdyne, where the fellas serve as mid-level executives. Unbeknownst to the women, though (and to one of the yuppie scumbags himself), they’ve been “selected” to become “test subjects” for the ruthless killing efficiency of the Syngenors (shorthand for Synthesized Genetic Organism), a race of reptilian super-soldiers genetically engineered by the corporation to fight in the hostile climate of the Middle East (it’s worth noting that Gulf War I was going on at the time this film was released) The Syngenors don’t need any water, and survive by drinking the spinal fluid of their victims with their long lizard-tongues. They also reproduce asexually by laying a pod every 24 hours from which a new Syngenor hatches, fully-formed and ready to fight. So even if there are any casualties on the Syngenor side, they’re replaced rather quickly. Obviously, then, the Pentagon is pretty hot-to-trot to get these new slime-coated soldiers into action.

The in-on-the-plot yuppie, a greasy operator named Armbrewster (Charles Lucia) turns the Syngenors loose on his colleague and their—uhhhmmm—“dates,” but he doesn’t count on one of them getting loose from headquarters  and going straight to the home of their creator, a reclusive scientist named Ethan Valentine (Lewis Arquette, patriarch of the Hollywood Arquette clan) who has left Norton Cyberdyne and now works out of his garage on various mad-geneticist-type projects. Evidently, though, the Syngenor doesn’t harbor warm feelings for its surrogate “father,” and mauls him to pieces before laying a pod in his garage.

Unfortunately for her, Valentine’s live-in niece, Susan (Starr Andreeff, who bears something of a resemblance to a younger Mariska Hargitay), gets home from an evening out just shortly after her uncle’s murder, and the Syngenor attacks her in the family home. She manages to get away, though, and report what happened to a friend of her uncle’s who works as a police lieutenant. She doesn’t get a whole lot of help from the cops, though, who bury her report under pressure from Norton Cyberdyne’s CEO, Carter Brown (David Gale of “Re-Animator” fame who delivers an equally fun and OTT performance here as a corporate boss slowly losing his mind as his whole world comes crashing down around him—largely due to his own sleazy machinations).

She does, however, find help in the form of newspaper reporter Nick Carey (Mitchell Laurance), who went down to Norton Cyberdyne HQ in order to do an “executive of the year” puff-piece on Brown and ended up finding out about the previous night’s murder from a chatty secretary (played by Melanie Shatner — yes, you-know-who’s daughter) who also happens to be Brown’s niece.  The younger Brown also clues Carey into the fact that a leading scientist for the company quit a few weeks back, and when he can’t get in to see Brown to write his fluff story, he decides to follow his reporter’s instincts and go check out the home of said no-longer-employed-there scientist. That’s when he meets Susan, finds out what happened to her uncle, and the two of them go on the trail of the Syngenor mystery.

The Syngenor, last of the rubber-suited villains

The Syngenor, last of the rubber-suited villains

From there the pace does drag a bit as we get enmeshed in corporate scandal between Carter Brown, Armbrewster, who’s trying to depose him and move up the ranks, and a third untrustworthy executive , Paula Gorski (Riva Spier), who Brown has the hots for but who’s secretly playing both he and Armbrewster against each other for her own ends.  Things get a bit talky, in other words, and the action lags as our heroes (who quickly also become lovers) investigate all this company intrigue, but it never gets truly dull, and watching Gale (who really does look like John Kerry with a receding hairline) portray Brown’s gradual melt-down really is a lot of fun (I just wish I knew what the green serum he’s always injecting in his neck is—it’s never explained and, according to the commentary track on the DVD, this is intentional. Still, I’d be curious to know—that’s just the kind of guy I am).

David Gale in full nervous breakdown mode

David Gale in full nervous breakdown mode

The somewhat slower middle section is certainly worth it in the end, though, as the pod in Susan’s uncle’s garage hatches and terrorizes her and Nick at the house before they make their escape and plunge into a  final, protracted battle against the Syngenor army at company headquarters, with Brown going apeshit and killing everybody the evil reptiles don’t.  It’s  an absolute blast to watch, with plenty of bloodletting, pretty solid gore effects (from Robert and Dennis Skotak, who worked with James Cameron on “Aliens” and “The Abyss”), and an impressively high body count. In other words, don’t give up on this thing halfway through because the finale is everything you could hope for and then some.

“Syngenor” certainly isn’t a perfect film by any stretch of the imagination, but it’s definitely plenty solid all things considered,  has a seriously great performance from Gale, and pays off the patient viewer, with interest, at the end. All in all, the era of the rubber-suited monster (and it’s a pretty damn good rubber-suited monster at that) probably couldn’t have asked for a better send-off.

DVDCover For Synapse Films' release of "Syngenor"

DVD Cover For Synapse Films' release of "Syngenor"

“Syngenor” is available on DVD from Synapse Films in a terrific package that includes an impressively sharp 1.85:1  widescreen transfer, a newly-remastered 5.1 surround audio track, an extensive gallery of behind-the-scenes photos and publicity stills and artwork, three pretty interesting behind-the-scenes featurettes, and an audio commentary featuring actress Starr Andreeff, screenwriter Brent V. Friedman and producer Jack F. Murphy.  A really nice “special edition” that, for once, genuinely lives up to that name.

Volume 1

Volume 1

Your friendly neighborhood TFG is hard-pressed to think of a better series of DVDs for marathon-style viewing than Synapse Films’ superb trailer collection, “42nd Street Forever.” I don’t know who had the simple-yet-brilliant idea to package up a bunch of old exploitation flick trailers into one full-length DVD over at Synapse, but my hat—and yes, I am really wearing one—is off to them.

I think, although I could be wrong, that many of these are “public domain” trailers, while others required various rights issues to be cleared in order to be included, but again, to whoever is behind all that legwork, my hat is tipped in your direction once more. A lot of the promos seem to be from films from the Crown International vault, so I’m thinking maybe one big deal was brokered to include a bunch of them with whoever holds the C.I. rights these days. In any case, plenty of other studios and distros are well-represented, as well, and the wide variety of clips on display is well and truly staggering. Every exploitation genre is included in the mix, from blaxploitation to motorcycle flicks to horror to nudie cuties to martial arts to crime drama to teen sex comedies to sci-fi to hard-boiled revenge thrillers to—well, you get the idea. There’s even a few forgotten big-budget flops thrown in, as well.

I’m thinking well over half, at least, of the films promo’d have never seen any sort of legit DVD release, and many never even made it to VHS! So for every staple of the grindhouse era that everyone’s seen like “Alligator” or “Ms. 45,” there are five or six examples of films that seasoned exploitation veterans have been holding their breath hoping to see released since —well, since the advent of the DVD format itself.

Synapse are up to four volumes in this collection so far and I well and truly hope they never stop. The picture and sound quality vary from trailer to trailer, as would be expected, but on the whole most of them look pretty damn good and most fit well in the 1.78:1 anamorphic widescreen presentation format.

Here are just a few highlights of some of the previews included in each volume to whet your appetite”

Volume One – “The Undertaker And His Pals,” “The Italian Stallion,” “The 3 Dimensions Of Greta,” “Secret Africa,” “Star Crash,” “Superfuzz,” “Matango, “Destroy All Monsters.”

Volume 2

Volume 2

In the appropriately titled Volume 2, “The Deuce,” —

“Dragstrip Riot,” “Sugar Hill,” “Rabid,” “The Babysitter,” “Van Nuys Blvd.,” “Kenner,” “Rolling Thunder,” “The Woman Eater.”

Volume 3 - "Exploitation Explosion"

Volume 3 - "Exploitation Explosion"

Volume 3 -” Exploitation Explosion” —

“Enter The Ninja,” “Blood Beach,” “Gorp,” “King Frat,” “The Life And Times Of Xaviera Hollander,” “Candy Stripe Nurses,” “Guyana : Cult Of The Damned,” “High Ballin’.”

Volume 4 - "Cooled By Refrigeration"

Volume 4 - "Cooled By Refrigeration"

Volume 4 – “Cooled By Refrigeration” —

“Simon, King Of The Witches,” “The Klansman,” “Best Friends,” “Humongous,” “The Legend Of Boggy Creek,” “Americathon,” “Bonnie’s Kids,” “New Year’s Evil.”

Volumes three and four, it should be noted, also contain absolutely must-hear commentary tracks featuring AVManiacs head honcho Edwin Samuelson (who acts as informal emcee and also seems to be in charge of trailer selection), Fangoria managing editor Michael Gingold, and film historian/freelance scribe Chris Poggiali. These guys keep things really lively by giving the basics in terms of production details, quick histories, little-heard anecdotes, etc., for most every film promo’d on the discs, and it’s an absolute blast to watch these two volumes twice in a row, once with the standard sound, next up with the commentary. These three are veritable walking film encyclopedias , but never once do they slide into being pedantic or dull.

My sincere hope is that any and every reader of this blog who hasn’t given this series a spin in their DVD player will do so, and and that many of the great unheralded—and unreleased— films included in this mind-bendingly terrific trailer collection will see a proper DVD release in the future. Some of the flicks from earlier volumes already have, and some others are on the way in the not-too-distant future, so it would be nice if to think that this series is raising awareness of some of these titles to the point where some of the cult DVD distributors decide it’s worth it to give more of them a shot.

Keep up the great work on this series, Synapse, I’m looking forward to the next volume already!