Rubber Smocks and Acupuncture Agony in 1080p

I know I'm not saying anything new since this was reported at BD and Fangoria amongst a bunch of other places, but this is new to me. SHOUT! Factory will be debuting Takashi Miike's Audition onto a 2-Disc Collector's Edition Blu-ray this October 6th. Specs include a new HD transfer from the internegative (I believe that's once removed from the negative), new stereo audio track, commentary from Miike and screenwriter Daisuke Tengan, Miike video introduction, over 90 minutes of new cast interviews, trailers, and linear notes by Tom Mes.

I have three DVD editions of this; the first U.S. DVD from Chimera, the second from Lionsgate, and the U.K. disc from Tartan. The last is generally considered the best transfer of the film. The Chimera is non-anamorphically enhanced and while the Lionsgate is--it's an artifact-riddled interlaced transfer. So hopefully this SHOUT! Blu-ray will present the definitive transfer on home video...at least for now.

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Cat in the Cage (1978) - Program Hunters VHS Scan

.notice placement of bikini bottom

Found this one over the weekend. The movie is terrible from memory (also have the "Derann AV" VHS), but this particular VHS is extremely rare being from the obscure Program Hunters label. There's no studio logo anywhere on the cover or tape, aside from the mention on the front cover's credits and "P.H.I. 1002" on the back. I only know of one other PH release, that being Alice, Sweet Alice. I would have scanned the entire cover, but it was ridiculously hard to fit into a new clamshell. The case I found it in looked like it had been sitting on a shelf in an auto body shop for years.

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Some quick thoughts on 976-EVIL (1988)

In some hellish alternate universe ruled by Uwe Boll, this is Rob Zombie's remake of Nakata's Ringu.

Absolutely downright terrible. I was going to watch this on tape months ago, but now I see mercifully my VCR started incessantly rolling the picture after the first couple minutes. I found a $3 copy of the DVD at Big Lots a few days ago. I should have bought a few bags of Haribo gummy bears instead. At least they're good.

There are two glaring problems in this schizophrenic horror backwash helmed by an iconic slasher personality that should have known better. The first being that characters and situations conveniently dumped or shuffled around. Spike (Patrick O'Bryan) doesn't seem too broken up over the horrific death of his girl, even after Hoax (Stephen Geoffreys) admits to the killing. Hell, during this "tense" scene between the two it sounds as if the grunts of frustration from Spike were dubbed in later in post. The feds apparently don't give a shit as well. Hoax's school principal shows up for the climax for a good fifteen minutes after getting maybe two minutes of screen time earlier.

The other hitch is big set-ups for fleeting one-liners. For some reason, Hoax's bullies hang in the projection booth of a rundown theater that's running a CONTINUOUS HORROR MARATHON (tics $1.99). After Hoax in demon form meekly slaughters the bunch, we see a long shot of the theater and marquee on fire with one of the bullies impaled on a neon sign in the shape of a pitchfork. You can laugh now. Later at devilman Hoax's house it's a literal icebox just so Hoax can quip that "Hell has finally frozen over." Laughing yet?

Not to mention fish falling from the fucking sky being an important plot point and driving motivation for one of the characters.

Academy Award winner Sandy Dennis is especially awful as Hoax's domineering Bible thumpin' Aunt. Really the worst portrayal of this familiar horror archetype perhaps in history. So bad the Academy should have raided her home, grabbed the statue, and melted it down immediately in a mobile kiln. That sounds harsh until you experience Aunt Lucy. The sequel (which I actually don't mind) looks to have killed O'Byran's career for good and Geoffreys was a few short years away from delving into the asshole of celluloid. The flick doesn't even have that pleasant insular vibe of other mediocre but watchable genre flicks around the dawn of the '90s like Craven's Shocker or Cutting Class.

The one scene I liked was after bloodily slashing the face of one of his bullies, Hoax calmly lays his hands on him and tells the shocked fellow to never touch him again. Aside from that, big waste of ninety minutes. I'd even recommend the sequel over this. On that note, it looks like Part 2 might be finally arriving on U.S. DVD from Echo Bridge.

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10 Reasons Why THE LAST DRAGON Rules Your Bitch Ass

10. Whatever the fuck is in Arkadian's fish tank.

09. This frame.

08. William H. Macy stylin' and profilin' with shades and rad jacket as Vanity's agent.

07. Angela's atrocious "Dirty Boys" music video.

06. Bruce being enamored with getting his amulet back, despite being alone with Vanity.

05. Bruce's sensi totally bullshitting the purpose of his quest.

04. Vanity being a vastly better actress than what actually made her famous...or maybe it was just the china white.

03. The movie theater sequence; Enter the Dragon, spontaneous breaking accompanied with boombox breaking, transvestite yelling, and the best delivery of "nigga please" in cinema history.

02. "Who plays this garbage?"...you might piss your pants upon witnessing this.

01. "Who's da masta?" Yep, going with the obvious. The biggest draw is Julius Carry's hilariously over-the-top Sho'nuff, The Shogun of Harlem. It's like lightening striking when the character embodies the screen. Sure, Bruce makes him his bitch in the end, but damn does Carry do most of the heavy-lifting in transporting this film into bonafide '80s cult classic status.

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'Zine Ramblings: Lunchmeat #3 Review

Lunchmeat Jones and the Temple of 1/2" Doom

Published by Comfy Couch Publishing / 2009
http://www.myspace.com/lunchmeatzine
lunchmeatvhs@gmail.com

Stupidly, I held off on the opportunities to nab Issues #1 and #2. A fanzine primarily focusing on horror and cult VHS seems right up my alley, and with some friendly nudging from Freddy in Space--I finally gave in to stubbornness and ordered #3 direct from eBay.

A quick wait and the magazine landed in my mailbox yesterday afternoon. After the slick and vibrant front and back cover, the next thing to strike me were the many welcoming staples of an indie fanzine. All the pages are printed in black-and-white on dull paper with no ads and little misspellings and format inconsistencies lurking about. This lack of sheen doesn't matter with the extremely concise use of page space with a ribald exuberance mixed into the ink. In fact, the magazine seems to strive for a rough feel with much of the text in a purposely distressed (but easy to read) "typewriter" font.

The bulk of the featured VHS reviews start things off with most written by either Josh Schafer and Ted Gilbert--as is most of the magazine. There's a nice, amusing flow between the two, usually with each writer alternating per whole page review. Front/Back cover scans are also included and you can these guys don't particularly mind stickered or the dreaded cut box. Though most importantly the tail end of the reviews usually detail the VHS edition itself; speaking to picture/sound quality, rarity, and/or the film's presumed distribution situation. I'm personally more into tiny nerdish details like this, so I was left wanting more, despite the attention given being much more than what you'd find anywhere else. Some of the flicks covered in no particular page order are The Black Room (1984), Screamtime (1983), W (1983), Mutant Hunt (1987), Deadline (1981), and Paperhouse (1988). Louia Justin also provides much appreciated thoughts on 1986's seldom reviewed and even "seldomer" found The Abomination. Oh yes, one day I will find you...

To be honest, after these reviews stopped, the spotlight on VHS lessens along with Lunchmeat's appeal to some extent. We move on to an article/review by Gilbert dedicated to vintage pulpy sci-fi mags; this time placing a Fall 1946 issue of Planet Stories under focus. Next an interview conducted by Rick Fusselman with David A. Prior; director of the legendary Sledgehammer, Killer Workout (reviewed as well), and Night Wars. Prior's still working as of late, but it's always nice to hear the thoughts of such seemingly "lost" genre directors and his earlier cannon snaps in well with the home video boom. The aforementioned Sledgehammer is certainly one of the most sought after in horrortapedom.

The late '80s/early '90s child-friendly TV spookfest Monsters is showcased in an article covering three of WorldVision's VHS releases. This might be the best aspect of the magazine, since I was a fan like Schafer and there being a plethora of such one-offs of obscure television on tape that are all too neglected by the horror community. Director of The Bloody Ape and longtime genre VHS collector Keith Crocker is interviewed, providing a taste to the enthusiasm of the hobby with war stories and tips on how to approach the art of dead format hording. Though I must admit never hearing of Mr. Crocker or his body of underground work before this, but that's just the magazine doing its job.

Rounding out the 'zine are articles concerning horror-tinted sword-and-sandal such as Bava's Hercules in the Haunted World and Fulci's Conquest, the Republic serials Zombies of the Stratosphere and The Crimson Ghost, a spread of the staff's favorite demonic VHS covers, and crossword pertaining to the world of Hammer Horror.

As mentioned, this more formal content provides good diversion from the magazine's primary theme, or at least VHS horror fanzine selling point. That's the problem though, there's too much "other" stuff (not that it's bad) while many things that are begging to be explored within the Realm of the Bloody Tape are untouched. Maybe golden era home video studio spotlights with reviews of their most popular releases. Throw in some reviews of tapes hailing from countries outside the States. Expand coverage to other dead formats like CED, Laserdisc, and even Beta. Perhaps a running price guide of sorts. A continual article showcasing one of the "rarest of the rare." Hell, crazy shit like tape collecting "theory" could be made so zany that it's magnetic to the last sentence.

I can't be too hard on these guys though. Like other great obsessive fanzines, hearts are clearly in the right place--as in splattered all over the page. It's funner, cheaper (tired of blowing a ten on genre mags), and refreshingly provides angles rarely touched in the biggies like Fangoria or Rue Morgue. I'm glad I decided to get in early and wholeheartedly recommend this issue, despite the growing pains. I'm there for #4 and look forward to see what is unearthed in the future. Viva la VHS!

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I'm The Real Dream Master

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Not to be out done by Johnny over at Freddy in Space in digging up two vintage MEDIA Freddy tapes recently, today I found the MEDIA VHS of The Dream Master with an unused promotional 3D cardboard "viewmaster" advertising The Dream Child on videocassette. Huzzah.

The Bouncing Boogeyman

Yesterday I picked up Sony's 2008 re-issue of Uli Lommel's The Boogeyman and The Return of the Boogeyman that was previously released by Anchor Bay in the same double feature configuration but with The Devonsville Terror in place of Return... way back in 1997.

I merely bought it out of curiosity since Sony kinda sneaked it out last year and the studio didn't do a bad job, at least with The Boogeyman. The back states the feature being "Mastered in High Definition" or re-transferred in HD and then downconverted for this DVD from the new HD master. I don't doubt the claim, the picture wavers from good-to-great, despite mysteriously having new computer generated opening credits over a black screen.

It looks solid for a low budgeter from 1980 probably given the quickie treatment for this DVD all told. I didn't check, but I have no doubts the picture quality rolls right over Anchor Bay's ultra outdated non-anamorphic DVD. 1993's Return is presented on the flip side in a murky full screen VHS transfer and the film would likely put me on suicide watch if an actual viewing attempt was made.

Though it's not all roses, the Boogeyman transfer has one monstrous flaw--sprocket jitter. Either by misaligned equipment used during the HD telecine film transfer process or worn sprocket holes on the actual film reels, there's incessant vertical bouncing of the picture. It's subtle enough not to one think something is obviously wrong right away, but once noticed the film becomes about impossible to watch as your eyes catch every unnatural tick in the frame.

So beware even with this disc being the price of a value meal, unless you're a big fan.

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Anyone else get the impression?

Blah. BLAH. Dark Castle done shit the bed.

Formula for a Murder (1985)

A.K.A. 7, Hyden Park: la casa maledetta
Directed by Alberto De Martino
89 Minutes / DVD-R from the Japanese Mount Light Video VHS / 2.35:1 Widescreen

A woman confined to a wheelchair (Joanna, Christina Nagy) falls for her physical therapist (Graig, David Warbeck) and rushes to marry him. After experiencing flashes of the trauma of a childhood rape upon their first night together, Joanna begins having troubling visions of the priest that committed the horrid act against her. Joanna's caretaker (Carroll Blumenberg) seems suspect of Graig's advances, but soon a plot is revealed involving her and Graig attempting to help Joanna off her mortal coil...

A way late era giallo that sometimes feels more like an American thriller and other times like pure Italian '70s heyday turns out surprisingly well. One can tell the production was limited with few central characters and settings, but reliable writing keeps these quibbles obscured. Nagy is fine for an actress with only three career roles, Blumenberg is easy on the eyes, and Warbeck is unfortunately not dubbed in English by himself. That last bit of the outline above isn't really a spoiler, as the man who was almost Bond in the killer role plainly revealed just over a half hour in.

There's only a few aspects that hurt, chiefly Francesco De Masi's cheesy '80s score, which relies far too heavily on repetitive and unimaginative keyboard synth. Also it's like the screenplay didn't know what to do with Joanna's character in the final quarter. She essentially gets parked in her backyard on lawn furniture for hours as Graig ponders her demise from the house and she seems totally oblivious to anything even as night falls. The low body count could be levied as a negative too.

Despite these small issues and the bland title, De Martino's last film is worth digging up, simply being noticeably better than the last/later efforts of many of his boot country colleagues.

My Feet Hurt

forget about sunshine, wallet cattle.

So I took the day off and what did I do? Go hiking or biking you ask? Perhaps hop out on the open seas? Straddle the MILF next door whose in need of some pool boy lovin'? Or maybe just work around the house? No, I did what every ugly American manchild does on such beautiful sunny days--go shopping for shit I don't need in the slightest.

My parents go antiquing on weekends and know of my ravenous love for horror...especially horror on dead formats. So a few weeks back they ran across a place that had a bunch of tapes in the back and were even nice enough to pick out a few (like the VHS clamshells of Frankenstein's Castle of Freaks and The Body Beneath). They couldn't quite remember exactly where when I asked yesterday, but they told me they thought it was a place called AAA Antiques.

Using rather incorrect directions from Google Maps, I half-assed my way up there to discover it wasn't the place after all with a phone call received while I was there. I hate places that carry only "antiques", you know, crap like old farm tools, broken dolls, expensive six hundred pound dressers, and creepy old portraits of God knows who. Though the place wasn't bad, with a good mix of some mothball-ridden furniture and pop culture collectibles. I didn't find that much, despite all of the albums, comics, and action figures on hand. I managed an old Snorks 3D puzzle still in the box for my mom (she'll love it), Kino Video's VHS of The Old Dark House, and this loose Snake Plissken from McFarlane's Movie Maniacs 3.

Trench coat removed for better New York approximation.

Next up I stopped by Maryland's soccer mom shoppers mecca, Arundel Mills. Basically if you live in the area and desire shoes this is the place. Besides that and a giant Egyptian-styled movie theater, this mall is a big vacuum of suck. The adjacent Best Buy kinda stinks as well, with a small Horror section, but I was surprised to see Steve Miner's Abortion of...I mean Day of the Dead on Blu-ray for only $14.99 no less. I noticed Lionsgate's terrible coverart'ed Near Dark re-issue has the commentary and DTS track from the Anchor Bay editions--so not a total loss. Also this is the second Hot Topic I've seen that seems to be dumping their selection of toys and action figures for whatever reason. They can keep their shitty clothes, terrible music, and snide attitudes brought on by their ever-so-badass corporate-styled emo/goth sheen.

One thing the mall has is one of the last large F.Y.E. locations in the state. Even though the store likes to charge customers full price for everything, they tend to have a decent back catalog of DVDs, unlike the aforementioned Best Buy which revolves their stock over time. I nearly bought Amok Train, but found a factory sealed copy of Guinea Pig - Devil Woman Doctor/ Greatest Cuts marked as used for $8.99. These GP discs from Unearthed Films have been out-of-print for awhile and this completes my set of the volumes. Just to note, Henenlotter's Brain Damage looks to have slipped from Synapse Films with a new edition from whoever "Mackinac Media" are. The cover seemed printed on cheap stock and the case was one of those cheapo flimsy tire smelling types. I also came extraordinarily close to owning the Living Dead Doll's Jason Voorhees (why is this $29.99?!), the hardcover of World War Z, and 101 Horror Movies You Must See Before You Die...but held off.

Ugh, buy a Synapse edition while you still can.

Then came Wal Mart, a store I normally hate, but the clientele are better than the bloated ignorant trash polluting the one nearest to me. They actually re-designed the entire store to make it feel more like a Supercenter (or Target) location with a pantry, frozen foods, and wide aisles. I must admit it was the most pleasant walk through a Wal Mart I've experienced. All of their DVDs and Blu-rays were out instead of being crammed under lock and key. Some Blu-rays like Lord of War, Saw 2, King of New York, and Robocop were only $10. Another thing I noticed is this chain's panache for crappy DTV horror flicks. They always tend to have at least three or four terrible indie numbers I've never heard of, like The Hive (w/ horrific cover art), The Cellar Door (from still kickin' '80s VHS big box Horror mavens, Monterey Video), and Knock, Knock.

Heaven's forbid on stocking Marilyn Manson, yet this was at 6-year-old eye line.

Finally, I landed at Big Lots and in case anyone didn't know, they've been a fertile landfill for good DVD overstock for some time now. I snagged $3 copies of Warner's The Hand, Adness' The Executioner (Sonny Chiba), Raw Feed's Believers, and Sony's double header of Lommel's original Boogeyman/Return of Boogeyman (more on this one later).

In summation; I walked a lot, nearly got lost, was wishy-washy on purchases, and got indigestion from Sbarro. 'Tis was a wondrous day...

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You know you're a dork when...

Well, this speaks for itself.

A Question of Purity in Japanese's New Breed of Apeshit

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Japan's always been a reliable source for the crazy, but in catching up with the trailer for Robo-Geisha (see it here), I'm starting to wonder whether it's beginning to be tailor-made for the sake of overseas revenue. Are small Japanese studios finally starting to realize the general popularity of Asian madness abroad? Plop out some slapdash but gory mess, spread publicity slickly over the 'net, get DVD studios like Media Blasters interested, and garner cult success by way of cash flow from foreigners who thrive on the flick's WTFness.

Especially with this Robo-Geisha thing, the trailer seems geared to English-speaking viewers and extremely popular U.S.-based film/pop culture news sites like AICN (news blob here) have already propped it up like a solid gold microphone signed and kissed by MJ minutes before his death. Honestly, the film looks terrible, looking as if director Noboru Iguchi created a list of bad Japanese film subculture clichés and other assorted wild shit that could be created as cheaply (and quickly) as possible. This is coming from one awesomely cool dude who loves trash like Versus and Stacy.

This is not to say this or its batshit breathen (like Iguchi's Machine Girl and Tokyo Gore Police) won't be entertaining, but right now they seem less fun to discover with at least the possibility of it all being Anglicized for our consumption.

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The Wiederhorn Apology Hour

what the fuck did we sign up for again?

Since I'm a genre masochist of sorts, I ran through "it" once more and for the final time with the audio commentary. Yes, Return of the Living Dead Part II still sucks all sort of varied ass. James Karen and Thom Mathews merely cast an ass-backwards shadow on their prior series performances in this garbage that's basically a sliver above a tween Halloween quickie on the Hallmark Channel.

Ken Wiederhorn's an asshole, at least judging by the DVD commentary. Even though the director/writer dances around it, floats over it, and pokes it with a stick, he never just lays it all out with an admission to not delivering on his end and O'Bannon's film being vastly superior. Wiederhorn is certainly honest about his disdain with the product, but instead of blaming the circumstances, the horror genre and its fans are sniped. Apparently in his view comedy and horror can't be mixed successfully nor are horror fans receptive to such a mixture. Bullshit, he just couldn't pull it off, and this makes even less sense when he repeatedly praises the first film and Polanski's The Fearless Vampire Killers.

Kenny boy also states he wanted to move away from the Horror genre to something of more "significance" and by his quiet intellectual demeanor you'd believe he moved on to become the next Peter Jackson. Yet no, episodic television and a thriller no one has seen. Through his endless cycle of blame and disinterest, one gets the impression he's more apologizing to colleagues and possible future business associates who might happen upon this disc. It just pisses me right off when those asked to contribute their thoughts use the chance to essentially dump on the viewer through the microphone. Why even say anything at all?

At least Thor Van Lingen who played the zombie bully kid is on hand to break the monotony with a more fan perspective with loads of quips and little trivia tidbits. Unfortunately, by the credits you'll most likely end up hating this sequel even more after Wiederhorn slyly insults you.

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The Perils of Gory Horror and Shopping

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Consumerism included in the rating? Haha!

Also, a better pull quote:

In Defense: The Apocalypse of Resident Evil

This post over at The Cheap Bin inspired me to write up this spiel.

Video games and I don't mix well. Time and again I have a tendency to buy systems, play a few games half-heartedly for a few weeks (usually with cheat codes at the ready), and then let it all languish as a dust collector as I move on to something else. My console investments have ended with the PS3 and that's primarily for its excellent Blu-ray performance. No more.

So I'm not an expert in the slightest in RE mythos, but having experienced the first game years ago I was greatly disappointed in Anderson's movie adaption. It's still baffling as to why those involved decided to completely alter a formula that launched one of the most enduring horror/survival game franchises in history. It's like if Kellogg's discontinued Corn Flakes for a few years and then re-introduced it with the same name but fashioned the actual cereal after Fruit Loops.

Extinction also doesn't sit well with my memory only relaying the scene where decaying crows attack the group's bus...or something. But then there's the middle child, '04's Resident Evil: Apocalypse. I'm not afraid and have no shame in admitting my adamant liking for this part of the (current) trilogy.

It surely has issues many find annoying. An abundance of showy camera tricks paired with frantic editing constructed around a wafer thin story with characters intersecting under the most threadbare circumstances. The first and third films also suffer from these problems, but there's a key difference--an unabashed campy monster flick sensibility. Something any movie with a cumbersome twelve foot tall leatherclad beastie armed to the hilt requires.

The story wastes no time and not fifteen minutes in we're already at city zombie meltdown. The all-too-brief siege sequences are like a dream come true. Many undead flicks, even Dawn of the Dead, have just teased the idea. Land of the Dead accomplishes this, but with far less finesse and soldiers that are more akin to office workers. Apocalypse offers the nearest glimpse of a moonlit undead commando battle in fiery city streets with a style that's ripped from your most awesome of rotting shuffler dreams. This aspect alone nearly commands a pass for the film if it wasn't so damn short. Hopefully the film adaption of World War Z will bring this pain to maximum potential with the Battle of Yonkers sequence.

Milla Jovovich still doesn't quite sell the feminine badass thing, probably from the liquid sex innocence exhibited in The Fifth Element. Thankfully, Sienna Guillory fills the Little Miss Zombo Ball Buster "gap" (innuendo hehe) and looks stunning doing it.

she's pale... *boing*

Lastly, Apocalypse flirts with a few bold concepts unlike its siblings. There's a running undercurrent of suicide solution being the only way out after all else has failed. A priest "feeding" a zombizied loved one flesh. The murder of a reporter by undead school children. A daughter experiencing first hand the cold blooded killing of her father. These things aren't explored to any critical extent, but it's nice seeing them injected quietly into such a brainless B-movie. Also zombie strippers, graveyard kung-fu, explosions, glass shattering, and shiny automatic weapons. Indeed.

In short, sit down with Apocalypse again and try taking it separately from the series. You might find yourself enjoying it more than ever thought. This all being said, I'm not particularly looking forward to an RE4, but the Japanese locale has more potential than a concrete bunker or a shitload of sand.

Continue Reading The Apocalypse of Resident Evil»

Some quick thoughts on Beyond the Door (1974)

A.K.A. Chi sei? / The Devil Within Her

I was certainly expecting a more straight forward Exorcist rip-off than this. If one wants to call the film that, it's a rip-off by way of a considerable dose of Rosemary's Baby and The Omen. The only real demonic green pea-spittin' aspect is a (blatant) riff on the classic finale from Friedkin's film for the climax here. Besides that, I find it hard to dismiss the work of Assonitis and cast as only that. There are much worse offenders in the "aping trends" category.


Time is taken to flesh out the plight of the female lead's quickened devil semen pregnancy, her gradual possession, and the impact on her family. Though perhaps a little too much time as the story wants to hammer home what's obvious to the viewer from the start while mostly glossing over a few important points. Forgivable enough taking everything into account. Juliet Mills and Richard Johnson turn in sold performances, but the post dubbing of Gabriele Lavia as Mills' on-screen husband makes for a mechanical presence. Assonitis' direction is measured, manages some creepy scenes (like Mills floating out of her bedroom), and never feels quick to wrap merely to time a cash-in. I loved the atmospheric use of voice-over and imposing two shots over each other at certain times throughout. Franco Micalizzi classes up the joint with a layered score that's appropriately upbeat or gloomy depending on the mood.


Code Red did a fine job with the dense supplemental material including two commentaries (this Best Buy exclusive 2-DVD set has a shitty VHS-sourced theatrical version as well), but the transfer is no great shakes. Assonitis seems to have went with a soft focus here, but the picture looks far too hazy despite that. The presence of edge enhancement and subtle interlace artifacts also just further harms the image quality.

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Swap Meet Finds: Back to the S**t

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My supplier came through with more, direct from the catacombs deep within the bowels of a mysterious yet forbidden swap meet. Finally found a copy of Gymkata and '77's The Squeeze with Stacy Keach and David Hemmings. Witchtrap seems to be a screener with "SAMPLE BOX" written on the cover and no little blurb on the back stating it isn't the sequel to Witchboard like my other copy. Vampire Hookers "was" a Continental big box before it was chopped to hell, tape looks new though. Count Dracula is Franco's 1970 feature with Lee, Lom, Kinski, and Soledad Miranda on the NTA label. The plastic case was so messed up I had to swap it out and thankfully the entire cover/tape still looked great. Vigilante is on the "Pan-Canadian" label which I've never heard of. I think I have maybe six copies of Trick or Treats now...unfortunately.