Category: Monthly Series

WE CAN’T GO HOME AGAIN

We Can’t Go Home Again
Dir. Nicholas Ray, 1973.
USA, 93 min.
In English.

MONDAY, APRIL 4 – 10:00 PM
TUESDAY, APRIL 12 – 10:00 PM
FRIDAY, APRIL 22 – 7:30 PM

PURCHASE TICKETS HERE


Nicholas Ray’s experimental masterpiece, made with his students at the State University of New York at Binghamton, WE CAN’T GO HOME AGAIN embodies Ray’s approach to filmmaking as a communal way of life. The film records Ray’s groundbreaking use of multiple image as a way of telling more than one story simultaneously, and of colorization as a way to heighten emotional expression. He called it a “journalistic” film, one that shares the anthropologists’ aim of recording the “history, progress, manners, morals, and mores of everyday life,” at a critical moment in American history. Ray plays himself in the film, serving as mentor, friend, and reference point around whom the students’ stories constellate.

CHILDREN ON FIRE

Children on Fire collects some of the strangest and most unconventional films to deal with ideas of childhood, or play and growth, imagination and personal responsibility. Though many of them flirt around the edges of the standard “coming out age” movie, not are quite so committed to easy answers about the mysteries of youth and the painful passage into young adulthood. Rather, we have two childhood fantasies of grown up film genres, crime and action, in the midnight screenings of HAWK JONES and LITTLE MARINES, films ostensibly made for children, contrasting with the blurred lines between imaginative play and absolute warfare, fluctuating between absurdly hilarious and violently disturbing in I DECLARE WAR, itself contrasting against the pure ID of the nearly feral protagonist of KID-THING, which fluctuates between deadpan humor and subtle, yet disturbing horror. All of this is set against the out and out imagination overload of THE FANTASY OF DEER WARRIOR, a Taiwanese children’s movie featuring human actors dressed up in simple animal costumes to play their roles as the warriors of the forest. The result of all these movies is a vision of youth that is very different from what we see in most movies and TV, where the threats against youth and innocence do not come from outside influences, but rather from within the children themselves, be it overactive imaginations and overactive hormones or a lack of internal moral compass, these movies will both shock and delight you with their portrayals of how youth if projected in cinema, and how it projects itself back when it’s given the voice and intent.


Kid Thing
Dirs. David & Nathan Zellner, 2012.
USA, 83 min.
In English.

SATURDAY, APRIL 2 – 7:30 PM
WEDNESDAY, APRIL 6 – 7:30 PM
MONDAY, APRIL 25 – 7:30 PM

PURCHASE TICKETS HERE


I Declare War
Dirs. Jason Lapeyre and Robert Wilson, 2012.
Canada, 94 min.
In English.

FRIDAY, APRIL 8 – MIDNIGHT
WEDNESDAY, APRIL 13 – 7:30 PM
FRIDAY, APRIL 29 – 10:00 PM

PURCHASE TICKETS HERE


The Fantasy of Deer Warrior
Dir. Ying Chang, 1961.
Taiwan, 87 min.
In Min Nan with English subtitles.

FRIDAY, APRIL 1 – 10:00 PM
SUNDAY, APRIL 10 – 5:00 PM
THURSDAY, APRIL 28 – 10:00 PM

PURCHASE TICKETS HERE


Hawk Jones
Dir. Richard Lowry, 1986.
USA, 88 min.
In English.

ONE NIGHT ONLY
SATURDAY, APRIL 2 – MIDNIGHT
SATURDAY, APRIL 16 – MIDNIGHT
SUNDAY, APRIL 24 – 7:30 PM

PURCHASE TICKETS HERE

Part of the Best of Best of Spectacle series.

Minitropolis is under siege by gangster Antonio Coppola, whose reach extends throughout the city, all the way to the police department, where the Chief of Police does everything in his power to aid Coppola and thwart the one person who can rid the city of this scourge once and for all – HAWK JONES! Against all odds, Hawk uses an arsenal of weapons to take down Coppola’s army of thugs and anyone who stands in the way of justice.

We should mention the average age of the cast is eight years old.

Those of you expecting Disneyfied goofs should beware – this is a film well in line with shoot-em-all 80s action. There’s no mugging to the camera, no soapy morality lessons, no relentless merchandising. What you do get is Uzi-toting shootouts, crooked cops, milk-slinging speakeasies and a hero more in line with Fred Williamson than Fred Rogers. In other words, perfect for Spectacle!


Little Marines
Dir. A. J. Hixon, 1991.
USA, 87 min.
In English.

FRIDAY, APRIL 1 – MIDNIGHT
SUNDAY, APRIL 24 – 5:00 PM
SATURDAY, APRIL 30 – MIDNIGHT

PURCHASE TICKETS HERE

Part of the Best of Best of Spectacle series.

Awkwardly shot like a pervert peeking on these kids in the woods, A.J. Hixon’s LITTLE MARINES is the story of three turds that go camping. It’s not really an adventure film since it is mostly just a series of mishaps and fuck-ups and offers no resolutions to these kids problems. Most famous for its really long shaving scene featured at the Found Footage Film Festival, LITTLE MARINES has many more precious moments including bizarre flashbacks to their friend who died of cancer, a cool dude that tries to give them a handful of joints, a not so cool dude that is probably a child molester, a bully that has a gun, and a moment when the fatty admits that his father never said he loved him and the fatty’s friends say nothing. Its what you can expect from good ol’ Christian entertainment.

For this screening, the Spectacle will be screening the VHS tape that features the original music they probably couldn’t get the rights to when it came out on DVD!

A FISTFUL OF TESTIS

A selection of films starring Fabio Testi.


CONTRABAND
Dir. Lucio Fulci, 1980.
Italy, 97 min.
In Italian with English subtitles.

SUNDAY, APRIL 3 – 5:00 PM
SATURDAY, APRIL 9 – 7:30 PM
TUESDAY, APRIL 19 – 7:30 PM
SATURDAY, APRIL 30 – 10:00 PM

PURCHASE TICKETS HERE

Fabio Testi stars as Luca Di Angelo, an idealistic family man and cigarette smuggler in the treacherous Naples underworld. But when a rival gang massacres his brother and abducts his wife, Luca triggers a psychotic mob war that goes far beyond mere revenge.Get ready for a crime saga unlike anything you’ve ever seen before as director Lucio Fulci (ZOMBIE) unleashes the most gut-splattering, brain-blasting, flesh-frying scenes of cruelty and carnage imaginable. This is CONTRABAND!


CHINA 9, LIBERTY 37
Dir. Monte Hellman, 1978.
Italy/Spain, 102 min.
In English.

SATURDAY, APRIL 2 – 10:00 PM
THURSDAY, APRIL 7 – 10:00 PM
THURSDAY, APRIL 21 – 7:30 PM

PURCHASE TICKETS HERE

Fabio Testi plays Clayton Drumm, on his way to the gallows when he’s offered a chance to live in exchange for killing Matthew Sebanek (Warren Oates), a miner who refuses to sell his land to the railroad. The arrangement becomes complicated when Clayton and Matthew become friends, and more complicated still when Clayton and Matthew’s wife Cather (Jenny Auguttter), fall for each other. With the railroad’s gunmen hot their heels, enemies become friends, then enemies again, then uneasy friends again, then ambiguous frenemies in this western from Monte Hellman, director of TWO-LANE BLACKTOP, COCKFIGHTER, THE SHOOTING and RIDE IN THE WHIRLWIND. Featuring a rare acting role for WILD BUNCH director Sam Peckinpah.


STATELINE MOTEL
Dir. Maurizio Lucidi, 1975.
Italy, 86 min.
In English.

TUESDAY, APRIL 5 – 10:00 PM
WEDNESDAY, APRIL 13 – 10:00 PM
SUNDAY, APRIL 17 – 5:00 PM

PURCHASE TICKETS HERE

Fabio Testi is Floyd, just a day out of Canadian prison and already on the run after a botched daylight jewelry store robbery. On his way to split up the loot with partner Joe (Eli Wallach), Joe crashed his car and winds up stranded at the Stateline Motel, where he catches the eye of the motel’s owner, Michelle (Ursula Andress). Before you can say “The Postman Always Rings Twice,” passions are inflamed, suspicions raised, double crosses abound and things generally go poorly for everyone is this seedy 70’s Euro-noir, also starring Howard Ross and Barbara Bach.


VAI GORILLA
a.k.a. GO GORILLA GO, THE HIRED GUN
Dir. Tonino Valerii, 1975.
Italy, 100 min.
In English and Italian with English Subtitles.

FRIDAY, APRIL 8 – 10:00 PM
SATURDAY, APRIL 23 – 10:00 PM
THURSDAY, APRIL 28 – 7:30 PM

PURCHASE TICKETS HERE

Fabio Testi stars as a down-on-his-luck cop who moonlights as a bodyguard for a mob boss. When Testi’s scummy brother proposes a kidnap scheme, Testi’s reluctantly game, and things go downhill fast in this odd and action packed Eurocrime from the director of MY DEAR KILLER and MY NAME IS NOBODY.

HE HIM HIS: FOUR FILMS BY ERIC DE KUYPER

This April, Spectacle is pleased to present the first ever New York City retrospective of the films of Eric de Kuyper. Perhaps best known for co-writing Chantal Akerman’s JE, TU, IL, ELLE; LA CAPTIVE and DEMAIN ON DEMENAGE, the Flemish-Belgian critic and semiologist has directed several films of his own, from 1982’s CASTA DIVA to 2015’s MY LIFE AS AN ACTOR. Predominately preoccupied with homosexuality, film theory, and its modes of expression, de Kuyper’s oeuvre – as captured in this four film survey – is at once academic and affecting, eminently referential and utterly his own.

Special thanks to Eric de Kuyper.


A STRANGE LOVE AFFAIR
Dirs. Eric de Kuyper & Paul Verstaten, 1985.
The Netherlands, Belgium. 95 mins.
In English with German subtitles.

TUESDAY, APRIL 5 – 7:30 PM
SUNDAY, APRIL 17 – 7:30 PM
MONDAY, APRIL 25 – 10:00 PM

PURCHASE TICKETS HERE

Far and away the most narratively straight-forward of de Kuyper’s films, A STRANGE LOVE AFFAIR is a bracing yet tender dissection of middle age and loves lost, a joint homage to BRIEF ENCOUNTER and ALL THAT HEAVEN ALLOWS. Shot by the legendary Henri Alekan (WINGS OF DESIRE, BELLE ET LA BETE), the film revisits JOHNNY GUITAR’S query as to whether or not relationships once interrupted can be revived under the right circumstances. In rather reflexive fashion, de Kuper casts Howard Hensel as Michael, a 40-something film professor, who falls in love with one of his students. When the two take off to London for a weekend, Michael uncovers that his student’s father is in fact his former lover from 15 years prior. With its deliberate dialogue and restrained camerawork, A STRANGE LOVE AFFAIR captures the reticence and taboos surrounding not only gay love affairs, but also those hampered by the passage of time.


CASTA DIVA
Dir. Eric de Kuyper, 1982.
Belgium. 105 mins.
In English with some French.

SUNDAY, APRIL 3 – 7:30 PM
MONDAY, APRIL 18 – 7:30 PM
FRIDAY, APRIL 29 – 7:30 PM

PURCHASE TICKETS HERE

With his directorial debut, de Kuyper pushed the concept of the (gay) male gaze to its zenith. Drawing from the likes of Genet, Visconti and Warhol, CASTA DIVA is composed of uninterrupted takes of men going about quotidian tasks – getting dressed, fixing their cars, going for a dip – all the while preparing for an unseen theater piece. Where his queer forerunners like Paul Morrissey and John Waters fixated on femininity as a construct, de Kuyperis keen to dissect the performativity of masculinity and the relationship between the camera and its object. At some points, de Kuyper can even be heard directing his actors to angle their heads just so, in a conspicuous break of the fourth wall.


NAUGHTY BOYS
Dir. Eric de Kuyper, 1984.
The Netherlands. 105 mins.
In English with some French and German subtitles.

WEDNESDAY, APRIL 6 – 10:00 PM
TUESDAY, APRIL 12 – 7:30 PM
FRIDAY, APRIL 22 – 10:00 PM

PURCHASE TICKETS HERE

Billed as a “sad musical comedy,” NAUGHTY BOYS is more along the lines of a never-ending dinner party: less EXTERMINATING ANGEL than a revisionist, structuralist send up of old Hollywood. Using the lofty architecture of a drafty mansion, de Kuyper allows us to peer inside the distant interactions of a coterie of tuxedo clad men and their occasional “fag hags” as they pass the evening chatting, wrestling, singing, crying and cozying up in bed.


PINK ULYSSES
Dir. Eric de Kuyper, 1990.
The Netherlands. 98 mins.
In English with some Italian.

FRIDAY, APRIL 1 – 7:30 PM
THURSDAY, APRIL 7 – 7:30 PM
WEDNESDAY, APRIL 27 – 10:00 PM

PURCHASE TICKETS HERE

De Kuyper’s utterly singular exploration of the myth of Odysseus zig zags between theatrical reenactments, soused in production values, and simplistic black and white scenes of present day homoeroticism. Zeroing in on the properties of longing, and whether the object of one’s desires can be supplanted by an imitation, PINK ULYSSES is a historical retelling unlike anything you’ve ever seen.

BLOOD BRUNCH

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BLOOD BRUNCH

A bi-monthly, mystery horror flick matinee.

SUNDAY, JANUARY 14 – 3 PM
SUNDAY, JANUARY 28 – 3PM
et cetera

BUY TICKETS!

In the tradition of Spectacle’s Sunday sensation Fist Church comes Blood Brunch, a bi-weekly Sunday afternoon horror movie matinee.

Calling all Bloodeaters, Love Butchers and Neon Maniacs! The lights go down, the screen lights up and every one of your senses is flooded with ghastly terror from beyond the fetid grave. Spend your Sundays drenched in blood and quivering with fear with a mystery (as in, we don’t tell you what we’re showing until you get here) horror flick from the 1960’s, 70’s, 80’s or 90’s every other week.

THE DUSTY ROAD TO HELL

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Two starkly different visions of friendship and honor in the Old West.

COMPAÑEROS
Dir. Sergio Corbucci, 1970
Italy-West Germany- Spain, 118 minutes
In Italian, Spanish and English with English subtitles

SATUDAY, FEBRUARY 6 – 7:30 PM
WEDNESDAY, FEBRUARY 10 – 10:00 PM
TUESDAY, FEBRUARY 16 – 10:00 PM
SUNDAY, FEBRUARY 21 – 5:00 PM

PURCHASE TICKETS HERE

Corbucci’s COMPAÑEROS eschews the grim pessimism of his early DJANGO and THE GREAT SILENCE in favor of a more fun, freewheeling take on the Mexican revolution, with a wry sense of anarchic humor and leftist politics that call to mind Leone’s DUCK, YOU SUCKER!/FISTFUL OF DYNAMITE.DJANGO’s Franco Nero and Spgahetti Western mainstay Thomas Milian are a suave arms dealer and a village idiot, respectively, who come together reluctantly first in order to survive, then in the name of the revolution to rescue an intellectual political prisoner (Fernando Rey). Their main obstacles along the way are an uncomfortable disdain for one another, shared affection for a beautiful local revolutionary (Iris Berben), and the malicious efforts of malevolent, wooden handed John (Jack Palance), who perches a falcon on one hand and an omnipresent joint between his lips. It’s all set to one of Morricone’s best and most underrated scores.

FOUR OF THE APOCALYPSE
Dir. Lucio Fulci, 1975
Italy, 104 minutes
In Italian and English with English subtitles

WEDNESDAY, FEBRUARY 3 – 7:30 PM
MONDAY, FEBRUARY 8 – 7:30 PM
SUNDAY, FEBRUARY 21 – 7:30 PM
THURSDAY, FEBRUARY 25 – 10:00 PM
FRIDAY, FEBRUARY 26 – 7:30 PM

PURCHASE TICKETS HERE

On the opposite end of the spectrum, FOUR OF THE APOCALYPSE is a Lucio Fulci film, with a tone and outlook (and gore) that would not be out of place in the director’s later horror films. FOUR OF THE APOCALYPSE is unrelentingly grim, a story of reluctant partnerships formed solely for the sake of survival, often resulting in tragedy. Fabio Testi leads a band of misfits convicts (including cult actress Lynne Frederick, character favorite Michael J. Pollard and Harry Baird as Bud, who provides one of the film’s most shocking moments). This quartets trek across the badlands, simply looking for a way to survive, is interrupted by the attentions of brutal bandit Chaco (Companero’s own Thomas Milian), who develops an eye for Ms. Frederick. In contrast to the sometimes frenetic pacing of COMPAÑEROS, FOUR OF THE APOCALYPSE is decidedly Fulcian in its measured pacing, nihilistic outlook and dreamlike visuals. These films are yin and yang, with COMPAÑEROS’ good-naturedness and cynical-but-somewhat-inspiring political outlook in sharp contrast to Fulci’s unrelenting grimness and deeply existential philosophical palette.

SPECTACLE SHRIEK SHOW V

For the fifth year in a row, Spectacle is proud to present our 12ish hour horror marathon – The Spectacle Shriek Show. Throughout October midnight screenings have paid tribute to presenters from the last five years and this years line up is one of the most diverse yet. We’ve got 60’s spectral horror, German gut-munchers, made for TV Frankensteins, Mexican Satanists, cannibals who talk to their fish, dark Easter rituals, and surreal Italian brain-liquifiers.

Settle in for a full day of terror that you “can’t” escape! As always it’s $25 for the full day or $5 per film.

NOON – THE GHOST a.k.a. Lo Spettro
1:30 PM – ANTHROPOPHAGUS 2000 presented by Massacre Video
3:00 PM – DEAD MEAT presented by Horror Boobs & Wild Eye
5:00 PM – FRANKENSTEIN (I SWEAR ON MY MOTHER’S EYES) THE TRUE STORY presented by Lunchmeat VHS Fanzine
7:30 PM – John Russo’s MIDNIGHT
10:00 PM – GRAVE ROBBERS a.k.a. Ladrones de Tumbas
MIDNIGHT – Cosmotropia De Xam’s INFERNO VENEZIANO presented by Negative Pleasure & Phantasma Disques


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THE GHOST
A.k.a. Lo Spettro
Dir. Riccardo Freda, 1963
Italy, 97 min.

Spectacle marathon and midnight mainstay Barbara Steele and her giant eyes return for another tale of deceit, deception, and MURDER MOST FOUL! Steele plays Margaret Hichcock (no “T”) the wife of the wheelchair bound Dr. Hichcock. Not content to wait around for her husband to die of natural causes, Margaret and her lover decide to take matters into their own hands. Before his body is even cold, strange events befall the mansion and the two adulterers are shaken to their very core! Has Dr. Hichcock returned from the grave to reap a horrible vengeance? (Kind of!) Is this gothic tale of madness and betrayal the perfect kickoff to this years festivities? (YES.) A harkening back to last year’s opening screening of NIGHTMARE CASTLE, this one sets the mood/doom for the rest of your day.


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ANTHROPOPHAGOUS 2000 presented by Massacre Video
Dir. Andreas Schnaas, 1999
Germany, 80 min.
In German with English subtitles.

Massacre has been going five years strong (555, DEMON QUEEN, THE ABOMINATION, MONDO MAGIC) as presenters in the Shriek Show and this years entry is…something else.

Nikos and his family are trapped during a heavy story in a boat, leading to the unfortunate death of their daughter Vicky. Nikos becomes mad with the desire to survive, and he begins to kill and eat his own wife. Nikos manages to reach the shore of a small island, but his appetite for human flesh has consumed him. A group of young people on vacation have an unfortunate meeting with Niko. Will these youngsters make it out alive? (No.)

Massacre Video proudly presents, ANTHROPOPHAGOUS 2000, from the German Splatter master Andreas Schnaas (of the VIOLENT SHIT series), fully uncut for the first time ever in America!


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DEAD MEAT presented by Horror Boobs & Wild Eye
Dir. Tom Vollmann, 1993
USA, 107 min.

A true VHS rarity from the early 90’s DEAD MEAT was heavily bootlegged so it must be good, right? RIGHT. Think of all the classic characters from this slab of analog insanity – Sgt. John “Mo” Mentum, First Victim, Pizza Boy, and the rest! Basically a serial killer named The Senses Taker (guess what he takes from his victims) is running amok and these cops HATE it!

Filled to the brim with great gore, angry stock police characters, VERY long chase scenes, and a lot of scenes of a truly insane person talking to their pet fish this is a rare treat. Horror Boobs and Wild Eye will be officially releasing this lost clas-sick and we’ve got the premiere!


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FRANKENSTEIN (I SWEAR ON MY MOTHER’S EYES) THE TRUE STORY presented by Lunchmeat VHS Fanzine
Dir. Gary Cohen, 1983
USA, 90 min.

The hoots and howls of Halloween excitement are nearly in full swing as our favorite holiday fast approaches, Tapeheads, and in order to ring in the radical rewind VHSpirit right this Halloween, Lunchmeat has been keeping busy in the kitchen cooking up a super-sweet VHS treat for all the voracious Videovores out there. So, without any further analog ado, we proudly present some of the most exciting fresh VHS news of the season: Lunchmeat is absolutely elated to announce the unprecedented home video release of the ultra-obscure, shot-on-video, made-for-cable production FRANKENSTEIN (I SWEAR ON MY MOTHER’S EYES) THE TRUE STORY!

We’ve teamed up with the great Gary Cohen, director of cult SOV classics VIDEO VIOLENCE 1 & 2 to unearth this long lost slice of shot-on-video horror comedy insanity. Gary co-writes and stars in this utterly unknown film that debuted on Cablevision on Halloween night in 1983, and after a single airing, has since fell into complete obscurity. And now, over 30 years later, Lunchmeat is bringing this never-before-seen low-budget trashterpiece take on the classic tale of Frankenstein back from the grave!

The print used for the release comes directly from Gary’s archives (the only known surviving print!), keeping intact all of the grit and grain of the original analog-shot broadcast. The release will also include a video intro from Josh Schafer (yours truly!) talking about the inception of the release, and an exclusive intro from star and co-writer Gary Cohen, explaining how the production came to be, and why it’s been obscured for all these years. Here’s an excerpt from that intro with Gary Cohen, just to give you a little taste of history on this flick:

“I must admit, this whole project is shrouded in secrecy… at the time, what is now Comcast, I believe it was Cablevision back then… had a studio in New Jersey, and they were advertising, I think, for people who wanted to do some kind of cable access shows… my friend Richard Dominick (of Jerry Springer fame) decided he would pitch a project for Halloween, and write this version of Frankenstein. We got together, he wrote a script about Frankenstein, and we used a lot of the actors who you’ll recognize from Video Violence, who were all a part of Celebration Playhouse, this theater group in New Jersey. I believe we had about a day to film this thing, filmed on video, on three and a quarter inch video… and if memory serves, we were high or drunk or something when we we’re doing it… Once it aired, everybody disavowed any knowledge of the project. It is truly unique; it’s an oddity. I can’t believe here in 2015, it’s resurfaced, but so be it! I hope you get a kick out of it.” –Gary Cohen


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MIDNIGHT
Dir. John Russo, 1982
USA, 91 min.

Special thanks to John Russo.

We’re just gonna go ahead and say that if you only see one movie in this marathon (like an idiot)–make it MIDNIGHT.

A teenager runs away from home after her pervo cop stepdad (Laurence Tierney) puts the moves on her. She’s California bound when she meets up with two fellow travelers. Things go from pretty much ok to outright horrible when they stop in a small town and run into a family of Satanists who keep their dead mother in the attic. The paranoia is thick enough to cut with a knife (like a number of throats in the film) and no one is safe as the days run on to that most unholy of holidays – Easter. Cynthia looks great and has a pentagram on her forehead and there’s a lot of blood drinking and people in cages. Also some other truly sadistic and harrowing shit goes down. The film is based on Russo’s novel of the same name and was followed by a sequel–MIDNIGHT 2–many moons later. DO NOT MISS THIS ONE.


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GRAVE ROBBERS
A.k.a. Ladrones de Tumbas
Dir. Rubén Galindo Jr., 1990
Mexico, 87 min.
In Spanish with English subtitles.

Directed by Rubén Galindo Jr. who also made the unbelievable DON’T PANIC, GRAVE ROBBERS concerns a bunch of dumb teens who mess around in a graveyard and summon Satan and get their just desserts. Rather than prattle on about it, it’s probably best to let the copy from the back of the Mexican VHS tell the tale:

“LADRONES DE TUMBAS–It’s about four young boys who pretend to assault the tombs in the cemetery of a small town. But these boys were not aware that this place was surrounded by a strange evil force.

LADRONES DE TUMBAS–will take you to the unknown world of the evil where no human being has ever been able to escape! This time be prepared for the most exciting and violent film. Starring the best actors.”

The ultimate penultimate film for this years Shriek Show in the perfect sandwich between MIDNIGHT and INFERNO VENEZIANO.


INFERNO VENEZIANO presented by Negative Pleasure & Phantasma Disques
A.k.a. Hell of Venice
Dir. Cosmotropia de Xam, 2015
Italy, 65 min.

Negative Pleasure & Phantasma Disques team up to end our marathon with a bang presenting the third part of the ANIMA PERSA trilogy from Cosmotropia de Xam. Waaaaaaaaay back in 2011 Spectacle screened a midnight double feature of ACiD and INAUGURATION OF SNOW WHITE. Negative Pleasure has been killing it lately with double and triple features to coincide with comic releases (FELONY COMICS CRIME SPREE, etc) and this will be a sweet goodnight kiss to wrap up Shriek Show V!

Scientists vanishing and mutating to Zombies. A door to another dimension. A blind woman who keeps a secret. Mysterious surreal connections that prepare an Inferno for the city of gondolas.

SPECTOBER MIDNIGHTS

FRIDAY, SPECTOBER 2: 555
SATURDAY, SPECTOBER 3: WILD SIDE

FRIDAY, SPECTOBER 9: THE UNDERTAKER AND HIS PALS
SATURDAY, SPECTOBER 10: BALLET DOWN THE HIGHWAY

FRIDAY, SPECTOBER 16: HEADLESS EYES
SATURDAY, SPECTOBER 17: THE NIGHT BEFORE

FRIDAY, SPECTOBER 23: MARLEY’S REVENGE: THE MONSTER MOVIE
SATURDAY, SPECTOBER 24: FIFTH ANNUAL SPECTACLE SHRIEK SHOW

FRIDAY, SPECTOBER 30: TROUBLE EVERY DAY
SATURDAY, SPECTOBER 31: COMING SOON


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Massacre Video presents: 555
Dir. Wally Koz, 1988.
90 min, USA.

FRIDAY, OCTOBER 2 – MIDNIGHT

From The First Annual Spectacle Shriek Show. (2011)

A hippie killer with a sex-fueled, murderous bloodlust is on a rampage and he’s brutally murdering innocent young couples! A nationwide trend of killings with the same m.o. happens to catch the eyes of Detective Haller and Sergeant Connor. Every five years, within five days of each other, the killer strikes! Now it’s up to Haller and Connor to find out who is behind these grisly murders. Who is this crazed, blood thirsty hippie? And more importantly, what is the significance of the third ‘five’?

Written by Roy Koz and directed by Wally Koz, this rare SOV splatter-classic has recently been given the royal treatment by Massacre Video with a DVD, special edition DVD, and an already eBay fodder clamshell.


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WILD SIDE
Dir. Donald Cammell, 1995.
U.S., 110 min. (Director’s cut); 95 min. (Nu Image re-edit)

Nu Image Re-edit
SATURDAY, OCTOBER 3 – MIDNIGHT

Director’s Cut
SATURDAY, OCTOBER 3 – 10:00 PM
FRIDAY, OCTOBER 16 – 7:30 PM
MONDAY, OCTOBER 26 – 7:30 PM

Donald Cammell’s fourth film in as many decades, the brilliant and berserk WILD SIDE is a beyond-salacious slab of psycho-noir starring Anne Heche as “Alex”, a Long Beach investment banker-cum sex worker for the rich and powerful. Tonight, that means Bruno – a shadowy millionaire money launderer (Christopher Walken, plus wig) – and perhaps also his valet, a sleazy undercover cop by the name of Tony (Steven Hauer, of Scarface fame). Cammell’s signature refracted narrative comes into play when Alex meets Bruno’s wife Virginia (Joan Chen), up-turning audience expectations for late-nite sleaze into a surprisingly tender, psychologically astute, and crushingly desperate queer love story. (There’s also a sublime Ryuichi Sakamoto score, and a concurrent subplot about a virus on a floppy disk that, if it fell into the wrong hands, would bring the western world to its knees.)

After Nu Image Productions wrested control of WILD SIDE away from Cammell and recut the film into the schizoid quasi-porn they thought they had paid for, the filmmaker saw fit to take his own life. In 2000, Kong supervised a painstaking, posthumous recut with editor Frank Mazzola; this October, Spectacle is thrilled to present both the damned and saved versions of WILD SIDE.

“Games are again played with power and identity, dangerous games but not fatal ones this time; if there is one difference between the Cammell of 1968 and of 1995 that stands out above all others, it is the replacement of Artaudian cruelty with an affectionate generosity towards his characters.” – Maximilian Le Cain, Senses of Cinema

“When this film was premiered at last year’s Edinburgh Festival, it was accompanied by a remarkable on-stage talk from Mazzola and Kong, who were able to show extracts from the butchered, and utterly different ‘TV version’: furnishing us with an unmissable masterclass in the realities of film editing and a radical essay in the textual aspects of cinema. I hope that Mr Mazzola and Ms Kong can be persuaded to repeat this lecture all over the country.” – Peter Bradshaw, The Guardian


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Lunchmeat VHS Fanzine presents: THE UNDERTAKER AND HIS PALS
Dir. T.L.P. Swicegood, 1966.
63 min, USA.

FRIDAY, OCTOBER 9 – MIDNIGHT

From The Spectacle Shriek Show II. (2012)

Two degenerate café owners cook up a depraved alliance with a demented Undertaker and run amok through town on their motorcycles, hacking up hot dames and cleaving craniums. Select portions of the corpses are served up as daily specials at the café and The Undertaker gets to bury the leftovers. But when a pair of local detectives smell something fishy afoot, the trio’s reign of terror runs into some trouble.

One of Lunchmeat Publisher and Editor-in-Chief Josh Schafer’s all-time favorite flicks, this pioneering pitch black comedy is a kitschy slice of pure drive-in delirium that plants its tongue firmly in cheek, then bites it off and spits it out onto a sizzling hot plate ready for you to enjoy. Once you’ve ingested the wacky slab o’ cinema cheeze that is THE UNDERTAKER AND HIS PALS, you’ll never get the taste out of your mouth!

Dig it!


BALLET DOWN THE HIGHWAY
Dir. Jack Deveau
USA, 93 min, 1975

SATURDAY, OCTOBER 10 – MIDNIGHT
WEDNESDAY, OCTOBER 14 – 10:00 PM
TUESDAY, OCTOBER 20 – 7:30 PM

Opposites attract when a New York ballet dancer’s car breaks down on the highway and he is rescued by a closeted truck driver. An ambivalent romance blossoms until he finds the city apartment he shares with his boyfriend, a fellow dancer, filled with horny truckers. Filled with sadness and unrequited longing, BALLET DOWN THE HIGHWAY is directed by Jack Deveau, whose disco-tastic DRIVE screened at Spectacle in 2014.


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Spectacle Midnights presents: HEADLESS EYES
Dir. Kent Bateman, 1971.
78 min, USA.

FRIDAY, OCTOBER 16 – MIDNIGHT

From The Third Annual Spectacle Shriek Show. (2013)

You know how it is for starving artists, right? I mean, look at your clothes. Anyway, it used to be even harder! So hard that some of them turned to a life of crime. This is especially true in the case of Arthur Malcolm. Down on his luck, Arthur is caught robbing an apartment and loses his eye in the process. Once he’s healed he’s out on the streets and, brother, he is HEATED. Arthur sets about on a mad killing spree, gouging out the eyes of his victims with a spoon. He collects the eyes for his artwork, you see. This continues for some time with mixed results.

This film was directed by Kent Bateman, father of Jason and Justine, in the streets of a now long gone version of NYC. According to this film, it was a time when a hooker would approach a man covered in blood in the middle of the day in order to turn a trick. The good old days. In addition to this movie being totally batshit insane with a FIERCE mutant soundtrack, it’s a veritable snapshot of a city as nasty as they come. The performances are hammy and intense, like Easter dinner in a mental institution.

Not to be missed!


THE NIGHT BEFORE
Dir. Arch Brown
USA, 72 min, 1973

MONDAY, OCTOBER 12 – 7:30 PM
SATURDAY, OCTOBER 17 – MIDNIGHT
TUESDAY, OCTOBER 20 – 10:00 PM

THE NIGHT BEFORE gets its straightforward gay porn “narrative” out of the way in the first half before getting on with being exceptionally odd and psychedelic. There’s body painting, someone sucking a disembodied cock that appears out of a bowl of fruit, a woman dancing in Central Park for no reason, and if you want to see an orgy scene
where a dildo goes in so deep it comes out someone’s mouth, this film is highly recommended. Also appearing: kittens.


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Horror Boobs presents: MARLEY’S REVENGE: THE MONSTER MOVIE
Dir. Jet Eller, 1989.
83 min, USA.

FRIDAY, OCTOBER 23 – MIDNIGHT

From The Fourth Annual Spectacle Shriek Show. (2014)

“I don’t know about you, man, but I’m still huuuuungry.”

Two bozos get picked up by a gang of vigilantes out to scrub the streets of scum after mistaking the men for drug smugglers. The problem is they’re actually smuggling in their aunt and uncle. The four are whisked away to the local island where they murder all the other drug smugglers. You know what though? None of this even matters because once they get to the island things get really out of hand. Zombies rise from the grave, a giant hell monster shows up, and the vigilantes aren’t too pleased either. How will anyone escape this island alive?

Another marathon mainstay and VHS monolith, Horror Boobs has been providing not only marathon fare but midnight fodder at Spectacle for over a decade![citation needed] This years entry is…well, something special indeed.

Featuring a completely new transfer and other goodies. If you saw this at the marathon last year, you still haven’t truly seen it. A house favorite and rare treat!


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TROUBLE EVERY DAY
Dir. Claire Denis, 2001
France, 101 mins.

FRIDAY, OCTOBER 2 – 10:00 PM
TUESDAY, OCTOBER 13 – 7:30 PM
FRIDAY, OCTOBER 30 – MIDNIGHT

An American doctor (Vincent Gallo) arrives in Paris with his new wife (Tricia Vessey). They are ostensibly on honeymoon, but he is strangely distant and preoccupied with finding a former a colleague. Meanwhile, a French couple live in seclusion, the husband (Alex Descas) both caring for and imprisoning his wife (Béatrice Dalle, exuding a primal power) whose mysterious illness has reduced her to a vehicle for her own bloodlust. Connections between these characters reveal themselves slowly; exposition here is a distant second to a deep sensuality in the truest sense of the word. Denis’ tactile approach to filmmaking is in full effect, the camera mapping out fragile bodies with careful, almost predatory attention, creating a discomfiting sense of intimacy. TROUBLE EVERY DAY is a film felt as much as viewed, and when it reaches its bloody apex, that’s a truly frightening thing.

VARIOLA VERA

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VARIOLA VERA
Dir: Goran Marković, 1982
Yugoslavia, 104 min.
In Serbo-Croatian with English subtitles.

FRIDAY, OCTOBER 9 – 7:30 PM
SATURDAY, OCTOBER 17 – 10:00 PM
WEDNESDAY, OCTOBER 28 – 10:00 PM

A profoundly chilling dramatization of the true events surrounding a smallpox epidemic that hit former Yugoslavia in 1972, VARIOLA VERA presents a terrifying situation of how panic-stricken individuals and governments respond to an outbreak.

A pilgrim visiting a distant land returns to Yugoslavia with a flute and an infectious disease within it. His sickness grows and he ends up at Belgrade General Hospital, amongst a staff of doctors and nurses who seem more concerned with work gossip than saving the man’s life. The disease spreads throughout the hospital and soon enough, everyone is sealed off and locked inside the building in quarantine while the government desperately tries to find a solution.

Despite featuring a grisly plot line, director Goran Marković keeps the film from sliding into mere sensationalism, instead grounding it in tense realism and acute human drama, which makes it all the more startling once the body count begins to rise.

A potent mixture of body horror and disaster film, VARIOLA VERA is one of the most frightening ‘virus’ films ever made.

MIL KDU DES // M A P

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MIL KDU DES // M A P A.K.A. NATURE TRAIL TO HELL (IN SD)
Original Dir. Eduardo Sánchez & Daniel Myrick
Re-edit Rarer Borealis, 1999/2015
U.S., 30 min.

TUESDAY, OCTOBER 27 – 7:30 PM
TUESDAY, OCTOBER 27 – 10:00 PM

This Spectober, MIL KDU DES return after what seems like a (blissful) eternity to what one local medium referred to as “the most haunted three feet between seats and screen in all of Brooklyn” to pitch a tent in the camping grounds of Hell itself. The bands line-up may have changed (now Mark Freado Jr. & Steve Pellegrino – ex-Don Succulent / The California Racists), with no original members in sight but that signature MIL KDU DES sound remains and will shake you out of your sleeping bag.

In 1999 Eduardo Sánchez & Daniel Myrick changed the face of horror with their loving homage to the 1998 film THE LAST BROADCAST when they unleashed THE BLAIR WITCH PROJECT onto an overly trusting, unsuspecting, and largely internet-less public. Fueled by a meticulously planned advertising campaign and a genuinely terrifying finale (no one cares if you don’t like it) the film would go on to garner laurels at everything from Cannes to the MTV Movie Awards.

Shot on 16mm and video the film concerns a team of grating but believable filmmakers as they attempt to film a documentary on the legend of The Blair Witch. The filmmakers even went as far as creating an entirely different fake documentary to air on the History Channel delving into the mythology they had created.

Featured here in a pulsating, throbbing, rhythmic re-edit by none other than Rarer Borealis, this is a rare chance to see this film as you never have before.