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Though it's a poor-boy's amalgam of several top-tier satanic horror films from the genre's heyday of the 1970's, I quite enjoyed this TV-movie, which was a failed pilot, for a proposed series that never came (the type of thing that Mia Wallace bragged that she had previously starred in to Vincent Vega in 'Pulp Fiction'). Philadelphian-born director Wendkos made only a handful of feature films from 1957-99, and 'Good Against Evil' has the workmanlike, low-budget yet professional, sheen that comes with the territory. The first half is a cross between 'Rosemary's Baby' and 'The Omen' series, with the difference that a female ('Jessica Gordon') is born, and it cuts from her 1955 birth in New York City to young adulthood in 1977 San Francisco. Another neat difference is that until now, she has been kept completely in the dark of her evil origins, and simply thinks that she has been 'lucky' and has had a 'guardian angel', though she notices that any man that gets close to her perishes in strange fashion, and comes to the distinct conclusion that it's no mere coincidence. Finally, she falls in love (with 'Andy Stuart'), and her birth father, Mr. Rimmin's plans of becoming immortalized through offering his daughter to the demon Astaroth are thus jeopardized. He has to interfere, and just before the two young lovebirds are to be married, he hypnotizes Jessica to forget everything and move to New Orleans, where she can be 'protected' once more. Not wanting to draw more attention by killing yet again, the 'tribe' decides that rather than murder Andy, to simply have him fall in love again with his ex-flame, Linday, staging an accident that puts her daughter into a coma, and possessing her in the process. Thus, the second half, which becomes a poor-man's version of 'The Exorcist'. Though the special effects are minor and laughable with the budgetary constraints, Wendkos does a decent job and the performances are fine. The ending is a bit over-the-top, though I enjoy those ambiguous yet doom-laden endings, by which you don't know what's about to happen, but you just know there's going to be trouble (like the finish in William Friedkin's 'Sorcerer', for example). Personally, I would have been more understated in my approach, simply showing the black cat was on the park bench, and not doing a close-up of its eyes. Plus, I did feel a bit cheated--Wendkos had done a good job of character development and making us care for what happened to the good people in the film, who were all in way over their heads--I wanted to know what happened to these people. So on the one hand, I can see why the pilot was unsuccessful, but I wish that at least a Part Two had been made. All things considered, if you enjoy satanic horror movies from the 70's as much as I do, it's well worth a look.
In the questionable town of Deer Meadow, Washington, FBI Agent Desmond inexplicably disappears while hunting for the man who murdered a teen girl. The killer is never apprehended, and, after experiencing dark visions and supernatural encounters, Agent Dale Cooper chillingly predicts that the culprit will claim another life. Meanwhile, in the more cozy town of Twin Peaks, hedonistic beauty Laura Palmer hangs with lowlifes and seems destined for a grisly fate.
The inhabitants of the British Isles have lost their battle against the onslaught of disease, as the deadly rage virus has killed every citizen there. Six months later, a group of Americans dare to set foot on the isles, convinced the danger has come and gone. But it soon becomes all too clear that the scourge continues to live, waiting to pounce on its next victims.
It is the year 2022. A mysterious systems failure causes the crew of a spaceship to be stranded on the dark side of the moon, while rapidly running out of fuel and oxygen. They are surprised to discover a NASA space shuttle floating in space, and board it in the hope of salvaging some supplies. One by one, the crew is possessed and killed, and it is up to Paxton Warner to find the links between the dark side of the moon, the Bermuda Triangle, and the Devil himself.
The Hallows Estate is on alert as strange graffiti tags with messages declaring the streets will be taken over on Halloween night begin to appear on walls around the place, along with sightings of strange figures lurking in the shadows. One of the gangs responsible for the serious anti social behavior that give the estate a bad name, decide to take these threats head on and ignore the curfew on Halloween night. But who ever, or what ever, this new threat is, they seem to have the very night on their side as they make good on their promise of claiming the streets by frightening and violent means.
A family, Mateo, Monica and eight year old Sofia, move into a house on the outskirts of Lima. From the first night, the girl is haunted by a terrifying being. These harassments become every time more violent and disturbing, and soon enough will require the presence of a priest, who will try to help without imagining the consequences.
When a group of teenagers receive an invite to download the latest smartphone app, an intelligent personal assistant, they expect a harmless way to get directions and restaurant recommendations. But the sinister nature of the app soon reveals itself, tormenting the friends by tapping into their darkest fears.
Three unrelated horror shorts from 1975 UK horror anthology series "Classics Dark and Dangerous" edited together into one horror film anthology with three segments. Each story features a woman who willingly or unwillingly spreads evil.
In the 1930s, a young reverend and his family are forced to confront their worst fears when they discover their new home holds a horrifying secret.
The “terrifying true story” of the first televised exorcism on NBC in 1971. Millions around the country watched the program that was recorded in Chicago. The NBC news segment was a success, the exorcism was not. Instead, it made things worse for the Becker family who lived there. Much worse.
Light your black candles and start the chant! Culled from 16mm prints found in Something Weird’s attic, SMUT WITHOUT SMUT: SATANIC HORROR NITE is an exclusive feature-length mixtape curated by the Lucifer-worshipping maniacs at the American Genre Film Archive (AGFA). Best viewed during the witching hour at a haunted drive-in, this mixtape features “Smut Without Smut” versions of six Satan-themed features, as well as trailers, commercials, and ephemera from the vaults. WATCH! Demon killers wearing makeup in the style of the band KISS! SEE! Sacrificial rites performed on kitchen tables! OBSERVE! Credits like “Co-starring Raquel Belch!” Dreamy, outrageous, and filled with naked people wearing velvet capes, SMUT WITHOUT SMUT: SATANIC HORROR NITE is a spicy treat for those souls who are brave enough to jump into the fire.
After kidnapping a father and his two kids, the Gecko brothers head south to a seedy Mexican bar to hide out in safety, unaware of its notorious vampire clientele.