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World Theatrical Premiere!
Director and Cast in Attendance!

'I enjoyed the hell out of BRUTAL MASSACRE. It truly is a THIS IS SPINAL TAP for horror filmmakers, and can be considered a hilarious gift to genre fans.'
-Robert Galluzzo, Fangoria.com

David Naughton of AN AMERICAN WEREWOLF IN LONDON stars as famed horror director Harry Penderecki whose career has been plagued by violent mishaps and critics’ attacks. But when Harry decides to shoot his comeback movie, he’ll do it with a crew that includes a stressed assistant director (Brian O’Halloran of CLERKS), his foul-mouthed production manager (Ellen Sandweiss of THE EVIL DEAD), an oddball cinematographer (Gerry Bednob of THE 40 YEAR OLD VIRGIN), his loyal grip (Ken Foree of DAWN OF THE DEAD) a deranged Vietnam vet (Gunnar Hansen of THE TEXAS CHAIN SAW MASSACRE) and more. There’s gratuitous nudity, graphic gore and malfunctioning toilets, plus appearances by ‘Ladies Of The Evil Dead’ Betsy Baker and Theresa Tilly, Fangoria editor Tony Timpone and Master Of Horror Mick Garris in this wild ‘mockumentary’ about a low-budget production that becomes a BRUTAL MASSACRE!

It's always refreshing to stuble across an obscure, bizarre and baffling relic from the groovy late-60's, when coherence was at a minimum and radical ideas were embraced by open-minded viewers. GOLD begins with an opening-credit montage that includes police brutality, dead Vietnamese children, JFK's assassination, Kent State--so I expected a heavy message flick. But instead, it offered up a hippie-hodgepodge of political metaphor, sing-alongs, bizarre camerawork, tinted stock, solarization, split screen, and gratuitous sex scenes that makes you wonder if the cameraman was on peyote.

In addition, this no-budget odyssey stars improvisational comdey legend Del Close, along with fellow member of San Francisco's The Committee, Gary Goodrow. Its baffling story is set in an anachronistic Old West town (which contains electric guitars and min-skirts), with all the townsfolk in search of precious gold! Along the way, they're attacked by modern-day soldiers and sduced by right-wing conspirators (led by a stick-in-the-mud reffered to as "The Law", played by Goodrow). There's also a rigged election, trampled personal rights, evicted citizens, and "The Law" getting pissed whenever he spots nude flower children cavorting in the woods. No surprise, these elected-assholes feast on their power, by murdering anyone who represents freedom (or runs around in the nude)and by keeping all 'lawbreakers' in an animal pen.

GOLD is an indulgent, energetic burst of lovable counterculture craziness. It looks like everyone had a blast filming ut, and with the proper 'medication', most viewers will, too.

-Steve Puchalski, Shock Cinema

Director Q&A Friday, Saturday, & Sunday!

'This is a film about issues for which there are no easy solutions, which is why it is an important movie to see. The writing, direction, and acting are all very good in that invisible way that lets you simply enter the world of the film and ride along with these two amazing women as their lives are irrevocably changed. The world needs more movies like this one.' -CineBlog

Lydia is an overweight sales clerk in a trendy home furnishings store, nearing 30. Though she is a member of a Fat Acceptance Group (a movement dedicated to fighting prejudice against overweight people), she is still struggling with complex feelings about her body and its place in the world. Darcy, a recovering-anorexic real estate agent in her mid-20s, is struggling with the same issues from a very different perspective.

Her attempt to join the Fat Acceptance Group (since she sees herself as fat) is quickly rejected - but it introduces her to Lydia. Lydia is initially wary of Darcy's efforts to become friends, but Darcy's hunger for emotional contact breaks through the wall of apparent differences and they begin an unexpected friendship. At the same time Lydia gets involved in a sexual relationship with Bob, an overweight man who joins her in walking for exercise early mornings at Venice beach.

Stirred emotionally by this new romance and by her conflict with the Fat Acceptance Group, Lydia decides to ask her new friend for an unusual favor: she wants anorexia lessons. When Darcy lets Lydia inside her secret inner world, it forces both women to confront buried feelings about their bodies.

Sexuality and fashion, anger and femininity, trust and fear, hunger and satisfaction: there are things that women can only talk about honestly with other women. But they never seem to find a way to do it. This is a movie about two women who do.

XXX Grindhouse thrills return to New York City
Wild Eye Presents: THE 42nd STREET SMUT SHOW!

Giuliani be dammed! Wild Eye Releasing blushingly and proudly presents the RETURN of XXX to New York City theaters with the 42nd Street Smut Show on Saturday, July 19th in New York City at the Two Boots Pioneer Theater. The sin begins at 10pm for this triple-X, triple feature with The Perverted Preview Picture Show - a screening of over twenty vintage dirty movie trailers, all from the heyday of hardcore, when sleaze-seekers had to venture out of their homes and into the asphalt jungle for their fill of follicled fornicators on the big screens of the city.

Following the trailer show is a quick trip down Mammoth-ry lane when we unspool the best tool in the business – John Holmes – in a batch of rare and bare Super-8 loops, direct from the long-gone peep booths of NYC, and right into your laps.

And to top off this spectacle of skin is VICIOUS VIRGIN the 1970s breezy feature that purports to star a very well-known Hollywood actress at the time – one better known for spitting out pea soup, not swapping spit, on screen. Bring your own holy water and chained heat.

So, if you're feeling a bit randy in your panties – grab your raincoat and join Wild Eye in paying homage to the decadent days of The Deuce – just be very careful when digging into your popcorn box.

'a cross between Orson Welles Touch of Evil and the lost highways of David Lynch’s bizarre landscapes' -10kBullets.com

' Red 71 is a damn fine production -Cinema-crazed.com

'...nicely styled look...' -Rogue Cinema

'Roddy is fast proving himself a master of the new noir' 4 stars -B-Scared.com

After a beautiful woman named Lorraine coaxes self-styled private eye Shane into investigating the mysterious Club 71, people start turning up dead. Suspicion spreads everywhere as the puzzle pieces languidly appear. Set in a peculiar desert town amongst a complex web of characters, a highly stylized neo-noir mystery asks the question: How far will people go to possess what they can never have?

Eerie cinematography and direction by Patrick Roddy and an atmospheric score by Friends of Dean Martinez form an audio-visual landscape reminiscent of David Lynch. Ken Henderson’s tightly-woven screenplay will keep audiences wondering until the very end. Starring Nathan Ginn, Michelle Belegrin, Ted Parks, Josh Marcantel and Angus Scrimm.

'To best describe the film, one can say that it has the best elements of Tetsuo: The Iron Man, Battles without Honor and Humanity, Taxi Driver, Freaks, and Psycho. There are elements of directors Wakamatsu Koji, Werner Herzog, Alejandro Jodorowsky, and Herschell Gordon Lewis in the film too.' -Nicholas Rucka, Midnight Eye

'Gets under your skin, then immediately starts eating away at
your internal organs.' -Time Out New York

LATE BLOOMER is the story of Sumida-san, a severely handicapped man, and his downward spiral into hell. When we're first introduced to him we find that despite his physical limitations - and contrary to cultural misconceptions about the handicap - he has all of the desires and personality traits of a physically normal man. Specifically: he loves to party, eat good food, and 'rock out' to his caregiver Take's hardcore band. However, Sumida-san's life begins falling apart when he develops a crush on his new occasional caregiver, Nobuko. Needless to say, the feelings are not reciprocated and when Nobuko starts spending her free time with Take, Sumida-san is driven mad with desire and frustration and things take a turn for the worse…

With Love and Honor, veteran director Yôji Yamada brings his samurai trilogy, which includes THE TWILIGHT SAMURAI and THE HIDDEN BLADE, to a stunningly graceful conclusion. A lower-level samurai, Shinnojo serves as poison taster for the shogun but dreams of leaving his service to open a kendo dojo that would recruit students regardless of their caste. His dream all but dies when he consumes ill-prepared sashimi and wakes up three days later to find the shellfish poison has left him blind.

Unable to support his dutiful wife Kayo and their servant Tokuhei, Shinnojo grows suicidal. Kayo prevents Shinnojo from taking his life but in doing so leaves herself vulnerable to Toya Shimada, a high-ranking samurai and the clan’s chief duty officer. Eventually, Kayo succumbs to Toya’s advances in order to secure a lifetime stipend for her husband. However, her affair does not go unnoticed, and when Shinnojo hears the rumors, he orders Tokuhei to follow her. Soon, the true nature of Kayo’s infidelities and Shimada’s duplicity stand revealed, leaving Shinnojo with no choice but to restore his honor by challenging his rival to a duel.

Filled with the same pristine production design and sumptuous cinematography of the previous two installments, LOVE AND HONOR is an elegant depiction of loyalty, sacrifice, and redemption.

www.loveandhonorthemovie.com/

Official Selection: Sacramento International Film Festival
Official Selection:International Film Festival England

For the thousands of Japanese Americans forcibly interned during World War II, the scars never healed. For Ruth Okimoto, the need to confront the past brings her back to the desert of Arizona where she spent her childhood years behind barbed wire. Back in the Colorado River Indian Reservation, where Poston was built. It is a journey Ruth takes to find meaning in the inexplicable as she searches to discover the true story of how the Poston camp came into being.

Passing Poston tells the moving & haunting story of four former internees of the Poston Relocation Center. Each person shadowed by a tragic past, each struggling in their own painful way to reconcile the trauma of their youth. Each individual still searching & yearning during the last chapter of their lives to find their rightful place in this country.

The Relocation center, built on the Colorado River Indian Tribes reservation, served as one of ten internment camps built in seven states. Between 1942 & 1945, the Poston camps housed over 18,000 Japanese & Japanese American detainees. Unlike the nine other internment camps, Poston was unique & built with a very different purpose. It served as a place to house thousands of Japanese detainees but also the infrastructure created by & for them served to recruit more Native Americans from surrounding smaller reservations to the much larger & sparsely populated Colorado River Indian Tribes (CRIT) reservation, after the war.

The Japanese detainees held at the three Poston Camps were used as laborers to build adobe schools, do experimental farming, & construct an irrigation system that could later be used by the Native Americans, thus aiding the settlement of the area as planned by the Office of Indian Affairs (known today as the Bureau of Indian Affairs).

When the Japanese detainees were released in 1945, attention turned to settling the camps with Native Americans. 'Colonists' (as the government referred to them) from the Hopi & Navajo tribes as well as other tribes living along the Colorado River tributaries. These people, in turn, moved into barracks built for the Japanese detainees. The colonists were recruited by the OIA & lured by promises of fertile farmland & plentiful water. They joined the Mohave who had lived on the reservation since its creation in 1865, & the Chemehuevi who arrived shortly after 1865. The colonists found a working canal system to irrigate farmland, school buildings, & many other necessities for their relocation. For some from the less developed areas of other reservations, it was a step up with running water & the opportunity to farm.

www.passingposton.com

"JACK BROOKS is the best horror comedy since SHAUN OF THE DEAD!"
-Esplatter.com

"If JACK BROOKS was made in the '80's, it would be a cult classic by now"
- Jovanka Vuckovic, Editor-In-Chief, Rue Morgue Magazine

"A new classic in the horror/comedy/make-up-FX-on-the-rampage genre"
-Michael Gingold, Fangoria Magazine

After witnessing the brutal murder of his family, Jack Brooks (Trevor Matthews) is left with an unquenchable fury that he is constantly fighting to control. Now working as a local plumber and struggling in a relationship with his girlfriend Eve (Rachel Skarsten), Jack's life has become a downward spiral.

One night, Jack attempts to fix Professor Crowley's (Robert Englund) old, rusted pipes, but unknowingly awakens an ancient evil. Lured by this demonic power, Professor Crowley discovers a monstrous black heart that quickly forces its way inside of him. Possessed by the heart now beating in his chest, the Professor starts a slow, gruesome transformation. It is at this moment that Jack realizes he can't run from his past, and quickly discovers the true purpose of his inner rage.

www.brookstreetpictures.com/jackbrooks/

From Keith Crocker, director of 1997’s THE BLOODY APE, comes a brand-new Nazi exploitation flick for 2008! For nearly 30 years no one has dared tackle the genre, leaving us rerunning Ilsa in our DVD players. Now, in period costume and refashioning New York, Long Island locales, Crocker has fathomed a return to the glorious ’70s when the Nazi genre was more grindhouse fodder rather than a political nod.

During the final days of World War II, Helmut Schultz and his cohorts in Nazi crime terrorize the prisoners with biochemical weapons experiments and shoot-on-sight torture for entertainment. After a captured showgirl, the voluptuous Southern belle Candice, escapes her captors and hides out in the women’s camp, other ragamuffin defenders bolster up their wits to overthrow the Nazi demons, even if it means leaving the camp on a slab… while Russian POW Natasha takes on soldier after soldier using only her body and her wits as she tackles the brown and black shirts all on her naked own.

Featuring fan favorite Brandon Slagle (guest at the 2008 Austin Fangoria’s Weekend of Horrors), and a cast willing to get naked and bloody, BLITZKRIEG: ESCAPE FROM STALAG 69 has all the violence, gore and torture you would hope for a Nazi exploitation flick, filtered through the underground auteur sensibility of Nathan Schiff contemporary Keith Crocker. Which means it’s got just a teench (okay, maybe a pinch) of that good ol’ John Waters camp touch.

www.blitzkriegthemovie.com