Landmark Cult Classics

Brazil

If Franz Kafka had been an animator and film director--oh, and a member of Monty Python's Flying Circus--this is the sort of outrageously dystopian satire one could easily imagine him making. However, Brazil was made by Terry Gilliam, who is all of the above except, of course, Franz Kafka. Be that as it may, Gilliam sure captures the paranoid-subversive spirit of Kafka's The Trial (along with his own Python animation) in this bureaucratic nightmare-comedy about a meek governmental clerk named Sam Lowry (Jonathan Pryce) whose life is destroyed by a simple bug. Not a software bug, a real bug (no doubt related to Kafka's famous Metamorphosis insect) that gets smooshed in a printer and causes a typographical error unjustly branding poor Sam as a miscreant.

The movie presents such an unrelentingly imaginative and savage vision of 20th-century bureaucracy that it almost became a victim of small-minded studio management itself--until Gilliam surreptitiously screened his cut for the Los Angeles Film Critics Association, who named it the best movie of 1985 and virtually embarrassed Universal into releasing it. This DVD version of Brazil is the special director's cut that first appeared in Criterion's comprehensive (and expensive) six-disc laser package in 1996. Although the DVD (at a fraction of the price) doesn't include that set's many extras, it's still a bargain. --Jim Emerson

Evil Dead II (Special Edition)

Writer-director Sam Raimi's extremely stylized, blood-soaked follow-up to his creepy Evil Dead isn't really a sequel; rather, it's a remake on a better budget. It also isn't really a horror film (though there are plenty of decapitations, zombies, supernatural demons, and gore) as much as it is a hilarious, sophisticated slapstick send-up of the terror genre. Raimi takes every horror convention that exists and exaggerates it with mind-blowing special effects, crossed with mocking Three Stooges humor. The plot alone is a genre cliché right out of any number of horror films. Several teens (including our hero, Ash, played by Bruce Campbell in a manic tour-de-force of physical comedy) visit a broken-down cottage in the woods--miles from civilization--find a copy of the Book of the Dead, and unleash supernatural powers that gut every character in sight. All, that is, except Ash, who takes this very personally and spends much of the of the film getting his head smashed while battling the unseen forces. Raimi uses this bare-bones story as a stage to showcase dazzling special effects and eye-popping visuals, including some of the most spectacular point-of-view Steadicam work ever (done by Peter Deming). Although it went unnoticed in the theaters, the film has since become an influential cult-video favorite, paving the way for over-the-top comic gross-out films like Peter Jackson's Dead Alive. --Dave McCoy

Ash (Bruce Campbell), the sole survivor of The Evil Dead, continues his struggle with the forces of the dead. With his girlfriend possessed by demons and his body parts runnning amok, Ash is forced to single-handedly battle the legions of the damned as the most lethal -- and groovy -- hero in horror movie history!

Welcome to Evil Dead II: Dead by Dawn, director Sam Raimi's infamous sequel to The Evil Dead and outrageous prequel to Army of Darkness! This unhinged horror classic is now fully remastered in state-of-the-art Dolby Digital 5.1 supervised by THX and packed with extras. So, sit back, strap in and rev up the chainsaw: Evil Dead II has returned...like you've never seen or heard it before!

Showgirls

No Description Available.
Genre: Feature Film-Drama
Rating: NC17
Release Date: 5-JUN-2001
Media Type: DVD

When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in the ridiculous Showgirls. That says it all: this sleazy, stupid movie, which mixes soft pornography with the clichés of backstage dramas, is the kind of project an aspiring actress would have to put well behind her to keep a career going (though costar Gina Gershon certainly benefited from her, uh, exposure in the film). Berkley plays a drifter who hitches a ride to Las Vegas, becomes a lap dancer and then a performer, and discovers--gasp!--there's a whole world of sex and violence involved with these things. Gershon is probably the best element in the film, playing Berkley's bisexual rival for the big spotlight on stage. Joe Eszterhas was well overpaid for writing this howler, and director Paul Verhoeven (Basic Instinct) should have known better than to take it seriously. --Tom Keogh

9 1/2 Weeks (Uncut, Uncensored Version)

Frequently given short shrift as a blue movie (which it is) and as mindless (which it isn't), director Adrian Lyne's follow-up to Flashdance (insert own joke here) is a thoughtful, smutty film about a bad sexual relationship. It follows the two-month affair between Elizabeth, an art-gallery dealer, and John, a Wall Street exec. The relationship spirals downward into raunchier sex (filmed, by the way, quite nicely) but principally is about two adults doing adult things but not acting anything like real adults. Attempts at actual human connection, about the longing to be "good," are present here and make this an above-average erotic film. Rourke is just honing his scumbag, bad-boy persona; but it doesn't overwhelm. Lots and lots of Kim Basinger. --Keith Simanton

A Clockwork Orange

Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a masterpiece. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. A Clockwork Orange works on many levels--visual, social, political, and sexual--and is one of the few films that hold up under repeated viewings. Kubrick not only presents colorfully arresting images, he also stylizes the film by utilizing classical music (and Wendy Carlos's electronic classical work) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it. --Bryan Reesman

Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a masterpiece. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. A Clockwork Orange works on many levels--visual, social, political, and sexual--and is one of the few films that hold up under repeated viewings. Kubrick not only presents colorfully arresting images, he also stylizes the film by utilizing classical music (and Wendy Carlos's electronic classical work) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it. --Bryan Reesman

Brazil - Criterion Collection

If Franz Kafka had been an animator and film director--oh, and a member of Monty Python's Flying Circus--this is the sort of outrageously dystopian satire one could easily imagine him making. However, Brazil was made by Terry Gilliam, who is all of the above except, of course, Franz Kafka. Be that as it may, Gilliam sure captures the paranoid-subversive spirit of Kafka's The Trial (along with his own Python animation) in this bureaucratic nightmare-comedy about a meek governmental clerk named Sam Lowry (Jonathan Pryce) whose life is destroyed by a simple bug. Not a software bug, a real bug (no doubt related to Kafka's famous Metamorphosis insect) that gets smooshed in a printer and causes a typographical error unjustly identifying an innocent citizen, one Mr. Buttle, as suspected terrorist Harry Tuttle (Robert De Niro). When Sam becomes enmeshed in unraveling this bureaucratic glitch, he himself winds up labeled as a miscreant.

The movie presents such an unrelentingly imaginative and savage vision of 20th-century bureaucracy that it almost became a victim of small-minded studio management itself--until Gilliam surreptitiously screened his cut for the Los Angeles Film Critics Association, who named it the best movie of 1985 and virtually embarrassed Universal into releasing it. This DVD version of Brazil is the special director's cut that first appeared in Criterion's comprehensive (and expensive) six-disc laser package in 1996. --Jim Emerson

What Ever Happened to Baby Jane?

It's brash! It's grotesque! It's a blistering display of psychological terrorism! One of the blackest comedies ever made, this 1962 thriller rejuvenated the careers of Bette Davis and Joan Crawford and played heavily on their own Hollywood legends, incorporating film clips from their earlier stardom to add depth and realism to a severely twisted tale of sibling rivalry. Davis plays the former child star turned wrinkled hag Jane Hudson, whose sister Blanche (Crawford) eclipsed her star in Hollywood, and has been paying for it ever since. Now confined to a wheelchair, Blanche is held prisoner in the musty mansion she shares with Jane, who terrorizes Blanche with maniacal control (and dead rats for dinner), and embarks on an absurd campaign to revive her career, curly-haired wig and all. A deranged showcase for its stars, the film also introduced Oscar nominee Victor Buono as the sycophantic pianist hired to accompany Jane's bizarre vaudeville revival. Hilarious, frightening, and not to be missed! --Jeff Shannon

Heathers

This dark comedy from 1989 was a good showcase for Winona Ryder, playing a high school girl brought into a clique of bitchy classmates (all named Heather), and Christian Slater, doing his early Jack Nicholson thing. While Ryder's character mulls over the consequences of giving up one set of friends for another, her association with a new boy (Slater) in school turns out to have deadly consequences. Director Michael Lehmann turned this unusual film into something more than another teen-death flick. There is real wit and sharp satire afoot, and the very fusion of horror and comedy is provocative in itself. Heathers remains a kind of benchmark in contemporary cinema for bringing surreal intelligence into Hollywood films. --Tom Keogh

Reefer Madness

Although it was made in 1936, Reefer Madness didn't become a cult hit until 1972 when the National Organization for the Reform of Marijuana Laws (NORML) rescued it from the Library of Congress film archive. Thereafter, it was a mainstay on the midnight movie circuit. And it's easy to see why. The ostensible story involves a group of upstanding young high school students who succumb to the allure of the "killer weed." What follows, as if by natural progression, is a catalog of crimes that includes hit-and-run driving, loose morals, rape, murder, suicide, and my personal favorite, permanent insanity! The action is at times so hysterical, in both senses, that you may forget to inhale. Honors go to the wild-eyed, cackling hophead David O'Brien; his performance reaches a raw intensity that is hard to imagine. One measure of this film's pervasive influence is the extent to which its title continues to be invoked in news stories about decriminalization and medical marijuana. Such posterity for unintentional humor must be rare. A great film to see stoned, man. --Jim Gay

A propaganda film from 1936 that has become a cult hit because of its dated outlook on marijuana use, Reefer Madness is the height of camp entertainment. Framed as a "documentary," the film is narrated by a high school principal imparting his wisdom and experiences with the demon weed. The bulk of the film focuses on almost slapstick scenes of high school kids smoking pot and quickly going insane, playing "evil" jazz music, being committed, and going on a murder spree. Meant to be an important and affecting cautionary tale, this dated black-and-white film's true value is in its many entertaining moments of unintended hilarity. --Robert Lane

Designed as a propaganda film against marijuana, exaggerated scenes of possible effects of the drug are shown, climaxing in the bludgeoning death of the drug dealer.
No Track Information Available
Media Type: DVD
Artist: O'BRIEN/SHORT
Title: REEFER MADNESS
Street Release Date: 08/25/1998
Domestic
Genre: CLASSICS

Evil Dead (Special Edition)

In the fall of 1979, Sam Raimi and his merry band headed into the woods of rural Tennessee to make a movie. They emerged with a roller coaster of a film packed with shocks, gore, and wild humor, a film that remains a benchmark for the genre. Ash (cult favorite Bruce Campbell) and four friends arrive at a backwoods cabin for a vacation, where they find a tape recorder containing incantations from an ancient book of the dead. When they play the tape, evil forces are unleashed, and one by one the friends are possessed. Wouldn't you know it, the only way to kill a "deadite" is by total bodily dismemberment, and soon the blood starts to fly. Raimi injects tremendous energy into this simple plot, using the claustrophobic set, disorienting camera angles, and even the graininess of the film stock itself to create an atmosphere of dread, punctuated by a relentless series of jump-out-of-your-seat shocks. The Evil Dead lacks the more highly developed sense of the absurd that distinguish later entries in the series--Evil Dead 2 and Army of Darkness--but it is still much more than a gore movie. It marks the appearance of one of the most original and visually exciting directors of his generation, and it stands as a monument to the triumph of imagination over budget. --Simon Leake