Psychos

Psycho (Collector's Edition)

At last--a great American movie available on video for the first time in its original aspect ratio. For all the slasher pictures that have ripped off Psycho (and particularly its classic set piece, the "shower scene"), nothing has ever matched the impact of the real thing. More than just a first-rate shocker full of thrills and suspense, Psycho is also an engrossing character study in which director Alfred Hitchcock skillfully seduces you into identifying with the main characters--then pulls the rug (or the bathmat) out from under you. Anthony Perkins is unforgettable as Norman Bates, the mama's boy proprietor of the Bates Motel; and so is Janet Leigh as Marion Crane, who makes an impulsive decision and becomes a fugitive from the law, hiding out at Norman's roadside inn for one fateful night. Psycho gets the masterpiece treatment it deserves on DVD, with extras including newsreel footage surrounding the making and release of the movie; an archive of production stills; the special trailer in which Hitchcock (acting as one of the original Universal Studio tour guides) himself leads viewers around the Bates place; credit designer Saul Bass's original "shower scene" story boards; posters and advertising materials for the movie's William Castle-like publicity campaign (No One Will Be Seated After the Feature Begins!); and a 90-minute documentary on the making of the film! What more could any movie fan possibly want? --Jim Emerson

Peeping Tom - Criterion Collection

Michael Powell lays bare the cinema's dark voyeuristic underside in this disturbing 1960 psychodrama thriller. Handsome young Carl Boehm is Mark Lewis, a shy, socially clumsy young man shaped by the psychic scars of an emotionally abusive parent, in this case a psychologist father (Michael Powell in a perverse cameo) who subjected his son to nightmarish experiments in fear and recorded every interaction with a movie camera. Now Mark continues his father's work, sadistically killing young women with a phallic-like blade attached to his movie camera and filming their final, terrified moments for his definitive documentary on fear. Set in contemporary London, which Powell evokes in a lush, colorful seediness, this film presents Mark as much victim as villain and implicates the audience in his scopophilic activities as we become the spectators to his snuff film screenings. Comparisons to Hitchcock's Psycho, released the same year, are inevitable. Powell's film was reviled upon release, and it practically destroyed his career, ironic in light of the acclaim and success that greeted Psycho, but Powell's picture hit a little too close to home with its urban setting, full color photography, documentary techniques, and especially its uneasy connections between sex, violence, and the cinema. We can thank Martin Scorsese for sponsoring its 1979 rerelease, which presented the complete, uncut version to appreciative American audiences for the first time. This powerfully perverse film was years ahead of its time and remains one of the most disturbing and psychologically complex horror films ever made. --Sean Axmaker

A frank exploration of voyeurism and violence, Michael Powell's extraordinary film is the story of a psychopathic cameraman-his childhood traumas, sexual crises, and murderous revenge as an adult. Reviled by critics upon its initial release for its deeply unsettling subject matter, the film has since been hailed as a masterpiece.

Blood Feast

A serial killer is on the loose. Women are being killed and body parts are being stolen. The police are stumped (so to speak). Meanwhile, Egyptmania seems to be gripping this small Florida town. Fuad Ramses's "exotic catering" shop is doing a booming business and his book, Ancient Weird Religious Rituals, is being studied by the local book club. Is there a connection between Ramses and the murders? Of course! In this movie by the wizard of gore, Herschell Gordon Lewis, plot and suspense take a back seat to the gruesome and bloody murder scenes. The acting may not be very good, the script is weak at best, and the effects don't hold up to later standards of Hollywood gore, but there is an infectious enthusiasm that comes through Lewis's desire to shock his audience. The exploitation elements may be dated, but that only makes them all more entertaining. A shocking drive-in sensation when released in 1963, Blood Feast remains a milestone in the exploitation genre, followed (in what would come to be known as Lewis's "blood trilogy") by Two Thousand Maniacs! and Color Me Blood Red. --Andy Spletzer

Nothing so appalling in the annals of horror has ever been seen before. When Mrs. Fremont hires crackpot Egyptian cultist Fuad Ramses to cater a party for her daughter, Suzette, she commits the culinary catastrophe of the century! Fuad immediately prepares a Blood Feast made from the grisly body parts of nubile young women. The world's first (and most notorious) "gore" film, "Blood Feast" is both shocking and hilarious. It's also the first of the infamous "blood trilogy" from director Herschell Gordon Lewis and producer Dave Friedman, who followed this perverse classic with the equally twisted "2000 Maniacs" and "Color Me Blood Red."

Two Thousand Maniacs

Flush from the breakthrough success of Blood Feast in 1963, producer David F. Friedman and pioneering goremeister Herschell Gordon Lewis followed up a year later with Two Thousand Maniacs!. The drive-in movie would never be the same. Filmed in 14 days in St. Cloud, Florida, on a luxurious budget of $62,000, this instant cult classic revels in the grisly fate of three unwitting Yankee couples who've been falsely detoured to the Southern hick town of Pleasant Valley (population 2000--get it?). These unlucky lovers are the guests of honor at a Confederate centennial celebration. What they don't know is that the twisted citizens of Pleasant Valley are vengeful ghosts of the Civil War, determined to dispatch their "guests" in deviously unpleasant ways. Simply put, Two Thousand Maniacs! (with Blood Feast) is the original "splatter" film.

On the murder menu: death by amputation, dismemberment by horses (one per limb), crushing by boulder, and, the most unsettling (or creative?), death by barrel rolling... with flesh-ripping nails in the sides. Tame by later standards yet still absurdly shocking, Two Thousand Maniacs! is the pure, funny-freaky essence of exploitation cinema, complete with the obligatory Playboy Playmate (Connie Mason) in the cast. Lewis (a former literature professor, no less) frequently cited this as his proudest achievement, and who's going to argue? With its crude direction, atrocious acting, and delirious redneck flavor, the movie genuinely deserves its place in cinema history, its dubious entertainment value proving surprisingly durable through the decades. A milestone of movie bloodletting, it was followed, appropriately enough, by Color Me Blood Red in 1965. --Jeff Shannon

An entire town bathed in pulsing human blood from madmen crazed for carnage! The 2000 Maniacs of a small Southern town celebrate the 100th anniversary of the Civil War by forcing a handful of Northerners to serve as "guests" for a variety of macabre, blood-crazed fun and games. The festivities include a screaming man placed in a rolling barrel lined with nails, a hit-the-bull's-eye carnival game with a pretty gal and a boulder, and a blonde sexpot whose arm is hacked off and barbecued! But before they can slaughter the only smart Yank (Thomas Wood), he and the lovely Terry Adams (Connie Mason, "Playboy's Favorite Playmate") try to escape.

The Most Dangerous Game - Criterion Collection

The Most Dangerous Game is a classic, one of the first talkies to get pictures moving after five very static years following the birth of sound. The plot finds resourceful hero Joel McCrea and heroine Fay Wray being hunted on the island of the insane Zaroff (Leslie Banks). One of the grandfathers of the summer blockbuster, the film's setup has been reworked many times since, notably in John Woo's Hard Target (1993). By modern standards it's technically primitive, though still gripping stuff, complete with the jungle set built as a test run for King Kong (1933) and graced by Max Steiner's prototype of all Hollywood action scores. --Gary S. Dalkin

"One of the best and most literate movies from the great days of horror," The Most Dangerous Game stars Leslie Banks as a big game hunter with a taste for the world's most exotic prey-his houseguests, played by Fay Wray and Joel McCrea. Before making history with 1933's King Kong, filmmakers Merian C. Cooper and Ernest B. Schoedsack wowed audiences with their chilling adaptation of this Richard Connell short story. Criterion is proud to present the DVD premiere of The Most Dangerous Game in a new digital transfer.

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

The Phantom of the Opera (1929 re-release)

Chaney is Erik, the horribly disfigured Phantom who leads a menacing existence in the catacombs and dungeons beneath the Paris Opera. When Erik falls in love with a beautiful prima donna, he kidnaps her and holds her hostage in his lair.

M - Criterion Collection

Peter Lorre made film history with his startling performance as a psychotic murderer of children. Too elusive for the Berlin police, the killer is sought and marked by underworld criminals who are feeling the official fallout for his crimes. This riveting, 1931 German drama by Fritz Lang--an early talkie--unfolds against a breathtakingly expressionistic backdrop of shadows and clutter, an atmosphere of predestination that seems to be closing in on Lorre's terrified villain. M is an important piece of cinema's past along with a number of Lang's early German works, including Metropolis and Spies. (Lang eventually brought his influence directly to the American cinema in such films as Fury, They Clash by Night, and The Big Heat.) M shouldn't be missed. This original 111-minute version is a little different from what most people have seen in theaters. --Tom Keogh

Behind every great suspense thriller lurks the shadow of M. In this, Fritz Lang's first sound film, Peter Lorre delivers a haunting performance as the cinema's first serial killer, a whistling pedophile hunted by the police and brought to trial by the forces of the Berlin underworld. Greig's "Peer Gynt Suite" will never sound the same. Criterion is proud to present Lang's seminal film in a new transfer.

Spider Baby

Re-titled Spider Baby in 1968 after the original title Cannibal Orgy, Jack Hill's black and white proto horror-comedy influenced numerous films, especially those featuring boxed or bagged body parts, like Phantasm's yellow-bleeding finger and Blue Velvet's ear found in the meadow. Spider Baby is about an inbred family cursed with Merrye's Disease, which transforms even sweet children, Elizabeth (Beverly Washburn), Virginia (Jill Banner), and Ralph (Sid Haig) into murderous cannibals. Virginia steals the opening scene, during which she plays "spider," cutting the ear off a messenger who is sent to their decrepit Victorian mansion to deliver news of the house's confiscation. Caretaker Bruno (Lon Chaney Jr.) futilely chides Virginia in preparation for a visit from their oblivious, snooty cousin, Emily Howe (Carol Ohmart) and her husband, Peter Howe (Quinn Redeker), who plan to take the home. As more people pile into the house for a meeting, including lawyer Schlocker (Karl Schnazer) and his innocent assistant, Ann (Mary Mitchell), the kids cut loose, hacking everyone up and feeding them to their uncles locked in the basement. Jack Hill, whose films range from horror (Switchblade Sisters) to Blaxploitation (Coffy, Foxy Brown), made sure in Spider Baby to balance comedy with spook so its cannibalistic themes scare but don't absolutely disgust. A brilliant dinner party scene, in which the Merryes serve roasted cat and garden bugs, passing on the meat because they "don't eat dead things," is one of the tensest and funniest cannibal film scenes ever made, up there with Fuad Ramses' Egyptian feast in Roger Corman's Blood Feast. This special edition DVD includes interesting featurettes that detail the making of the movie and the whereabouts of the real mansion, though the best part of Spider Baby is pondering how bizarre this film must have seemed to the 1960s youth. —Trinie Dalton

The seductive innocence of Lolita, the savage hunger of a Black Widow and a taste for blood! Lon Chaney, Jr. plays the caretaker for a family who is inflicted with a unique genetic disorder--one that causes them to regress mentally to a state of savagery and cannibalism. When distant cousins arrive with the intention of "taking over," an utterly bizarre night of horror follows.

A Bucket of Blood

The great Roger Corman produced and directed this cheerfully gory skewering of beatniks and the arts community. Dick Miller plays Walter Paisley, a no-talent busboy who idolizes the artsy types who frequent the coffeehouse where he works. When Walter accidentally kills his landlady's cat, he tries to hide the crime by covering the kitty in clay, and is soon hailed as a sculpting genius. Sure enough, the fickle arts community begins clamoring for some larger work. As a horror movie, A Bucket of Blood is merely okay, but it's great as a little black comedy. Corman works in some nice gruesome touches, such as backing up Walter's Big Emotional Moment with a steady drizzle of blood from a victim's arm. Most of the jokes aimed at the artists' pretensions still seem fresh: When offering Walter some breakfast, Maxwell announces that they're having "soy and wheat-germ pancakes, organic guava nectar, calcium lactate and tomato juice and garbanzo omelettes sprinkled with smoked yeast." The free-verse parodies are also very funny. Don't expect Bucket of Blood to keep you up with nightmares, but do sit back and prepare to enjoy a refreshingly sick sense of humor. --Ali Davis

In a jumpin' java joint, filled to the brim with kooky beatniks, poets and hipsters, an artist wannabe discovers he has a talent for modern art...and murder. Dripping with blood, social satire and "sick, sick comedy" (The Film Daily) this film, according to critic Leonard Maltin, "nicely captures the spirit of the beatnik era" and zips along with vibes of counterculture creepiness.Walter (Dick Miller) is a busboy overly impressed with the cool cats who hang out at The Yellow Doorcoffee house, and he wonders how to become "hip." When he accidentally kills his landlady's pet cat, Walter panics and covers it with clay. His prayers are answered, and before he knows it he's the "cat's meow" of the art world. His talent develops and - surprise! - he can sculpt humans the same way too. Like so many artists, his real talent won't be discovered - until he's dead.