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DVD SAVANT

Savant Looks Forward:

2002 Waits and Wants List

By Glenn Erickson

With Reader Feedback: a list of Wants, at the bottom of the page.

Some people make new year's resolutions about bad habits or career goals. DVD Savant, while thinking about all the surprise discs that came out in 2001, tries instead not to let himself be so absorbed in what's promised for the future. Not that it works, mind you. Among the DVD adepts (addicts?) I know, the #1 topic of discusson usually is, "What's coming up?" That, and, "Oh, if they'd only put out disc X. (Insert dream title here.) Then there'd be peace and justice on Earth."  2

Unlike most years, 2002 doesn't have a long list of upcoming, 'omigosh' titles on the horizon. And many of those, frankly, are from the smaller outfits, not the studios. Image Entertainment has already brought out almost all of the big Mario Bava titles, so with the exception of an improved Kill, Baby ... Kill! (which may be in doubt), there isn't the automatic Which Bava Is Next? reflex that we've had for the last two years. But Image, Anchor Bay, VCI, All Day and Fantoma continue to release interesting titles, and not a week goes by without some rarity coming to light. It's an interesting consumer game, and if you can collect what you like and enjoy, without going over the edge and succumbing to DVD burnout  5, then you're a winner.

What the Studios are Up To

In general, the expected flood of older movies from the major studios, a.k.a. Library Titles, simply hasn't come to pass. It has taken Columbia/Tristar two years to follow up their terrific The Tingler disc with more William Castle films. The promised Harryhausen titles are also still unannounced. And Warners hasn't been prepping any of its much-desired horror and science fiction classics. Two years ago, Fox started a very impressive line of Sci Fi double bills, with Voyage to the Bottom of the Sea and Fantastic Voyage. These discs came with promos for an Our Man / In Like Flint double bill, which never materialized. You can tell there's no rush to exploit the library, when basic must-haves like The Day the Earth Stood Still have taken so long to be considered for release.

What does surface from the studios can be very strange indeed. Pearl Harbor inspired Fox to reissue all of their big War pictures, and to bring out some fairly obscure titles like Wing and a Prayer. We now have lots of War films on the racks, including some real duds like Anzio. The stampede to street the big War titles may have resulted in a rarity such as Catch-22 coming out ... As much as the disc is appreciated by the kind of fan who reads DVD Savant, do you really think it sold very many copies?  4

The library titles that do sell, are apparently action films and comedies, especially with big stars. With so many zillions of titles out there, marketers have apparently decided that consumers buy movies bearing pictures of stars they recognize, so as to avoid direct-to-video drek. Thus, every studio billboards images of the actors on their DVD boxes, no matter what kind of movie is inside.

What don't appear to sell in the numbers that make studio accountants happy, are older 'classic' studio pictures and their old-time stars. The studios seem to feel that b&w greats like Humphrey Bogart, James Cagney, Clark Gable, etc., are best suited to cable television.  1 MGM/Turner came out with a couple of Bette Davis pictures right at the beginning of DVD. Sales were zilch. Five years later, there's still (I think) not a single Errol Flynn movie, not even The Adventures of Robin Hood in Technicolor, for sale. When the Turner library left MGM for Warners, there was no wailing at MGM. One executive said that the Turner library represented 'an older demographic' and weren't all that promising, home video-wise. That may seem a terrible attitude, but it really should be a wake-up call for fans who think Home Video executives can't wait to put out obscure movies. The market determines what's released, not our minority of cinephiles. The older MGM and Warners classic library did well in the '80s and '90s because there were still lots of older adults with VHS machines who saw them first-run back in the '30s and '40s. The bulk of that generation is passing now ...

Warners, Paramount and Fox have barely scratched the surface of their genre titles, but MGM has already penetrated deep into their Orion, A.I.P., Epic, and UA libraries. With few new blockbusters to sell, MGM has accelerated the volume of releases, putting out almost as many library DVDs per month as the other majors combined. Most of the discs are also priced very low, better than most old VHS tapes, so these discs can be bargain surprises. Last year finally saw a good version of The Magnificent Seven, and many 'smaller' pictures like X: The Man with the X-Ray Eyes emerged in stunning transfers, some even with commentaries.

But putting out so many titles in such a crowded schedule has a downside in that the quality can be erratic. For every sparkling new transfer, there's a disc made from a recycled laserdisc-era master tape. When the film and tape remastering of a couple of titles missed the scheduled release date of a DVD, the decision was made to use an inferior master rather than wait. One of these was a title unlikely to be reissued any time in the near future.

There are other studio trends whose effects we may feel in the coming year. Heavyweight retailer Blockbuster is pressuring the studios to adopt rental pricing, something that Savant thought was going to happen a lot earlier. Hopefully only new titles will go through this process. What it means is that a title like American Pie would be released in two tiers, initially at $80 and then at a sell-thru price of maybe $20. That's not too bad, until you find out that a lot of rental-priced titles didn't make the switch to sell-through, especially those that didn't do well - or sold too well, like Gone With the Wind which kept selling at an inflated price. Savant fully expects to hear an increase of Blockbuster-inspired propaganda about rental pricing somehow being Good For Us.

Also having a possible effect on new and old films, is the pressure from Blockbuster and Wal-Mart to offer titles in pan 'n scan, to coddle their customers who don't like those pesky black lines. Studios originally offered most discs in both Widescreen and Full Frame versions, a practice that's fallen off radically in favor (most of the time) of Widescreen only. All it will take to swing the pendulum the other way will be an executive decision at a couple of studios accompanied by a denunciation of 'DVD Weenies' and their snooty attitudes. How dare a bunch of cinema nerds attempt to force the industry to letterbox everything, when the Silent Majority of consumers neither understands nor cares about anything but filling up their screens? I can't wait to see a red, white and blue sticker on a DVD package proclaiming a full-frame transfer with the slogan, 'United we Stand.'

High Hopes and Vain Wishes

Savant thinks that in its first five years DVD has done a reasonable job of marketing the movies we want to see. There are new releases, most of which are made available in sparkling editions.  3 There are cult and fringe titles, usually not owned by big studios. These are proportionately over-represented, a happy turn of events for freak film fans, because of the favorable economics of DVD production, coupled with a burgeoning subculture of obscure / foreign / forbidden film enthusiasts. Five years ago not a single quality VHS or laser release of a European horror film in its original language was available here as a domestic release; now there are hundreds. Directors Mario Bava and Dario Argento are now mainstream names.

What's been left out of the equation are the thousands of interesting titles held by the studios. An Anchor Bay producer will ferret out the rights holder to some foreign obscurity, knowing that the novelty of a rare film surfacing will net adequate returns. There are no producers at the Big Studios, as the libraries of unexploited titles are there for any executive to see and choose from. His/her job isn't to bring out product per se, but to maximize revenue. The Big Studio executive, therefore, analyzes a prospective movie's appeal based on earlier VHS sales, or mass familiarity with the title or its subject. The essential The Quatermass Xperiment is slow to become a Midnite Madness release because it's in b&w and too old, but Mars Needs Women comes out because someone recognizes Tommy Kirk, it's in color, and an exec thinks the title is cute. A stinker with a name cast always wins against a good film starring lesser actors.

It's to be hoped that all of the studios will soon adopt a higher-volume concept for their library product, releasing older films in larger numbers, perhaps light on the extras but consistently using new masters. It seems to be working well for MGM.

Savant's Wish Lists

Let's do this from the source:

General Wish for Studios: Open up a second tier of library product, stressing quality transfers and quantity over extras or fancy marketing. Find yourself a DVD consultant whose job is to develop the interesting riches of the library, not the statistically-proven titles. Let this second tier be adventurous. Don't be so afraid of b&w titles. Surprise us.

Columbia Tristar: You've always brought out great-quality library discs, but very slowly. You've got an impressive backlog of Horror and Sci Fi people are dying to see: Karloff pictures like The Black Room, Hammer classics like Revenge of Frankenstein, These are the Damned, and Scream of Fear - and of course Curse of the Demon. You're sitting on great pictures like Carol Reed's The Key and Our Man in Havana. What about your Matt Helm pictures, starting with The Silencers? You're finally following up on the William Castle movies, but what happened to your Ray Harryhausen discs?

Disney: I haven't followed your DVD animation releases closely as that's not my thing, but I've heard lots of complaints that you're re-coloring your classics and tweaking their content to avoid unpleasant PC problems. All this is very disturbing. 1938's Snow White isn't the same when its organic colors are flattened out with 2001 digital technology. Other than wanting to see more of your bigger live-action titles sooner than later, like 20,000 Leagues Under the Sea, it would be great to have more television rarities like Man into Space. I think they'll come in due time. Through Miramax, we're also waiting for the Samuel Bronston epics: El Cid, 55 Days at Peking, and Fall of the Roman Empire

Fox: A very nice record for quality, and a good start into the library that just needs to be accelerated a bit. Besides the promised Flint movies, you've got the whole '50s legacy of CinemaScope thrillers, many in stereo sound - Garden of Evil, House of Bamboo, Hell and High Water, Journey to the Center of the Earth, Bigger than Life ... all kinds of goodies. War films you've missed are The Enemy Below and Sink the Bismarck! Hopefully you still have rights to these. Nobody's asking for a renaissance of Pat Boone pictures, but there are plenty of titles never seen in 'Scope, like A High Wind in Jamaica and A Boy Ten Feet Tall.

MGM: With your proven commitment to your library, there are only quality issues to discuss, and I know most of those are on their way to being solved. With one of the largest libraries, the biggest unknown are all the legal and rights questions that block titles like The Conqueror Worm, Billion Dollar Brain and The Wonderful Country. But you're showing a desire to put out not just more, but better editions of all kinds of pictures. News has already leaked of special editions of Raging Bull, The Fog, Escape from New York, Last House on the Left, The Last Waltz and Blue Velvet. Joe Dante and Bill Warren have already spoken about a Special Edition of The Howling. It's rumored that The Hound of the Baskervilles will have a Christopher Lee interview, and that The Vampire Lovers will add even more restored scenes to those already in the vhs release. We're also looking forward to rumored forthcoming titles like Casino Royale and Powaqqatsi. There are too many desired, unannounced MGM titles to enumerate: Billy Wilder films (Avanti!, Kiss Me, Stupid, One, Two Three, The Private Life of Sherlock Holmes), the rest of the Vincent Price / Poe Pictures; Robert Aldrich movies like Attack! and The Big Knife; Burn, Witch Burn, A Fistful of Dynamite, Lord Love a Duck, What's New, Pussycat? ... that's just the tip of an iceberg that MGM is rapidly melting.

Paramount: Also committed to a slow progression of high quality releases, you folks seem to be working your way through the Star Trek franchise and only gradually reaching into the library, but always with great taste. Even though Universal controls your pre-1950 titles, you've got several top Wilder films (Sunset Boulevard, Ace in the Hole) and a lot of other prestigious shows that you're slowly bringing out. What's lacking at Bronson and Marathon streets is an appreciation of your more arcane rarities, many of which were popularized through some low-grade VHS releases about a decade ago: Danger: Diabolik, The Italian Job, Oh, It's a Lovely War, Blood and Roses, The Assassination Bureau, and If .... Don't forget that besides classics like A Place in the Sun, there's a happy market out there for Crack in the World too.

Universal: As much as we love your classic horror pictures, we really want remasters of some of the top titles. Savant doesn't push for remasters much, but in the case of The Bride of Frankenstein and The Mummy, they really are warranted. More horror and sci fi will always be welcome, just remember to properly master The Incredible Shrinking Man and This Island Earth in widescreen, por favor. It's great the way you're digging into your pre-1950 Paramount holdings; we want it all - Billy Wilder Classics, W.C. Fields and Marx Brothers pictures - the works.

Warners: Always good quality, if seldom many extras, and those irksome snapper cases get in the way, but when you do a picture, you do it right. Glad to see you're bringing out Joe Versus the Volcano so that it can be reevaluated for the great picture it is. And Watership Down will be a must-have. There are so many Warners films that are hotly desired: Land of the Pharaohs, Them!, the Harryhausen monster movies, Pete Kelly's Blues, Night Moves. Rights questions plague The High and the Mighty and East of Eden, but you and Turner did such a good job rescuing Annie Get Your Gun that nothing seems impossible. The only gripe for Warners is that its releases of its Warner, Turner (old MGM, RKO) and Allied Artists films are incredibly slow and selective. Only three RKO films are out on DVD: no King Kong, no Fred Astaire and Ginger Rogers, no Val Lewton, no great noirs like Out of the Past. Perhaps this is a revenue-sharing boondoggle with insufficient profits to be split up between too many rights holders. But no RKOs at all is a bit much to swallow. Similarly, it's hard to say whether legal problems are the holdup for Warners' Allied Artists films, which have a wealth of cult '50s titles from Roger Corman like Not of This Earth and Attack of the Crab Monsters. Of all the majors, Warners has been the slowest getting into its library.

The Independents

The independents simply need more encouragement to continue their good work. Some of these companies invested in DVD before several of the majors jumped in, and therefore have less of a market share now than they did back in '98 and '99. But they compensate for all problems by being resourceful. The zeal by which these companies have gotten licenses from rights-holders both foreign and domestic is remarkable.

Criterion still cruises along in its unique pocket of uncompromising quality and academic excellence. The discs come out when they're finished right, and not before. We hope that Criterion and its associate company HVe continue to bring out the Janus holdings and even more exotic titles.

Anchor Bay has been incredibly prolific, continuing to release many European titles, that must require involved legal paperwork and restoration nightmares. They've brought out whole series of films by Werner Herzog and Paul Verhoeven, as well as some of the more extreme Eurohorror titles. And they show no sign of letting up. Their promised Alec Guiness British comedies is a highlight for the coming year, along with more rare Hammer films (Hell is a City, Demons of the Mind), unseen greats like Deathwatch, and special editions of some of their earliest hits (Daughters of Darkness, Zombie).

Its seems ungrateful to cheer the work of these independents and then start listing what you want them to bring out, but the temptation is too great. The savvy producers at these companies are very aware of the pictures Savant craves, and have probably investigated them all.

There are still dozens of key EuroHorror that have resisted DVD, including most of the Barbara Steele vehicles: The Horrible Dr. Hichcock, Danse Macabre, The Long Hair of Death, The Ghost, Mill of the Stone Women, Amanti d 'oltretomba, Sorella di Satana. Caltiki, The Immortal Monster may be tied up with Allied Artists/Miramax. Eyes without a Face is out on VHS from Kino, but needs a resourced remaster to proceed to DVD. ... Et Mourir de Plaisir is tied up with Paramount.

Although last year sparked a series of Russian movies, there are plenty of Eastern European fantasies yet untouched: Silver Dust, Space Pilot Pirx and other Russian science fiction movies, Ikarie XB1 and the Czech comedies and films of Karel Zeman, The Big Mess from Germany. These really have an uphill battle, as few Americans are aware they exist, and sometimes they have to compete with cut and dubbed import versions. Want to get really obscure? How about Crosieres Sideriales, a French outerspace-time travel movie from the 1940s!

Finally, somebody needs to play Let's Make a Deal with those cagey characters at Toho. The 1998 Godzilla boondoggle has if anything resulted in less communication between the famous Japanese studio and potential region one distributors of its product - there is an unquenchable thirst in America for everything Toho ever did, in original Japanese versions with subtitles, not those awful dub jobs. So far the only stories I've heard are about Toho lawyers clamping down on anyone using their copyrighted images in print over here - it's time they took their wonderful library of fantasy back from the VHS grey-market world and presented it to us properly.


2001 seemed a breakout year in many respects, with every studio finally putting out library titles both major (Close Encounters) and minor (Cutter's Way), while the independents continued to dazzle us with the rare and the exotic - The Flesh and the Fiends, Day the Earth Caught Fire. Let's hope it continues with even greater momentum. Write in with titles you want to see, and Savant will append a list to this article.

Footnotes:

1. Savant can't help but think that Studios are hoping for the future breakthrough of On-Demand video downloaded through computers or fed across cable lines or satellite feeds. The idea of 'exhibiting' a film without having any kind of physical product to inventory, warehouse, or retail probably sounds like the ultimate extension of the nickleodeon owner's dream 100 years ago: "I don't believe this ... taking in money not to sell something, but just to look at it."
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2. Thoughts of this nature are of course followed by, "How am I going to pay for all this?" Just when you think it's time to repair the car, Criterion comes out with something essential, or MGM's Midnite Movies shows up with a whole line of collectable titles.
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3. With big exceptions: Where's Jackie Brown?
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4. Oddly, big studio Westerns aren't represented as thoroughly as War films. Some John Wayne movies, and a try from Columbia has brought out some good and a lot of bad titles (Alvarez Kelly? Mackenna's Gold?) clearly based on star appeal. That's a shame, because titles like The Professionals, The Wild Bunch, and even the slightly corny The Man from Laramie are very pleasant to watch because DVD and widescreens do justice to their beautiful visuals in a way that old television never could.
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5. How to tell when you've had enough? Consider the usual pattern of DVD burnout: You pine for Title X. You've never seen it, or you've only seen it looking terrible on television, or the dog ate your out-of-print Sinister Cinema tape. There's always a story. You put your name on a fan petition demanding that the studio holding Title X release it now, letterboxed and 16:9 enhanced, preferably in a Special Edition with loads of extras. This last is especially interesting when the particular Title X you're thinking of is fairly unknown, or so far hasn't made the studio a nickel. Then, lo, and behold, Title X is announced. The director comes out of an old folk's home to autograph copies at Dave's The Laser Place. You scour the web looking for the cheapest online price, and hope that whoever you order from will deliver it within a reasonable period of time. Finally, the legendary Title X shows up at your doorstep. It's in your hands. But ... you've got more episodes of Twin Peaks to watch first. And then there's those Leave it to Beavers you've been taping. Title X surely can wait a bit. Do you even remember exactly what it was about? Just put it up on the shelf for awhile ... If you consistently buy discs on impulse or just to collect them, but find yourself not watching them, then take some time to reconsider what you're doing!
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6. The Submarine at the top of the page is from the Toho film Atragon; The center pic is Marisa Mell and John Philip Law in Danger: Diabolik; and the bottom is a French poster for the ultra-rare Judex. If Criterion or Anchor Bay or Image could turn to the movies of Georges Franju, there would be peace and justice in the world!
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The Reader Feedback, 1/11/02:

Well, the call went out for lists of desired DVDs. Yep, lists are a frequent feature of many another message board, but Savant hasn't done it yet and needs to get in there before it's too late. I've clumped all the titles together and alphabetized them, and added my own from the article above. Contributors were Bill Shaffer, Jorge da Cunha, 'Jack', Michael Evans, Angus Paul, Don Montgomery, John Black, Steve White, Hunter Arend, Mark Gomilion, Tim Hewitt and a couple of anonymous people.

20 Million Miles to Earth
20,000 Leagues Under the Sea (widescreen)
3 Godfathers (Wayne)
55 Day at Peking
The Adventures of Robin Hood
All Quiet on the Western Front (the uncut 140 min. version)
All That Jazz
Arabian Nights
Attack!
Barton Fink
Battle of Algiers (2)
The Beast From 20,000 Fathoms
Beau Travail, Denis (region 1)
Bedazzled (Dudley Moore)
Bedlam
Berlin Alexanderplatz
The Big Parade
Bigger than Life
Black Lizard
The Black Room
Blacula
Blood and Roses
The Body Snatcher
The Boy With Green Hair (with Nat King Cole song restored)
Brides of Dracula
Brideshead Revisited (TV)
Burn, Witch Burn!
The Canterbury Tales
Captain Blood
The Captain From Castille
Carousel (16:9 remaster)
Cat People (the original)
The Charge of the Light Brigade
The Children's Hour
Chimes at Midnight (major restoration work)
A Christmas Story (widescreen)
Cincinnati Kid
Clash of the Titans
Crack in the World
Creator
The Conqueror Worm (Witchfinder General)
The Crimson Kimono
Curse of Frankenstein (2)
Curse of the Cat People
Curse of the Werewolf (2)
Cyrano De Bergerac (Gerard Depardieu)
Danger: Diabolik
Dawn Patrol
Day At The Races
Day of the Locust
The Dead (Huston)
Dead Reckoning
Decameron
Detective Story
The Devils (Russell)
Don't Look Now (2)
Don't Look Now
Dracula Has Risen From The Grave
Dream Child
Duelists
Earth vs. the Flying Saucers
East of Eden
El Cid
The Enemy Below
Enforcer (Bogart)
Eraserhead
Extreme Prejudice (widescreen)
The Fall of the Roman Empire
Fathom
The Fearless Vampire Killers (2)
Fires on the Plain
A Fistful of Dynamite
Flower Drum Song
Forty Guns
Frankenstein Must Be Destroyed
Freaks
Garden of Evil
Gaslight
The Gate
Gentleman Jim
Ghidrah, the Three-Headed Monster
Go Tell the Spartans
Godzilla (original 1954 Japanese version)
Goke, Body Snatcher From Hell
Gospel According to St. Matthew
Great McGinty
The Great Race
The Grey Fox
Greystoke: The Legend of Tarzan, Lord of the Apes
Gun Crazy (Peggy Cummins)
Gunfight at the OK Corral
The Gunfighter (Gregory Peck)
The Haunting (Rbt. Wise)
Helen of Troy
Hell and High Water
The High and the Mighty
A High Wind in Jamaica
The Hills Have Eyes
Homicide (Mamet)
Hondo
Horror of Dracula (2)
House of Bamboo
The House that Screamed
I Walked with a Zombie
Ikiru
In the Company of Wolves
Island in the Sun
Isle of the Dead
It Came From Beneath the Sea
Johnny Guitar
Johnny Handsome
Journey to the Center of the Earth
Kagemusha
The Key
Kill, Baby ... Kill! (remaster)
The King and I (16:9 remaster)
The Kingdom 1 & 2 (domestic)
Knock On Any Door
Lady In The Lake
Land of the Pharaohs
Late Show
Legend
Libeled Lady
Life of Oharu (Mizoguchi)
Little Caesar
Little Giant (Edward G. Robinson)
The Long Goodbye (Elliot Gould)
Lord Love a Duck
Macao
MacBeth (Polanski) (2)
The Mark of Zorro (Fairbanks)
The Mark of Zorro (Powers)
The Masque of the Red Death (Corman) (3)
A Matter of Life & Death (Stairway to Heaven) (2)
McCabe & Mrs. Miller (3)
Meet Me in St Louis
Meet the Feebles
Metropolis (digital remaster) (4)
Miller's Crossing (2)
The Miracle of Morgan Creek
Mothra
Mrs. Miniver
Murder by Decree (Christopher Plummer)
Murder My Sweet
Murderer's Row
Mutiny on the Bounty (the Gable version)
My Darling Clementine (with the original and the alternate ending)
My Favorite Year
My Sister Eileen
The Mysterians
Naked Lunch
Naked Spur
Napoleon (Abel Gance)
Near Dark
A Night At The Opera
Night of the Demon (uncut version of Tourneur's Curse of the Demon)
Night Moves
Ninotchka
Northwest Passage
Oklahoma (16:9 remaster)
Once Upon a Time in America (3)
Once Upon a Time in the West (5)
Our Man Flint
Our Man in Havana
Our Vines Have Tender Grapes
Out of the Past
Pandora's Box (2)
Paper Moon
Performance
Perils of Gwendolyne in the Land of Yik-Yak (Tawnee Kitaen)
Pete Kelly's Blues
The Pirate
Point Blank (Lee Marvin)
Popeye
Porgy and Bess
The Power and the Glory
Pretty Poison
Private Parts
Prospero's Books
The Public Enemy
Pursued (Robert Mitchum)
The Quiet Earth
The Racket
Ran (remaster)
Red Dust
The Revenge of Frankenstein
Robinson Crusoe on Mars
The Rose Tattoo
The Ruggles of Red Gap
Sammy Going South (A Boy Ten Feet Tall)
Sante Sangre
Scaramouche
Scream (Taste) of Fear
Scrooge (Albert Finney)
Sea Hawk
The Seventh Victim
Shotgun Wedding
The Silencers
The Singing Detective
Sink the Bismarck!
Sirocco
Smash Palace
Solaris (domestic) (2)
Sons and Lovers
South Pacific (16:9 remaster)
Summer Stock
Sunset Boulevard
Sweet Charity
Sword of Lancelot
Tales of Hoffman
Targets
Taste the Blood of Dracula
The Tenant
Them!
These are the Damned
This Island Earth
Thoroughly Modern Millie
El Topo
Trouble in Mind
Twin Peaks (episodes 6+)
Twins of Evil
The Two Faces of Dr Jekyll
Umberto D.
The Uninvited
Untamed
Vampire Circus
Vanishing Point (with deleted footage of hitchiker Charlotte Rampling)
The Verdict
Warlock (Henry Fonda)
We're No Angels
What's Up Doc?
Who Killed Teddy Bear?
The Wild Bunch (16:9 SE)
Will Penny
Wise Blood
Wolfen
Yankee Doodle Dandy
The Year of the Dragon

Group requests:

Ray Harryhausen Films
Billy Wilder films any and all
Universal Science Fiction
Allied Artists & Sam Arkoff '50s sci fi and horror
Barbara Steele EuroHorror classics
Soviet Bloc Sci fi
The Val Lewton films
More Preston Sturges movies
Harold Lloyd films
Kieslowski's colors trilogy
The Lone Wolf & Cub/Baby Cart Assassin series
The Zatoichi-Blind Swordsman series
The entire Looney Toons and Merrie Melodies library
The entire MGM animated shorts library
The entire Fleischer Popeye and Betty Boop library
Fred Wiseman documentaries
The rest of the Edgar Allan Poe/Price/Corman series
The rest of the Beach Party flicks
A Steve Reeves box set
The Thin Man movies
Just about any Hammer Horror movie


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