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Wednesday, July 27, 2016

Olive Films - THE RATINGS GAME and GANG RELATED on Blu-ray

THE RATINGS GAME (1984: Danny Devito)
It's crazy to me how long Danny Devito's career has lasted. He's obviously a ridicoulsly talented comic actor, but even so, a lot of his contemporaries from the 1980s have faded into obscurity by now. Devitio is very much in the brash 80s RUTHLESS PEOPLE mode in THE RATINGS GAME, where he plays Vic DeSalvo - a trucking magnate who wants to throw his hat into the ring of TV producing. When he fails to make any headway with the major networks, he sneaks his way into last rated MBC. With a lineup of shows like H.O.T.B.O.D.S. AND LEVAR, WHACKED OUT (about a guy who pretends to be a woman to get in the army), THE DAWN PATROL (about a group of garbage men), THE SENATOR AND STINKY and BEERNUTS - MBC is in a position to be looking for some new programming. Vic DeSalvo manages to get in to see an MBC development executive on his last day, just after he's been unsanctimoniously fired. As revenge, the exec green lights one of DeSalvo's TV show ideas. It's called SITTIN' PRETTY and it's all about two twins who find themselves with in college and with a new roommate (played by Devito). The MBC execs are none to thrilled with the show, so they stick it up against The World Series to bury it. Little do they know that Devito and Perlman have a plan to make it a big hit.
There's a kind of a UHF vibe to some of the TV shows, even though the whole thing is a bit more dramatic while still taking a lot of satirical jabs at show business in general. It's kind of this charming love story between Devito and Rhea Perlman mixed with this spoofy comedy thing. It was apparently the first original movie financed entirely by Showtime Networks (and was shown heavily on The Movie Channel, which they owned) and is of course the directorial debut of Devito in films.
The supporting cast is great and includes the likes of Vincent Schiavelli, Kevin McCarthy, Garrit Graham, and Michael Richards with cameos by Jerry Seinfeld, George Wendt, Jason Hervey, Huntz Hall (in his last film).

THE RATINGS GAME can be purchased on Blu-ray here:

GANG RELATED (1997; Jim Kouf)
This is one of those 90s movies that only stands out to me for a few reasons. First, it came out on VHS when I was working at a video store so I do remember it from back then. The other thing that stood out was that it was a Tupac movie. To me, it just seemed like a gimmicky urban police drama that was meant as a vehicle for Shakur. I never bothered to watch it back then because I made the unwarranted assumption that Tupac was a bad actor and the movie must be bad because of him. Despite my being a big fan of James Belushi, I wrote it off. So this movie was completely lost to me and this Blu-ray was like an archaeological dig. It was a throwback to the time when Tupac was a huge part of the popular culture of the time and he is certainly not as much so today. He has been somewhat immortalized by his untimely demise, but people are not talking about this movie nowadays. What I didn’t expect was that Tupac was actually pretty good here. Belushi is solid too. The duo play some cops who make a major mistake when they murder an undercover DEA agent and then get assigned to solve the crime. The cops have to scramble to find a scapegoat and in doing so, they paint themselves into bit of a corner. As lies have a tendency to do, these lies spiral out of control and the tension continues to amp up. Shakur and Belushi are a good team. Shakur has this ability to make his performance feel real and genuine and Belushi is great as this kind of desperate, but oddly charismatic character. These cops are not all that sympathetic, but the actors pull off a sizeable feat in making you kind of root for them not to get caught. Kudos to Belushi and Shakur for pulling it off and making this film more engaging than I expected.
Supporting cast includes Dennis Quaid, David Paymer, James Earl Jones and Gary Cole.

GANG RELATED can be purchased on Blu-ray here:

Tuesday, July 26, 2016

New Release Roundup - July 26th, 2016

DEADLINE U.S.A. on Blu-ray (Kino Lorber Studio Classics)

DEADLY TRACKERS on Blu-ray (Warner Archive)

DEATH WISH II on Blu-ray (Shout Factory)

THE NEW WORLD on Blu-ray (Criterion)

THE CANDY TANGERINE MAN on Blu-ray (Vinegar Syndrome)

PETEY WHEATSTRAW on Blu-ray (Vinegar Syndrome)

THE BOY WHO CRIED WEREWOLF on Blu-ray (Scream Factory)

HELLHOLE on Blu-ray (Scream Factory)

FIVE MILES TO MIDNIGHT on Blu-ray (Kino Lorber Studio Classics)

THE INVITATION on Blu-ray (Drafthouse Films)

SING STREET on Blu-ray (Starz/Anchor Bay)

THE BOSS on Blu-ray (Universal)

HARDCORE HENRY on Blu-ray (Universal)

ZOMBIE HOLOCAUST on Blu-ray (Severin Films)


Criterion Collection - CARNIVAL OF SOULS on Blu-ray

CARNIVAL OF SOULS (1962; Herk Harvey)
One of the things I that I think most draws people to movies is their ability to occasionally capture the feel and texture of a dream. I'm not necessarily taking about "dream sequences" in films either. No, I'm more referring to atmosphere. Atmosphere is something that cinema can do better than just about any other medium. Sometimes style and a lack straightforward logic can express so much in terms of setting a mood or giving an uneasy impression. There's something about black and white too that carries a dreamlike quality. Director Herk Harvey was an industrial filmmaker by trade and made CARNIVAL for the low low price of $30,000. He said they selected black and white film to give it "the feel of a Bergman and the look of a Cocteau". While the film doesn't quite achieve those things, it does achieve it's own thing which is quite distinct and haunting. Writer John Clifford attributes some of the film's continued notoriety to the fact that he and Herk Harvey were not trying to copy the success of other films of the time.  I'd like to think that because they both came from working outside Hollywood and the filmmaking tropes and style of big movies of the period - they were able to come up with this thing that is pretty unique. And it's basically one of the first modern zombie movies ever (and Herk Harvey himself plays one of the zombies by the way). We're talking about a time pre-NIGHT OF THE LIVING DEAD and George A. Romero has acknowledged that CARNIVAL OF SOULS was certainly an inspiration for him. The film is a contemporary of THE TWILIGHT ZONE and that is perhaps its closest relative. Watching CARNIVAL OF SOULS all the way through, you can't help but put it into that same supernatural category as Rod Serling's classic show and that's not a bad thing at all.

The story of CARNIVAL OF SOULS is a pretty simple one. Mary Henry is an organist who gets into a car accident (the car that she is riding in ends up going off a bridge into a river). After she emerges from the river, she ends up on a trip to a new church to become the organist there. Along the way on her journey, she is constantly menaced by this zombie fella - "The Man" (Harvey). He just appears to her over and over again and scares the crap out of her and then disappears. When Mary finally gets to Salt Lake City, things get even creepier. The actress that plays Mary - Candace Hilligoss  - has this very interesting exotic look to her. A lot of it has to do with her face and her eyes. She's almost elf-like in some way and that only adds to the overall fabric of fantasy that the movie creates. She was apparently in acting training with Lee Strasberg around the time she was cast and her peers there were Marilyn Monroe and Roy Scheider among others.

CARNIVAL OF SOULS is a cult movie in the purest sense of the descriptor. It is strange in this very memorable way. I've often thought it would make and interesting leith F with one of the greatest cult films of all time - ERASERHEAD. I can't exactly explain why these two might go together, but there's something about the loneliness and isolation of the two main characters tat resonates with me in a similar way. Don't get me wrong, CARNIVAL OF SOULS is tame in its weirdness when compared to ERASERHEAD, but they both have this feeling underlying the visuals that makes me think a person's mind would be melted a little if watched back to back. Interestingly, David Lynch himself has cited CARNIVAL as a favorite of his - which totally makes sense.
 One of the most unforgettable things about the movie is the ending and it's use of the abandoned and decaying Saltair Pavillion in Salt Lake City Utah. There's really no place like it. I have this odd fascination with abandoned amusement parks and such and the Saltair Pavilion is one part that and one part dance hall - but it's 100 percent bizarre and ghostly looking. Another thing that stands out and helps the mood is the film's score by Gene Moore. It's all organ music and that obviously plays into Mary Henry's character, but that sound also adds this otherworldly creepiness that makes everything that much more eerie. It's hypnotic and mesmerizing while still adding to the overall sense of disorientation we feel while watching it.

Cult movie writer Danny Peary says of the movie, "But, rather than being a straight horror film, it delivers a message similar to the one in INVASION OF THE BODY SNATCHERS about how we are all turning into pod people. Mary is such a passive, uninvolved (soulless) character --she has no religious convictions, no interest in men,no desire for friendship--that she was never really alive."

Special Features:

This disc sports a nice looking new transfer - which is great, but it should be noted that this release doesn't contain both the theatrical and director's cut versions of the film (as the previous Criterion DVD did). This one just has the theatrical cut, so you may want to hang onto your old discs if you want both*. Nonetheless, this new Blu-ray has some nice supplements:
-New, restored 4K digital transfer, with uncompressed monaural soundtrack on the Blu-ray
-Selected-scene audio commentary featuring director Herk Harvey and screenwriter John Clifford
-New interview with comedian and writer Dana Gould
-New video essay by film critic David Cairns
-The Movie That Wouldn’t Die!, a documentary on the 1989 reunion of the film’s cast and crew
-The Carnival Tour, a 2000 update on the film’s locations
-Excerpts from movies made by the Centron Corporation, an industrial film company based in Lawrence, Kansas, that once employed Harvey and Clifford
-Deleted scenes
-Outtakes, accompanied by Gene Moore’s organ score
-History of the Saltair Resort in Salt Lake City, where key scenes in the film were shot
-PLUS: An essay by writer and programmer Kier-La Janisse

For old-school horror and cult movie fans, this disc is simply a must own. It is still a disturbing and uneasy watch and it will stay with you for years afterwards.
CARNIVAL OF SOULS can be purchased on Blu-ray here:

*differences between the theatrical and director's cut of the film are detailed here:

Monday, July 25, 2016

Underrated '76 - Steve Q

Steve Q has reviewed more than 1000 bad films at and can be found on Twitter @Amy_Surplice.

See his Underrated '86 list here:
For this post, I've decided not to discuss the plot of any of the films I chose, but rather my history with them.
The Oily Maniac
The Shaw Brothers are almost synonymous with Hong Kong martial arts films. Like most people, I saw "Shaw Brothers" and expected fight scenes, not a monster movie reportedly based upon a Chinese legend and, like most people, I was at first disappointed, then overwhelmed with the enjoyable trash fest this film is. I watched it twice back-to-back, I enjoyed it so much.

The Great Texas Dynamite Chase
I wanted to marry Claudia Jennings in 1976. Yes, I was 14 and she was a former Playboy playmate living 1000 miles away, but I thought it was a possibility - and then she died three years later, after having made a bunch of terrific exploitation films, this one being my favorite (though "Gator Bait" is a close second). I researched her life after I found out she was born in my hometown. For the record, she had a type... and I wasn't it.

Queen Kong
Rula Lenska made an ad for Alberto VO5 in 1979, which led Johnny Carson to ask "Who's this 'celebrated actress' I've never heard of?" When his staff researched it, they found she had been in this film - now it only takes a few keystrokes; then you had to have sources in the industry - and he had a field day with it. He interviewed her and was actually quite nice to her. The film itself was only in theaters for two weeks because Dino DeLaurentiis, who had just re-made "King Kong" sued; it was the Holy Grail of hard to find films until it got a DVD release. I found a 35mm print and got a local theater's projectionist to give me a private screening (he fell asleep).

Chesty Anderson, U.S.N.
This was a film that Russ Meyer could have cast. Rosanne Katon, a Playboy Playmate, stars, with Dyanne "Ilsa: She-Wolf of the S.S." Thorne as a nurse. Uschi "Supervixens" Digard and Shari "Supervixens" Eubank also have roles. There is extremely little nudity involved, making it a curiosity. I first saw it on network television with my dad; it was awkward for both of us.

Live Like a Cop, Die Like a Man
Ruggero Deodato is known for his extremely violent and gory horror films and I'm not a fan, so I was not looking forward to seeing this. It's like Jim Thompson's "Pop 1280" mixed with "Dirty Harry" and "Death Wish," but with the cynicism and violence cranked up to 11. It's the kind of film that Quentin Tarantino keeps trying to make. I saw it in a retrospective of Deodato's films done by a friend of mine. That friend hated my taste in film.

Sunday, July 24, 2016

Twilight Time - THE GANG'S ALL HERE on Blu-ray

THE GANG'S ALL HERE (1943; Busby Berkeley)
"Don't be a square from Delaware, get hep to yourself."
Busby Berkeley is a name that is sadly lesser known to non-cinephile's despite his vast impact as a stylist that has carried into a lot of contemporary cinema today. Films as disparate as Spielberg's INDIANA JONES AND THE TEMPLE OF DOOM the Coen Brothers' THE BIG LEBOWSKI and Disney's animated BEAUTY AND THE BEAST all pay loving tribute to Berkeley and his pinache for staging. The words "visionary" and "genius" are thrown about a lot and thus diluted a bit, but Busby Berkeley was certainly both. Though he apparently couldn't dance a step himself, he managed to choreograph and film some of the most delightful and surreal sequences in all of musical cinema. He was truly a master of "making the camera dance" as it were. It's been said that, as a director, Berkeley could be somewhat unsympathetic to his actors especially in terms of the demands he made of them (many many takes, complicated camera setups). That said and as much as I do feel for the actors, I must admit that what he brought to the screen in his films is still truly dazzling. As much as I think of more contemporary directors and more prolific movers of the camera, Berkeley was certainly no slouch in this department. Apparently, the man loved his crane shots and that is absolutely on display in THE GANG'S ALL HERE right out of the gate. The opening set piece is a glorious and dizzying thing of beauty that plays out in a giant soundstage that is meant to be an enormous nightclub with the capacity to put on outlandish and impossibly huge musical numbers for their relatively small crowds. THE GANG'S ALL HERE is something of a bittersweet movie in that it is kind of Berkeley's swan song interns of making a film with carte Blanche and full studio backing (Daryl Zanuck was a huge Berkeley supporter so he had his back). That said and especially with the addition of technicolor into the kaleidoscopic mix, it really does make for one of the most exuberant and wonderful musicals ever made. THE GANG'S ALL HERE is quite a singular film, even within Berkeley's remarkable filmography. He really pushes the bounds of the stylistic paradigm he established with his prior work and the result is something quite magnificent. Beyond the amazing "Busby Berkeley-isms" I also must not forget to mention the swell cast here that includes the likes of Alice Faye, Carmen Miranda (who does a couple of her most famous songs), Edward Everett Horton, Eugene Pallette and hugely popular bandleader Benny Goodman.
Twilight Time has put out a stunningly lovely Blu-ray here and this transfer alone may be enough to convince done skeptical classic film fans that they finally need to acquire a multi-region player. It is a choice display of what the Blu-ray format can do for even an older film like this one and the results are splendid. It's a must own for fans of classic musicals to be sure. A fantastic disc.

Special Features:
This Twilight Time Blu-ray includes a nice commentary track from film critics Glenn Kenny and Farran Smith Nehme as well as Film Historian Ed Hulse. I enjoyed this track very much as it is clear that these three not only know their cinematic stuff (of course), but are very excited to be talking about it in regards to Berkeley and this film in particular. They have a great deal to comment on throughout from various aspects of the production, the actors in the cast (and their careers), historical and studio-related contexts, the difficulties of filming in technicolor, as well as innumerable scene-specific details. It is a Criterion-worthy track and an excellent supplement to this disc.
-Also included is "Busby Berkeley- A Journey With a Star" (20 mins). This short retrospective piece includes interviews duel conversations with USC film professor Rick Jewell and President of the Institute of the American Musical Miles Krueger. Both gentlemen have clearly steeped themselves in classic Hollywood history and are devout fans of Berkeley in general. A lot of neat things are touched on here from Berkeley's place in a studio system that could be both supportive and extremely restrictive to a creative mind such as his well as lots of things that he did as signatures that were part of this film as well as his others. A lively and passionate discussion of the man.

Additionaly, the other supplements include:
-Isolated Score Track (with some dialogue and effects)
-A 2nd Audio Commentary - with Film Historian Drew Casper
-Alice Faye’s Last Film: We Still Are!
-Deleted Scene: The $64 Question
-Original Theatrical Trailer

Here's a little 3 min clip of something called "Frame By Frame: Busby Berkeley" in which:
"University of Nebraska Film Studies professor Wheeler Winston Dixon takes a spin through the extravagant films of musical director Busby Berkeley."

THE GANG'S ALL HERE can be purchased on Blu-ray from Twilight Time here:

Saturday, July 23, 2016

Warner Archive - TO HAVE AND HAVE NOT on Blu-ray

TO HAVE AND HAVE NOT (1944; Howard Hawks)
"You know how to whistle don't you Steve..."
There are movie watching experiences and then there are TRANSFORMATIVE movie watching experiences. These are the kind that forever shift your viewpoint a bit. In the case of TO HAVE AND HAVE NOT, it came along at just the right moment in my budding cinephile period. I took a college film course, one of my first and it completely changed my life. That was where I was introduced to Howard Hawks and John Wayne. It was in that class, that things started to click into place for me in terms of what I wanted to focus on. I was already into classic films and so forth because of Danny Peary's Cult Movies books, so I had run across masterpieces like DOUBLE INDEMNITY and SUNSET BOULEVARD and they had impacted me greatly. I actually got to the point where I would see these films and then I'd buy them on VHS (yes, this was a long time ago) and then bring them home during my winter breaks to show my family. It became a regular thing that I would sit the family down and make them watch classic films and they actually tended to go over pretty well. TO HAVE AND HAVE NOT was one of those movies. After I saw it in class, I became obsessed with it. How could you not be drawn in by the chemistry between Bogie and Bacall? I hadn't seen very much Bacall at that time, but she captivated me immediately (as she has for so many folks over the years). She was this different kind of woman for a classic movie - much more individualistic and not just a stock character meant for the inevitable romantic subplot. She had a fire and a vibrance that made her impossible to take your eyes off of. Those eyes and that voice were simply mesmerizing as well. She truly gave me a sense of what it was to be a movie star. She just had that special something that made her stand out and whenever she was on screen, she literally pulled your eyes towards her. She had a presence that was like few other actresses I'd seen. She was part of the reason that my passion for classic films grew and grew when I was in college. I was convinced that if there were actors like her that were totally and utterly compelling to watch, I must seek out more of them. I really think that's all it takes to get someone addicted to classic cinema. You just need those one or two actors to draw you in and then you watch more movies and you come to know other actors from the period and suddenly you're hooked. It's really not much different than keeping up with all the "hot" actors of today, but you can do it at your own pace and you don't have any publicity machines shoving people down your throat so you can take your time find the folks that you really appreciate. The amazing thing about Bacall in TO HAVE AND HAVE NOT is that it was Bacall's first film and she's only nineteen years old! It's a fascinating thing to see Bogart falling for her as you watch the movie. She is really a special lady.
Now TO HAVE AND HAVE NOT came out a few years after CASABLANCA and thus it's hard not to draw some comparisons between the two films. And while Ingrid Bergman is one of the loveliest and most talented actresses of the time, she just doesn't have the same smoldering sensuality that Bacall has. Bacall almost makes Bergman feel stuffy by comparison and that's really saying something. Beyond the remarkable leading ladies that Bogart played opposite in both films, TO HAVE AND HAVE NOT and CASABLANCA also have some plot similarities. The "I stick my neck out for nobody"attitude that Bogart personified as Rick Blane carries right over to his turn as Harry Morgan. Bogart is also dealing with the Free French and helping out one of their leaders as he did in CASABLANCA. Also, both movies have a piano playing sidekick (Hoagy Carmichael in the case of TO HAVE AND HAVE NOT). The two films make great companion pieces to each other, but it seems to me that TO HAVE AND HAVE NOT gets much less love these days. Case in point, it is only now getting a Blu-ray release now in 2016 whereas CASABLANCA got the HD treatment years ago. Granted, it's a lovely looking Blu-ray and I am more than grateful that it has finally come out, but it seems like a movie that should have hit Blu-ray a while ago. That said, I hope (as I always do) that more folks will be drawn to the movie now that it is available this way. It is a true classic and worthy of the Cadillac treatment. This Blu-ray looks great and is an essential for any fan of great cinema.

Special Features:
-BACALL TO MY ARMS (1946) (Vintage Merrie Melodies Short w/ animated versions of Bacall and Bogie).
-"A Love Story: The Story of TO HAVE AND HAVE NOT".
-Lux Radio Broadcast of TO HAVE AND HAVE NOT starring Bogart and Bacall.
TO HAVE AND HAVE NOT can be purchased on Blu-ray here:

Friday, July 22, 2016


Vinegar Syndrome continues their stellar run of blaxploitation releases with this rare cult item. I remember this was a regular renter on VHS back at my old video store and I always meant to see it and never did. I lost track of it once DVD took over and as far as I know, it never really got a decent DVD release so this is sort of it's debut on any (non-bootlegged) format outside of VHS.
From the very beginning, this movie lets you know that the Candy Tangerine Man is one cool dude. He's a pimp and he's somewhere between SHAFT, SUPERFLY and TROUBLE MAN (obviously on a lower budget). I mean, check out this smooth opening theme song that sets the stage:

That's some cool funky stuff right? Well it's just bad enough to express the coolness/badassness of The Candy Tangerine Man (known as "The Baron" in the movie). Sidenote - I really really miss these character/tone setup songs that used to run with movies like this. They don't do them anymore (they'd probably play cheesy now, but I don't care) and that makes me sad. Anyway, The Baron is a mean mother himself, but he also has a mean machine as his automobile. It's a total pimpy classic kinda car, but there's a catch. He's tricked it out with hidden machine guns near both of the headlights so he can tear up anybody that tries to ambush him drive-by style. It's quite neat when he unleashes these bad boys on his unsuspecting foes (and he is forced to do so when he starts a war with a local mobster). The Baron is something of a dark  pimp superhero and he even leads a double life and has a secret identity too. This is a new wrinkle for a movie like this and it makes it more memorable than your average flesh-peddler blaxploitation actioner. 
This film was directed by Matt Cimber and Vinegar Syndrome has also included his film LADY COCOA as an extra added bonus, which is pretty cool. It's another blaxploitation flick about a jailbird girl who is out to take down her gangster ex-boyfriend.

Special Features
• Scanned and restored in 2k from 35mm archival prints - (Transfer is a little rough to start, but it gets better)
• Director’s video introduction for The Candy Tangerine Man
• Commentary track for LADY COCOA with Director Matt Cimber and Director’s Assistant / Actor John Goff
• Reversible cover for LADY COCOA
• English SDH Subtitles
You can buy THE CANDY TANGERINE MAN on Blu-ray here:

PETEY WHEATSTRAW (1977; Cliff Roquemore)
Rudy Ray Moore is back! After the success of his two DOLEMITE films (which Vinegar Syndrome also put out on Blu-ray), It makes sense that Rudy would make another film and this one is just as nutty as his other efforts. This time he plays the titular Wheatstraw, who we seen born in the first scene as a young child (as opposed to a baby) and who attacks his doctor right out of the gate. While still a teenager, Wheatstraw meets a hobo mentor (known as "Bantu") who teaches him the ways of kung fu and to take no sh*it from anybody. Of course Rudy had to work kung fu into this film too and in that way it's kinda DOLEMITE-y. Wheatstraw grows up to be a successful nightclub comedian (like Rudy Ray himself). He's so successful that he draws the ire of some competing comedians. Said comedians decide they have to take Petey down and when they do so, he is mortally wounded and runs into a Mr. Lou Cipher (aka The Devil himself). So when the Devil offers Petey a deal to save his life and come back, Petey takes it and then he's off to get revenge (using the Devil's magical "Pimp Cane" to get it). The whole movie affords Rudy Ray many opportunities to spout his spoken word comedy/poetry and also beat lots of dudes up with his martial arts skills. If you're a Rudy Ray fan, you really don't need much more than that from one of his films. If you dig the DOLEMITE films, you'll dig this movie too which is basically a DOLEMITE film with a "deal with the devil" supernatural twist. Rudy Ray is just as outlandish and ludicrous as Wheatstraw as you'd expect him to be the he entertains as only Rudy Ray can. 

As with THE CANDY TANGERINE MAN, PETEY WHEATSTRAW features a groovy theme song for our "hero". Check it out in this trailer for the film:

Special Features:
• Scanned and restored in 2k from 35mm original camera negative
• “I, Dolemite Part III” making-of documentary (the other two parts can be found on VS's Blu-rays of DOLEMITE and THE HUMAN TORNADO respectively)
• Commentary track with Rudy Ray Moore’s biographer, Mark Jason Murray, co-star Jimmy Lynch & director Cliff Roquemore.
• “Shooting Locations Revisited” featurette with Rudy Ray Moore
• Soundtrack • Promotional still gallery
• DISCO GODFATHER – theatrical trailer
• THE HUMAN TORNADO – theatrical trailer
• DOLEMITE – theatrical trailer
• Reversible cover artwork by Jay Shaw
• English SDH Subtitles

You can buy PETE WHEATSTRAW on Blu-ray here:
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