That's interesting that the box has the same art as on their website that includes films that are assuredly not in this box. Guess we have some idea about Vol 2!
I don't follow. All the components of the banner on their site appear to feature on this box, and reflect the films within. The only other hint we have is Scream Bloody Murder, as they seem to have taken an element of that poster to use on their general logo for the project.
The big question here is: are any of these films any good?
Having never heard of any of these and not being a huge expert, it appears that Witch is the standout here, as it seems to have a very positive reception on where I've looked it up. The others, less so, but they both seem to be appreciated.
I'm really not sure if these are my speed at all but I'm sorely tempted by the idea of this and I'd really like to show my support so maybe I'll end up buying this during the December sale for the double points.
I'll grab this for the 2 films I'm interested in (but have never seen). I did own the Media Blasters DVD of Premonition but haven't actually watched the film all the way through. Thought it was dull tbh. I picked up a copy of Nightmare USA, just haven't had the time to dig into it - now seems like the right time
I don't follow. All the components of the banner on their site appear to feature on this box, and reflect the films within. The only other hint we have is Scream Bloody Murder, as they seem to have taken an element of that poster to use on their general logo for the project.
The redeyed frankenstein-headed monster dude on the top of the logo (on the box) or the left (on the website) isn't from any of these movies, is it?
The big question here is: are any of these films any good?
Good on what scale and in what context? That's such a vague question no one can answer it. A ton of horror classics aren't considered good by most regular people.
The redeyed frankenstein-headed monster dude on the top of the logo (on the box) or the left (on the website) isn't from any of these movies, is it?
Well I can't say for sure because I haven't seen them, but I'm guessing he must be from one of these films, as everything else on the cover is. I could be wrong mind, but I imagine they'll personalize each of the set covers to match the contents within.
Yeah, but that was before Arrow's turnaround; they printed 10,000 copies; and the MGM special edition Blu-ray, with an identical master, costs like $5.
I've never seen any of the films in this box, with the exception of The Witch Who Came From the Sea, and that was about ten years ago. I can't wait to finally get to see it again, in HD!
This American Horror Project thing has a ton of potential. Hopefully Arrow serves up some really astounding flicks and gives them the attention they rightly deserve!
...one of the strangest and most perversely beautiful horror films of the seventies. It's a beguiling fantasy with a unique texture well beyond the more workaday levels of the genre, the sort of movie you can watch several times and still remain unsure of the exact contents. Not because it's bad, or boring, but because the hazy, downbeat style twists your mind out of focus. Cimber saturates his tale with an off-season seaside ambience, which, blended with the lead character's dreamy psychopathy, produces something extraordinary...
...
Millie Perkin's performance as Molly achieves a clarity that reaches into your mind and seriously creeps you out. She's amazing - I would put her performance on a par with Susannah York in "Images" and Carol Kane in "The Mafu Cage." Her strained, gaunt face conveys Molly's dual life perfectly. We can see that the tide of her fantasies will never wash away her trauma.
...
[It] feels hewn from late night conversations, private reminiscences; it drifts and sways like seaweed, like thoughts in a cannabis fugue. The structural timber of the horror genre is cast adrift. Horror, overt horror at least, is concentrated in the early part of the film, and what follows is a sad, sleepy tidal shift into psychological portraiture. Imagery and allusion are uppermost in the latter half, and a first late-night viewing of the film may yield nothing the morning after except a few images and a morbid afterglow. The movie changes the metabolism of its genre; the scares are oblique, the overall tone languid....The Witch Who Came from the sea is...a genre masterpiece deserving of a much higher profile.
Malatesta's Carnival of Blood
Trailer:
The trailer is terrible, watch this short clip of one of the wildest scenes instead:
Beautifully photographed, imaginatively designed, far-out in conception and successfully bonkers at least half the time, [it] is unlike anything you've seen before. Its closest neighbors in outer-space are maybe Jack Hill's "Spider Baby (1964)," Jack Cardiff's "The Mutations (1973)," and Ray Dennis Steckler's "The Incredibly Strange Creatures Who Stopped Living and Became Mixed Up Zombies!!? (1963)" - the latter purely on the basis of the carny setting and the photography.
...it's really a showcase for the director and his art designers to go berserk with acid-tinged visuals. The design team...pull off tableau after tableau of stylish disorientation: a car suspended upside down from a ceiling with an interior dressed to resemble a huge red mouth; a room half-filled with what seems to be an enormous, partially deflated racing balloon; and many more marvels best left for your first viewing.
Christopher Spaeth [the director] should be proud to have made such an unconventional, defiantly stylish and dreamlike film, in a country where the horror genre often falls into predictable pigeonholes. (Not content with having a bunch of cannibal ghouls living beneath a rollercoaster, Speeth makes them silent movie addicts, gathering transfixed before battered prints of The Phantom of the Opera, The Cabinet of Dr Caligari and The Hunchback of Notre Dame). Several sequences are like nothing else in the genre (a night-time ride on the roller-coaster is particularly breathtaking)...
The Premonition
Trailer:
Couldn't find one!
Quote:
This bold and imaginative movie comes out of left field, with a tone and ambition that sets it apart from the norm. The story of an unbalanced mother trying to take back her daughter from the couple who adopted her is hardly a hackneyed plot for a horror tale, and to make things even stranger, Robert Allen Schnitzer - who wrote as well as directed - gleefully adds telepathy and precognition to a topic one would normally encounter in a rationalist context. The acting is strong and assured, especially from Barber and Lynch, and Schnitzer's directing builds up some powerful suspense, dotted with genuinely startling shock moments.
The tale is told in a non-linear way, with information patched together piece by piece, and not always in a way that makes immediate sense. The viewer has to work to understand what's going on, and certain ambiguities are left to float for a while as other strands of the story dominate. All of which adds up to a highly individual effort from Schnitzer, the quality of which makes you sorry that he never returned to the genre. If his ambition had outstripped his ability, this would have been something of a mess, but he brings skill and sensitivity to the storytelling, a firm hand to the technical aspects, and a clear aptitude for working with actors. Whatever your feelings about the parapsychological concepts Schnitzer raises, there's no doubting his sincerity and his genuine imaginative involvement.
....
In the name of surprise, it's best to draw a veil over the latter stages of the film - suffice to say there's a commitment to the poetic and illogical that would scarcely disgrace Dario Argento in his prime. That's not to suggest there's a motherlode of violence in the final reel, far from it, but there is a similarly heroic disregard for narrative plausibility. ...there's a great deal to admire in his impressively unformulaic sleeper. It has ambition, imagination, and the power to linger in your thoughts, and like Thom Eberhardt's "Sole Survivor" or Willard Huyck's "Messiah of Evil," deserves a far greater genre profile.
The big question here is: are any of these films any good?
Many of these films got underwhelming reviews from days of bad VHS and DVD sources, it can sometimes be a refreshing look when properly restored, and that enhanced viewing inspires more positive reviews.
Last I checked Hen's Tooth had The Witch Who Came From the Sea, at least in the US, so could we potentially see another one of their titles Alice, Sweet Alice make it into, say, Vol. 2 of the American Horror Project?
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