To celebrate 20 years of Something Weird bringing the world the very best in subversive, disreputable, and cult cinema, SWV made available four exceedingly rare, never-before-released jewels that will make any cinephile’s head light up and spin. Rosie (b&w) is a failed 19-minute pilot for a TV sitcom about a talking dog named Rosie. It is absolutely horrifying. Why? Because the dog is not played by a real canine (or a puppet or a cartoon) but by a large adult in a mangy dog suit with a creepy dog face, clumsily walking around on his hands and knees. The Weird World of Weird (1970, color) is a loony 47-minute never-aired TV special in which host RALPH STORY explores psychic phenomena, astrology, witchcraft and “all those mysterious secrets hidden in the mystical world of the occult.” with detours to a psychic “balloon reader” and a spook-filled séance at the Magic Castle. It's got a groovy, late-60s psychedelic feel to it all that makes it a wonderfully bizarre time capsule. Follow That Skirt (1964, color) is a nasty little 26-minute short that was probably intended to be America’s second gore film. Though not released until 1965 when, according to Dave Friedman, it played a single theater in San Francisco, there’s little doubt that Blood Feast was its influence. Based on the popularity of its trailer, The Smut Peddler (1965, b&w) is among a handful of currently “lost” films that Something Weird (as well as the rest of the world) has been actively searching for. So we were thrilled when we at least found this much in excellent condition. And, yeah, it’s good stuff. A crude oyster-eating publisher, a lesbian secretary, and a French photographer all love mauling and exploiting their lovely nude models while W.B. PARKER (Olga’s House of Shame) is shocked and appalled. - Frank Henenlotter

After word of an enemy’s powerful secret weapon leaks out, a group of soldiers is handpicked by Julius Caesar to destroy the machine at all costs.

Attention die-hard GEORGE ROMERO fans: this is the one you've been waiting for! Believed forever lost, this Latent Image take on The Graduate is the red-headed stepson of Romero and company's output which bridges the thematic gap between the feminist concerns of Season of the Witch (1972) and no-holds-barred horror of The Crazies (1973). The plot concerns Chris, a troubled youth who can't commit himself to family or friends until he meets Lynn (JUDITH STREINER), who tries to help him gather all the disparate strands of his life and bind them into some kind of shape. Romero's signature machine-gun editing technique takes this standard boy-meets-girl-in-the-early-seventies story and turns it into a kaleidoscopic barrage that's full of surprising life.

While strongman Goliath is busy battling a fire-spewing three-headed doggie and a giant bat-monster in the "Cave of Horrors," his brother, lllus, has made the mistake of falling in love with the bride-to-be of evil King Eurystheus (played by Broderick Crawford, who walks around barking orders like a Hollywood gangster). Responsible for the death of Goliath’s parents, Eurystheus scores bonus points by capturing Illus and sentencing him to be crushed beneath the massive feet of a prisoner-squashing elephant. Worse, a centaur - half-man, half-horse - kidnaps Goliath’s wife and delivers her to the temperamental tyrant. Naturally, Goliath goes ballistic, flexes his muscles, and clobbers all the king’s men. But when his wife is shackled in the Horror Cave, Goliath must come face to face with Eurystheus’ pet dragon...

A woman transforms herself into a black-clad, karate-chopping vigilante and strikes back at the gangsters who killed her sister.

Actually, The Phantom Planet is really one of those damn phantom asteroids (resembling a giant bowel movement) that zips around space on its own power, and sucks the spaceship of DEAN FREDERICKS to its surface. Once Fredericks is exposed to its atmosphere, he gets dizzy, sees ten teenie-tiny men creep up on him, and shrinks inside his space suit (a great shot) until he’s only a few inches high. Next thing you know, he’s having a fist-fight with one of the little men right inside his space helmet! Yes, boys and girls, it’s another sci-fi kiddie matinee full of rockets dodging meteors, aliens in fiery space ships, an astronaut who floats to his death reciting “The Lord’s Prayer,” an allegedly “advanced race” that lives in a self-imposed “primitive” lifestyle because they once had too much leisure time on their hands (huh?), and, best of all, what may very well be the funniest-looking monster in movie history. And, because it’s all set in the futuristic world of 1980, everything is carefully explained with a lot of scientific jibberish that doesn’t make a goddamn bit of sense.

Still alive...the ancient cult of Voodoo as it is practiced today! The men she loved, lived to love no others!...It Struck with Savage Fury The Devil's Hand From the director of THE GHOST OF DRAGSTRIP HOLLOW comes this story of voodoo and obsession. Robert Alda dreams about beautiful Linda Christian. He goes to a curio shop run by Neil Hamilton (Commissioner Gordon on TV's BATMAN) who gives him the girl's address after purchasing a doll in her image. She convinces Robert Alda to join a cult and his old girlfriend ends up in the hospital after some voodoo doll pincushioning. Of course, Neil Hamilton is involved in these voodoo rites and he has a sacrifice machine made of sharp swords which lowers from the ceiling onto the table-ready victim below. Sort of a massive voodoo device- sticking one pin in at a time is rather time consuming, after all!

Tough college student Tod Palmer (Robert Sherman) patiently suffers increasingly severe hazing at the hands of sadistic Ky Walker (Russell Johnson) while pledging a fraternity at Wake College. Attempting to bring the ritual initiation abuses to the authorities' attention, Tod accidentally dies after fleeing from the angry fraternity brothers. Medical professor Dr. Stephen Brice (Paul Henreid) then tries to end the practice of hazing, determined to obtain justice for one of his best students.

Ignore the title. It's a great one alright, but Hollywood After Dark evokes images of movie stars, casting couches, and back-lot orgies which can be found in Starlet or The Masterpiece but not here. No, this one's about a loser in love with a stripper who gets involved with a deadly robbery. And though it ostensibly takes place on the fringes of Hollywood, except for a shot of the Hollywood sign, it could've been made in Anytown U.S.A. It's also another of director JOHN HAYES' brooding meditations on life pretending to be a sexploitation film. like its companion piece, The Rotten Apple (another Hayes! McClanahan collaboration), it can best be described as Existential Exploitation, and, like all of Hayes' films, aspires to be something smarter and more profound than just another "B'" Rue Mclanahan