Awwwwww, freak out! Noted Percocet hound SONNY BONO, replete in shiny orange suit, dishes about Marijuana and how its users are cooler than those "square and unhip alcoholics". Still, the film illustrates the downsides to grass, such as seeing yourself in a mirror with a spooky monster mask, careening off a cliff, or -- in the case of one Nigerian pusher -- executed. You also see a monkey taking bong hits in a lab, which is, quite frankly, priceless. But Narcotics: The Inside Story shows you a bunch of rats hopped up on pills, which is far more entertaining than watching the computer animated antics of Stuart Little; followed by happy-go-lucky teenagers enjoying a seemingly unrelated beach blanket barbecue featuring a rather milquetoast volleyball game and weenie roast. Also featuring: Focus on Heroin, Thinking About Drinking, The PCP Story, and more.

A story of an executive and his nubile wife arriving in a new town and tangling with the S&M-tinged gang from the local exotic nightclub.

Sex, drugs, and a rubber monster mask in another Argentinean rarity from EMILIO VIEYRA, the director of The Curious Dr. Humpp! Then he plays his organ. Preying upon the "swingers" who frequent a local nightclub, Rubber Face lures babes with his own haunting theme song, turns them into love-slaves with heroin, and slobbers all over them while still wearing that stupid monster mask.

Reminiscent at times of Russ Meyer during his black & white drive-in period, crossed with a smattering of vintage Herschell Gordon Lewis-styled histrionics, Shanty Tramp is one of those films which makes it such a joy to be a fan of Sixties exploitation sleaze. Indeed, the film remains a virtual primer of exploitation requirements, and has retained its power to fascinate, repel, and excite.

An investigator goes after the people who are corrupting the nation's youth by spreading the weed of Satan - MARIJUANA!!!

Hercules searches for a mysterious phantom invader that is raiding villages in the desert for gold.

Three girls on a tour of the English countryside meet up with two young women who introduce them to the joys of life in a nudist camp.

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

In a series of vignettes, a pathetic man is abused by a bitter prostitute, a sculptor and her model try to suppress their longings for each other, and a lonely middle-aged man is caught by his wife in bed with another woman.

Four young women who were raped by street thugs toughen up, don leather jackets, and seek bloody vengeance on the vermin who assaulted them.

Bill Phillips, his wife, Tom Guardia and a group of adventurous land developers from the Pan American Highway Commission make their way through the unfriendly jungles of Central Panama (where white men not welcome.) Bill tries to gain the trust of the dangerous Cuna tribe, so he and Eve live amongst the natives and participate in their ritual ceremonies and drink jungle moonshine. Meanwhile Guardia and the others confront a hostile tribe of headhunting jungle women, are savagely tortured and sacrificed (this footage was added to the documentary style travelogue to liven things up a bit.) Needless to say, the Highway Commission finds an alternate route through the defiant jungle.

1950s Archival short subject “The Dance Of Tomorrow,” featuring a glimpse into the future of automobiles.

A teacher encounters danger and treachery when she travels to an Old West town to claim her father's gold mine.

Hercules is summoned to oppose the evil Queen Samara, who has allied herself with aliens and is sacrificing her own people in a bid to awaken a moon goddess.

This archival short subject about a robot that frees house wives from menial tasks was shown at the New York World's Fair in 1940.

With the help of a band of rebels, Goliath battles the cruel and demanding Babylonian king for the liberation of the people of Nephyr.

Europe’s communist countries produced the most interesting space films of the ’60s (judging from the “Americanized” Battle Beyond the Sun, Voyage to the End of the Universe, Voyage to the Prehistoric Planet, etc.) and First Spaceship on Venus has a gaudy grandeur that looks quite wonderful in 2.35:1 widescreen “Totalvision.” Typical of cheaply dubbed films, the dialogue is often hilariously goofy (“I’m landing. Here she goes!”) and most of the music are easily recognized cues from the Universal horror library of the ’50s.

Frisky frauleins entice their partners to drop their lederhosen and engage in all sorts of sexual shenanigans amid the beauty of Bavaria.

We love films about Good Girls going to Hell. We love the cheap-thrill appeal of seeing a Miss Goody-Twoshoes leave Small Town America for the Big Bad City and end up falling face-first in the gutter. So, of course, we love Night of Evil which (then big deal) syndicated columnist EARL WILSON introduces by claiming it’s “based on newspapers and court records. It is a true story. To protect the innocent, some of the names, places, and incidents have been changed.”

A light-skinned African American woman given away at birth by her mother struggles with her racial heritage and finding her place in the world.

A teenager named Kurrat mysteriously disappears from a German boys' school. Then a teacher is found dead; the mystery grows.