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.

A rebellious punk (Jack Nicholson) of the beat generation spends his days as an amateur dirt track driver in between partying and troublemaking. He eventually kidnaps his buddy's girlfriend, kills a few police officers, and finally sees his own life end in tragedy.

Teenagers pack a van full of beer and go on the road in search of sexual adventures.

A faux cautionary documentary that portrays several notorious celebrity sex scandals from the golden age of Hollywood through film clips and often humorous softcore reenactments.

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.”

Compilation of clips and trailers from Italian sword & sandal spectaculars, including lots of ridiculously low-budget mythical creatures.

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

Join some terrified teens spending a night in a haunted house and get spooked by a mad doctor and his ghoulish gang when the Monsters Crash The Pajama Party, a 1965 spook show theatrical featurette complete with Werewolf, Gorilla in a fur coat, and goofy gimmick! Beware, they might get you.

Barton's mine foreman is receiving gold bullion from gangsters in the East, putting it through the mine's smelter, and then shipping it out. When Barton finds out, Murdocks men make him a prisoner. Arriving at the same time, Alamo hears the story of the Masked Phantom and then becomes that Phantom fighting Murdock and his men and attempting to find Barton.

There’s no way around it. DWAIN ESPER’s Maniac can justifiably be called one of the greatest exploitation films ever made. Not content to crank out another sex hygiene or dope film, Esper and his wife, HILDAGARDE STADIE (who wrote the screenplay), concocted a uniquely delirious mix of horror film, discourse on mental illness, and whacked-out girly show. The plot – if you can call it that – pulls elements from Frankenstein, Mystery of the Wax Museum, and Poe’s “The Black Cat,” as well as the spicy spectacle of exploitation epics of the day.

Buxom skin-goddess Pat Barrington (Mantis in Lace) is just one of The Acid Eaters a bunch of 9-to-5 working stiffs who become drug-crazed bikers on the weekend! After Miss Barrington kills a galpal in a catfight and the deceased inexplicably returns as a girlfriend for wacky artist Artie, the group enters a pyramid made of giant LSD sugar cubes which is also the entrance to Hell where Artie suddenly turns into The Devil and everything explodes into one big Acid Orgy... Whoa! Easily the Sixties' most insane mix of sexploitation and psychedelia, David F. Friedman's The Acid Eaters is soooooo out there that even the strongest of minds may become unhinged.

Two vice cops get entangled in a web of prostitution, blackmail and murder.

A young girl is being tried for murder. Her defense attorney attempts to show how her descent into a life of crime, prostitution and degradation was caused by her puritanical, religious fanatic mother.

Before he became known for distributing such drive-­in epics as I Drink Your Blood, I Eat Your Skin, and I Spit on Your Grave, JERRY GROSS directed two fascinating little quickies - Girl on A Chain Gang (’65) and Teenage Mother (’67) - that are textbook examples of classic old-school exploitation. In fact. shot­-on-Long-Island Teenage Mother seems to take its inspiration from a half dozen old roadshow films, updated for the Sixties, and even concludes with that oldest of exploitation standbys, authentic birth-of-a-­baby footage!

Though best known for the Mexican horror films he imported and dubbed into English, as well as numerous foreign children's films sold as"Kiddie Matinees" throughout the Sixties producer K. GORDON MURRAY also dabbled in American-made Southern-style exploitation such as Shanty Tramp (1966), Savages from Hell (1968), Thunder County (1974), and The Daredevil, the last starring role for Hollywood cowboy GEORGE MONTGOMERY. A crazed mix of racing, racism, and drug smuggling, THE DAREDEVIL; another portrait of The Redneck as an American icon with an attitude that's about midway between Thunder Road and Smokey and the Bandit, helped in no small amount by the casting of big George.

While under sedation in a dentist's office, a young art student has sex fantasies about naked women, vampires and a beautiful patient he saw in the office.

"Nurse, prepare Mrs. Bennett for... an insemination!!!" These words, darkly intoned by fertility specialist TIMOTHY FARRELL, set the stage for the shocking scene that follows.

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...

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.