Unrated horror movies in Horror / Suspense DVDs & Videos

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Doug and Lynn have the perfect life: a successful business, a home and a baby on the way. Happiness soon turns to horror when they accidentally kill a cop in Mexico. They leave Mexico covering up any clues that would connect them with the death. Safe at a home, a stranger arrives from Mexico looking for a job, but wants much more from Doug and Lynn.
 
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The follow-up to his 2003 horror hit HOUSE OF 1000 CORPSES, Rob Zombie's THE DEVIL'S REJECTS continues the story of a bizarre group of very odd people who like to torture, maim, and kill virtually everyone they come in contact with. When Sheriff Wydell (William Forsythe) pays a visit to the body-ridden lair of Mother Firefly (Leslie Easterbrook, taking over the role played by Karen Black in the first film), her children Otis (Bill Moseley) and Baby (Sheri Moon Zombie) are forced to run, eventually holing up in a roadside motel with four hostages (including Clint Eastwood regular Geoffrey Lewis and THREE'S COMPANY star Priscilla Barnes). Seeking help from creepy clown Captain Spaulding (Sid Haig), they continue their murderous rampage while being tracked by Wydell, who is hellbent on avenging the death of his brother, which came at the hands of this very weird and dangerous family. As Wydell tortures Mother Firefly for answers, Otis and Baby torture their hostages for kicks. Zombie, a heavy metal musician who leads the group White Zombie, infuses his exciting, funny, and terrifying gorefest with a fabulous 1970s soundtrack, using such songs as Elvin Bishop's "Fooled Around and Fell in Love" and David Essex's "Rock On" at inappropriately riotous moments. Part BONNIE AND CLYDE, part THE TEXAS CHAINSAW MASSACRE, part THE WILD BUNCH, Zombie's bloody barrage is filled with unexpected plot twists and surprises unique to this genre.
 
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Robert Englund (best known for playing Freddie Krueger) and Jenna Jameson (best known for playing naked), might seem like an odd cinematic pairing, but not when you consider the title of this horror comedy: ZOMBIE STRIPPERS. When the exotic dancers of Sartre, Nebraska, begin getting zombified, it's up to a few of their own to save the day. Jay Lee (THE SLAUGHTER) wrote and directed this blood-and-boob-filled satire.
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This collection includes the made-for-TV miniseries GOLDEN YEARS, as well as the TV series THE STAND and the classic fright film THE LANGOLIERS.
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A young woman from New York named Liza (Katherine MacColl) inherits a Louisiana motel that has been unoccupied for nearly 60 years. While restoring the old building, many of the workers meet mysterious and untimely deaths, each more ill-fated than the next. Furthermore, Liza is visited by a blind specter named Emily (Sarah Keller) who lectures from a 4000-year-old book of collected prophecies that explains the motel is situated above one of seven portals to hell. As her sanity dwindles, Liza finds some much-needed stability in a local doctor named John McCabe (David Warbeck), who is determined to find a rational explanation for the recent state of affairs. Nevertheless, the protagonists are led through a maze of bizarre confrontations with beings beyond the realm of the living, and into an apocalyptic world of unknown horrors. THE BEYOND is at once the quintessential Lucio Fulci film and a staple in the overall Italian horror genre. The director's epic masterpiece is a blend of atmospheric surrealism and nightmarish visions (a grisly tarantula attack, flesh-melting acid spills, a softball-sized gun blast through the skull of a young zombified girl, and an eyeball impaling, or two) that are definitely unsuitable for those with weak stomachs.
 
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The third installment in Italian horror master Dario Argento's Three Mothers saga, THE MOTHER OF TEARS is a gruesome and long-awaited treat for horror fans. Completing a loosely knit trilogy that began with SUSPIRIA (1977) and continued with INFERNO (1980), the film sees the titular witch awakening to unleash apocalyptic evil on Rome. A grisly and excessive hoot, this is one of the director's strongest efforts since the 1980s. After construction workers discover an ancient urn near a cemetery, it is sent to a Rome university where Sarah Mandy (Asia Argento, daughter of the director) is an art history student. Shortly after opening the urn, Sarah's associate is brutally murdered (in an frighteningly creative manner) by a mysterious being who also unleashes an evil monkey in the halls of the school. Sarah escapes to tell the police, but they find her story implausible. Soon, though, it becomes apparent that a tidal wave of evil is washing over the city as a serious of excessively violent crimes is committed. Matters are worsened when the international black magic community--aware that the urn has unleashed Mater Lachyrmarum, The Mother of Tears--begins to descend upon a chaotic Rome in droves. Within its first 10 minutes, MOTHER OF TEARS features a woman being strangled by her own intestines, and continues with well-paced shocks from that point on. As in TRAUMA (1993) and THE STENDHAL SYNDROME (1996), Argento has no reservations about putting his always-game daughter though virtual hell on screen. While featuring none of the candy-colored lighting that made SUSPIRIA and INFERNO such surreal nightmares, this is still a rock-solid horror film with more originality and loony energy than a dozen SAWs or FINAL DESTINATIONs, proving that the nearly 70-year-old Argento still has the knack that won him legions of fans.
 
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Six films from the EXORCIST franchise are included on this release. They include: THE EXORCIST: THE VERSION YOU'VE NEVER SEEN BEFORE, EXORCIST II: THE HERETIC, EXORCIST III, THE EXORCIST: THE BEGINNING, and DOMINION: PREQUEL TO THE EXORCIST. Please see individual titles for synopsis information.
 
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Old ladies, ventriloquist dummies, decrepit small-towns, and dolls are all exploited for their full creepy potential in DEAD SILENCE, a relatively innocent but thoroughly scary horror feature from the makers of SAW. After a heavily stylized black-and-white opening credit sequence that shows the story's central ghost, Mary Shaw, constructing her beloved ventriloquist dolls back in her heyday, the film transports viewers to the present. As newlyweds Jamie (Ryan Kwanten) and Lisa Ashen putter lovingly about their apartment far from their hometown of Raven's Fair, it is clear that something bad is about to happen. This dread is only further cemented when a knock on the door leads the lovebirds to discover an unmarked box containing a worn but eerily lifelike ventriloquist's dummy. Lisa is all too friendly towards the doll and gets what's coming to her when Jamie goes out to pick up some takeout, returning to find his wife's mangled body (minus her tongue) propped up like the dummy seemingly responsible for her death. With detective Jim Lipton (Donnie Wahlberg) on his heels, and a very guilty dummy in his passenger seat, grieving Jamie returns to Raven's Fair with the hunch that his wife's death is linked to the town's murdered ventriloquist, Mary Shaw. Once grand, Raven's Fair is now in a state of decay, and many of its inhabitants have died mysterious and brutal deaths in the years since Jamie was last home. Jamie arrives at his wealthy father's home, only to find a young new bride (Amber Valetta) by his side. No one wants to talk about Mary Shaw, let alone whisper her name. If Jamie is going to get to the bottom of the Mary Shaw legend, he'll have to face the town's past on his own. Arriving in the midst of the gore/torture trend (SAW, HOSTEL), DEAD SILENCE comes as a breath of fresh air. It's nice to see that a horror movie can still use gore with discretion and deliver a fright through old-fashioned scare tactics and a premise as simple as a ghost story.
 
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Old ladies, ventriloquist dummies, decrepit small-towns, and dolls are all exploited for their full creepy potential in DEAD SILENCE, a relatively innocent but thoroughly scary horror feature from the makers of SAW. After a heavily stylized black-and-white opening credit sequence that shows the story's central ghost, Mary Shaw, constructing her beloved ventriloquist dolls back in her heyday, the film transports viewers to the present. As newlyweds Jamie (Ryan Kwanten) and Lisa Ashen putter lovingly about their apartment far from their hometown of Raven's Fair, it is clear that something bad is about to happen. This dread is only further cemented when a knock on the door leads the lovebirds to discover an unmarked box containing a worn but eerily lifelike ventriloquist's dummy. Lisa is all too friendly towards the doll and gets what's coming to her when Jamie goes out to pick up some takeout, returning to find his wife's mangled body (minus her tongue) propped up like the dummy seemingly responsible for her death. With detective Jim Lipton (Donnie Wahlberg) on his heels, and a very guilty dummy in his passenger seat, grieving Jamie returns to Raven's Fair with the hunch that his wife's death is linked to the town's murdered ventriloquist, Mary Shaw. Once grand, Raven's Fair is now in a state of decay, and many of its inhabitants have died mysterious and brutal deaths in the years since Jamie was last home. Jamie arrives at his wealthy father's home, only to find a young new bride (Amber Valetta) by his side. No one wants to talk about Mary Shaw, let alone whisper her name. If Jamie is going to get to the bottom of the Mary Shaw legend, he'll have to face the town's past on his own. Arriving in the midst of the gore/torture trend (SAW, HOSTEL), DEAD SILENCE comes as a breath of fresh air. It's nice to see that a horror movie can still use gore with discretion and deliver a fright through old-fashioned scare tactics and a premise as simple as a ghost story.
 
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Young Americans are just being introduced to the Japanese hit reality television show SLASHERS. Six contestants are chosen to compete for winnings that exceed one million dollars. The object of the this extreme game show is to fight against three well-known, vicious killers with names like Chainsaw Charlie, The Preacherman, and Doctor Ripper. In this bloody game, the only rule is there are no rules!
 
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In SAW, a huge horror hit in 2004, a masked man called Jigsaw orchestrated the kidnapping of two people, chained them in a disgusting bathroom in an abandoned warehouse, and played vicious, brutal mind games with them that potentially could lead to their freedom. Jigsaw is back for more gory fun in SAW II, but this time he comes out from behind the mask to terrorize a troubled cop face-to-face. Tobin Bell reprises his brief role as Jigsaw in the first film with a major starring turn in the sequel. Dying of cancer, Jigsaw lets himself get caught, only to show Detective Eric Matthews (Donnie Wahlberg) that his son, Daniel (Erik Knudsen), has been taken hostage with seven other people, all of whom have been placed in a house of horrors with only the slimmest chance of escaping with their lives. Jigsaw promises Matthews that Daniel will live only if the cop follows the rules of the game, but time is running out, as the captives' bodies have been poisoned with a toxin that will soon destroy them. Meanwhile, in the dank, mysterious, booby-trapped house, the ever-more-desperate group of people (including Shawnee Smith, who is back as Amanda, the lone survivor of SAW) furiously try to find their connection to each other and a way out, but blood and violence lie in their path. Like its predecessor, SAW II is a frightening thriller filled with plenty of tricks and treats to satisfy even the most jaded horror fan.
 
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Uwe Boll helms this follow-up to his own action-packed first film from 2006. The movie takes place 100 years after the first BLOODRAYNE ended, and finds Rayne in a whole lot of trouble with some vampire cowboys. The cowboys are led by Billy the Kid, so Rayne teams up with none other than Pat Garret in an attempt to stop Billy's bloody reign of terror.
 
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Two friends begin a simple, uneventful drive to Florida to deliver a car. But the trip soon becomes a voyage to hell when they hit the backroads of a barren Texas county and meet up with a monstrous serial killer. Through all the gore, it's really a comedy.
 
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A wedding videographer uses a slasher video rental that he's recorded over with real murders to recruit victims, then speaks into the camera to the viewer before and after killing his latest quarry. Kevin Howarth delivers a chilling performance in this diabolically intricate and frightening meta-movie about watching horror movies.
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Six films from the EXORCIST franchise are included on this release. They include: THE EXORCIST: THE VERSION YOU'VE NEVER SEEN BEFORE, EXORCIST II: THE HERETIC, EXORCIST III, THE EXORCIST: THE BEGINNING, and DOMINION: PREQUEL TO THE EXORCIST. Please see individual titles for synopsis information.
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It's double the deformed fun in this double feature including director Alexandre Aja's gloriously gritty and depraved 2006 remake of Wes Craven's THE HILLS HAVE EYES and its own 2007 sequel. When their vehicle breaks down in a New Mexico desert, the Carters are too busy bickering with one another to realize they have entered enemy territory. But it doesn't take long for the demented creatures living in the hills to make their presence known. THE HILLS HAVE EYES 2 revolves around a group of hapless National Guard delivering supplies to some scientists in Yuma Flats, New Mexico. Instead of finding fully intact Department of Defense researchers, the only thing the unlucky soldiers find are their remains--and the mutants from the first film.
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Bloodshed leaves a small town reeling in the tale of horror, based on the novel by Jack Ketchum and inspired by true events. As a teenager, Ray committed a gruesome double murder at a campground. Four years later, no one can pin the blame on him--except maybe his two friends, and a determined sheriff. But if they think the nightmare is ending, it's only just beginning.
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Doug and Lynn have the perfect life: a successful business, a home and a baby on the way. Happiness soon turns to horror when they accidentally kill a cop in Mexico. They leave Mexico covering up any clues that would connect them with the death. Safe at a home, a stranger arrives from Mexico looking for a job, but wants much more from Doug and Lynn.
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With only one film under his belt and the endorsement of Quentin Tarantino, Eli Roth became a virtual horror brand with HOSTEL (2005), a yarn about a group of thrill-seeking American college dudes backpacking through Europe, only to be seduced into a Slovakian money-for-torture ring where they become the prey. The sequel begins right where that film left off, filling us in on the whereabouts of lone survivor Paxton (Jay Hernandez)---but before long, we see that gender roles are reversed and we are traveling with sensible Beth (Lauren German), hedonistic Whitney (Bijou Phillips), and virginal Lorna (Heather Matarazzo). After tussling with a gaggle of shifty men on a train, they meet Axelle (Vera Jordanova), a gorgeous woman who persuades them to follow her to a rejuvenating spa in Slovakia. As the trio checks into the same infamous hostel, Roth shows us the inner workings of the previously mysterious torture club. Once the girls are put up on the auction block, online bidding begins among the club's members--who are revealed to be prominent international businesspeople. After Beth and Whitney are won by type-A American corporate jerk Todd (Richard Burgi), who believes that killing someone will give him power, and his reluctant associate, Stuart (Roger Bart), the film shifts to the preparations for their inaugural slayings within the bloody walls of the warehouse. For those who embraced HOSTEL's abrupt tonal shifts and very realistic gore, Roth serves up amplified doses of both in his follow-up. Astute horror fans will find a few amusing in-jokes among the carnage, but beware---things get incredibly strong, and Roth's charnelhouse chic intends to offend. In fact, HOSTEL II may stand as the most glaring example of the MPAA's bias in favor of violence over sexuality when it comes the boundary between R and NC-17.
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A trip to the Mexican border quickly goes wrong for a group of Texas college students in this horror film. With its roots in reality, BORDERLAND follows the trio as they evade a bloodthirsty cult intent on human sacrifice.
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