Unrated in Horror / Suspense DVDs & Videos

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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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Everyone's favorite plastic slasher doll, Chucky (voiced by Brad Dourif), returns for a fifth installment of this popular horror series. Apparently Chucky and his equally murderous bride, Tiffany (voiced by Jennifer Tilly), had a child, which has grown up in a cage as part of a heavy-metal ventriloquist act in England. Eventually it (one never learns its exact gender) escapes to Los Angeles to revive mom and pop, whose doll corpses are being used for a movie based on their previous killing spree. Jennifer Tilly shows up as herself, and she's great--hamming it up as a floozy actress so desperate for the part in rapper Redman's latest film that she lures him home for a casting couch tryst, with hilarious (and fatal) results. Meanwhile, the child of Chucky is horrified by the violent murders its parents are so fond of committing and, with a little help from a 12-step book, tries to help them kick the homicide habit. Of course it's hard when there are so many deserving targets around, including John Waters as a scuzzy paparazzi. In sum, this is one crazy sequel; it's got a refreshing lack of morals, a light heart, and a clever script with a lot of great insider jokes for buffs. The gore is extreme though, including eviscerations, beheadings, melting flesh, and other raunchy business that makes its R rating well-earned (no true Chucky fan would have it any other way, of course). Rappers Eminem and Big Pun contributed tracks to the score.
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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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Supposedly the last of Jason's gore-fests as he writhes in hellfire facing the long legacy of murder splattering his resume.
 
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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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In 2004, a low-budget horror film about a man who put people with moral failings into grisly, murderous situations became a huge hit. In 2005, the sequel scored again, upping the body count and the terror. In 2006, the franchise continued, with plenty of gore as well as an emotional story line that delved into the psychological makeup of the main characters. As SAW II concluded, Jigsaw (Tobin Bell) was dying. But that doesn't mean his penchant for playing games of torture and violence is ending. In SAW III, the murders start occurring again, and Kerry (Dina Meyer) is back on the case, although she thinks this time it might be the work of a copycat. She's only partly right: Amanda (Shawnee Smith), the only victim to have survived both movies, has joined Jigsaw as his apprentice, leading the way through a terrifying game involving Lynn (Bahar Soomekh), a doctor in an unhappy marriage, and Jeff (Angus Macfadyen), a distraught man who is having trouble getting over the loss of his son (Stefan Georgiou) at the hands of a drunk driver. Amanda has captured Lynn and placed her in a neck brace that is linked to Jigsaw's heart monitor; she must keep Jigsaw alive or else the brace will explode. Meanwhile, Jeff is sent on a dangerous journey on which he faces all the people involved in the light penalty his boy's killer received--and it is up to him whether he will seek vengeance or offer forgiveness. Helmed by SAW II director Darren Lynn Bousman and written by original SAW screenwriter and star Leigh Whannell (with a story by Whannell and SAW director James Wan), SAW III is an intricately designed, gruesome thriller with a hard-driving soundtrack featuring songs by Slayer, Helmet, and All that Remains.
 
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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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With a script from JUNO scribe Diablo Cody, JENNIFER'S BODY smashes together horror and high-school comedy. Megan Fox (TRANSFORMERS) stars as Jennifer, a student whose lithe body hides a flesh-hungry demon. She begins targeting male students, while her friend (Amanda Seyfried, MAMMA MIA!) looks on in terror. Jason Reitman (also of JUNO fame) produces this film that stars Adam Brody, J.K. Simmons, and Amy Sedaris.
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Based on Wes Craven's landmark 1972 exploitation flick of the same name, LAST HOUSE ON THE LEFT is a brutal movie that exposes the darkest recesses of human depravity. The simple plot follows four criminals on the lam who encounter a pair of nubile female teens in a small mountain town. After murdering one and brutally raping the other and leaving her for dead, the cons seek refuge at a nearby summer house. The twist is that it's the very home inhabited by the parents of one of the victims. Upon learning that their house guests raped and tortured their 17-year-old daughter, the couple exact a revenge that arguably exceeds the excesses of the sociopathic gang. When originally released in 1972, LAST HOUSE ON THE LEFT was a shock to the system. Never before had a film shown such images of human wickedness. Grainy and low budget, the original film played like a maniacal cackle from the seedy underbelly of an America nursing a brutal post-Aquarian hangover. Things play out a little differently, though, in 2009. For starters, the movie actually looks quite beautiful, and the story?s idyllic mountain setting is milked for all it's worth. The performances are noteworthy as well, with Garret Dillahunt more than convincing as Krug, the gang's swaggering leader; and Monica Potter and Tony Goldwyn portraying the distressed parents with an effective mix of panic, courage, and blind instinct. In an age marked by both increasingly ghastly films and a public discourse that actually debates the merits of institutional torture, a film like LAST HOUSE ON THE LEFT really shouldn?t shock anyone. But in both the original and the remake, there?s a latent nihilism that permeates the world. The idea of a sense of lawlessness that cannot be understood or prevented, but only reacted against, is truly disquieting and makes this story unique in the annals of horror.
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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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Though it was only a mild success upon its release in 1974, the original BLACK CHRISTMAS (directed by Bob Clark, who would go on to direct A CHRISTMAS STORY in 1984) has become a cult favorite among horror buffs since the dawn of the home-video era. An early example of the "body count" genre, the film also predates WHEN A STRANGER CALLS (1979) in its use of a killer making threatening phone calls that originate within his potential victims' own house. In this remake, writer/director Glen Morgan takes the basics of Roy Moore's screenplay for the original to create an elaborate and almost comically disturbing back story for Billy, the killer who previously remained a mystery. A handful of sorority girls remain at the house after the school shuts down for Christmas break. An ominous snowstorm blows in, isolating them. At the same time, a killer--who in this version escapes from a mental institution to return to his former family home--breaks into the attic and begins making terrifying phone calls to the girls (led by Kate Cassidy, Michelle Trachtenberg, and Lacey Chabert) before killing them off one by one. SCTV veteran Andrea Martin, who portrayed a victim in the original, returns as Ms. Mac, the house mother. Stylistically, Moore's remake avoids casting the film in the ironic post-SCREAM or streamlined, gore-free Japanese-horror-inspired fright films of the late 1990s and early 2000s. Instead he makes BLACK CHRISTMAS in the style of a wet and red '80s slasher film. The plentiful blood and guts will please fans of that era, as will tributes to the HALLOWEEN films. This, along with a soundtrack that eschews holiday standards in favor of modern pop music, plus a dim lighting scheme that relies heavily on colored Christmas bulbs, combine to create an atmosphere of holiday dread in this fun update of what has become a horror classic.
 
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In this double feature, George Romero makes a welcome return to the world of zombies with LAND OF THE DEAD, while 300 director Zach Snyder makes his debut with the remake of the Romero classic DAWN OF THE DEAD. See individual titles for synopsis information.
 
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