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    The original Ringo films introduced another iconic hero to the spaghetti western; a clean-cut sharp shooter who was markedly different to Clint Eastwood's Man With No Name. In A Pistol For Ringo, the eponymous hero, played by Giuliano Gemma (Day of Anger, Tenebrae), infiltrates a ranch of Mexican bandits to save a beautiful hostage (Nieves Navarro, Death Walks in High Heels). In The Return Of Ringo, the gunslinger, now a veteran of war, disguises himself as a Mexican in order to take revenge on outlaws who have stolen his property and taken his wife. Hugely successful upon their original release, thanks in part to the skilled direction of Duccio Tessari (The Bloodstained Butterfly, Death Occurred Last Night), the Ringo films proved influential on the Italian western, spawning numerous unofficial sequels, due to their gripping set-pieces and unforgettable musical scoring by Ennio Morricone. Arrow Video is proud to present both films in sumptuous new restorations that truly brings their stylish cinematography to life.
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    Two peerless masters of Japanese cinema - Kinji Fukasaku (Battles without Honor and Humanity, Battle Royale) and Takashi Miike (Dead or Alive, Audition) - present their own distinctive adaptations of yakuza expert Goro Fujita's gangster novel Graveyard of Honor, each tapping into the zeitgeist of a distinct period of Japanese history. Set during the turbulent post-war years, Fukasaku's original 1975 film charts the rise and fall of real-life gangster Rikio Ishikawa (Tetsuya Watari, Outlaw Gangster VIP). Shot through with the same stark realism and quasi-documentarian approach as Fukasaku's earlier Battles Without Honor and Humanity, Fukasaku nonetheless breaks new ground through his portrayal of a gangster utterly without honor or ethics, surviving by any means necessary in a world of brutal criminality. Meanwhile, Miike's 2002 retelling transplants the story to Tokyo at the turn of the millennium. Less a direct remake of Fukasaku's film than a radical reimagining of the same overarching premise, Miike's film captures both the hedonism and nihilism of the modern Japanese crime scene in deliriously stylish fashion, resulting in a fascinating companion piece to the original that nonetheless stands as its own entity. Arrow Video is proud to present these two intertwined but unique crime thrillers from two celebrated filmmakers at the peak of their creative powers. Based on an ancient folktale, The Ballad of Narayama (1983) was the first of two works from the director to win the prestigious Cannes Palme d'Or. Imamura's magnum opus depicts the members of an extended farming family eking out their existence in the mountainous north of Japan against the backdrop of the changing seasons before village lore decrees they make the sacrifice of abandoning their aged mother on the top of a nearby mountain when she reaches her seventieth year. Making its HD debut, Zegen (1987) takes a satirical look at Japan's prewar colonial expansion through the unscrupulous eyes of its flesh-peddler antihero as he establishes a prostitution enterprise across Southeast Asia. Finally, the harrowing Black Rain (1989) details the precarious existence of a household of atomic bomb survivors as, five years after being caught in the blast of Hiroshima, they struggle to find a husband for their 25-year-old niece. These three works epitomize the director's almost documentary style of filmmaking, exposing the vulgar yet vibrant and instinctive underbelly of Japanese society through a sympathetic focus on peasants, prostitutes, criminal lowlife and other marginalized figures to explore the schism between the country's timeless premodern traditions and the modern face it projects to the world.
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    In the early 1970s, Kinji Fukasaku's five-film Battles Without Honor and Humanity series was a massive hit in Japan, and kicked off a boom in realistic, modern yakuza films based on true stories. Although Fukasaku had intended to end the series, Toei Studio convinced him to return to the director's chair for this unconnected, follow-up trilogy of films, each starring Battles leading man Bunta Sugawara and telling separate, but fictional stories about the yakuza in different locations in Japan. In the first film, Bunta Sugawara is Miyoshi, a low-level assassin of the Yamamori gang who is sent to jail after a bungled hit. While in stir, family member Aoki (Lone Wolf and Cub's Tomisaburo Wakayama) attempts to seize power from the boss, and Miyoshi finds himself stuck between the two factions with no honorable way out. In the second entry, The Boss's Head, Sugawara is Kuroda, an itinerant gambler who steps in when a hit by drug addicted assassin Kusunoki goes wrong, and takes the fall on behalf of the Owada family, but when the gang fails to make good on financial promises to him, Kuroda targets the family bosses with a ruthless vengeance. And in Last Days of the Boss, Sugawara plays Nozaki, a laborer who swears allegiance to a sympathetic crime boss, only to find himself elected his successor after the boss is murdered. Restrained by a gang alliance that forbids retributions against high-level members, Nozaki forms a plot to exact revenge on his rivals, but a suspicious closeness with his own sister jeopardizes his relationship with his fellow gang members. The New Battles Without Honor and Humanity films are important links between the first half of Fukasaku's career and his later exploration of other genres. Each one is also a top-notch crime action thriller: hard-boiled, entertaining, and distinguished by Fukasaku's directorial genius, funky musical scores by composer Toshiaki Tsushima, and the onscreen power of Toei's greatest yakuza movie stars. Based on an ancient folktale, The Ballad of Narayama (1983) was the first of two works from the director to win the prestigious Cannes Palme d'Or. Imamura's magnum opus depicts the members of an extended farming family eking out their existence in the mountainous north of Japan against the backdrop of the changing seasons before village lore decrees they make the sacrifice of abandoning their aged mother on the top of a nearby mountain when she reaches her seventieth year. Making its HD debut, Zegen (1987) takes a satirical look at Japan's prewar colonial expansion through the unscrupulous eyes of its flesh-peddler antihero as he establishes a prostitution enterprise across Southeast Asia. Finally, the harrowing Black Rain (1989) details the precarious existence of a household of atomic bomb survivors as, five years after being caught in the blast of Hiroshima, they struggle to find a husband for their 25-year-old niece. These three works epitomize the director's almost documentary style of filmmaking, exposing the vulgar yet vibrant and instinctive underbelly of Japanese society through a sympathetic focus on peasants, prostitutes, criminal lowlife and other marginalized figures to explore the schism between the country's timeless premodern traditions and the modern face it projects to the world.
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    One of the most distinctive and celebrated names in modern Japanese cinema, there's no other filmmaker quite like Shinya Tsukamoto. Since his early days as a teenager making Super 8 shorts, he has remained steadfastly independent, garnering widespread acclaim while honing his own unique and instantly recognizable aesthetic on the margins of the industry. Frequently exploring themes of urban alienation, physical transformation and psychosexual obsession, his films cross genre boundaries, defying straightforward classification. This collection gathers together eight feature-length films and two shorts from Tsukamoto's diverse filmography, including his most recent offering - his samurai drama Killing. Includes: Tetsuo: The Iron Man, Tetsuo II: Body Hammer, Tokyo Fist, Bullet Ballet, A Snake of June, Vital, Kotoko, Killing, The Adventure of Denchu-Kozo, Haze
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    Throughout the 1980s, Shōhei Imamura (The Pornographers, Profound Desires of the Gods), a leading figure of the Japanese New Wave era of the 1960s, cemented his international reputation as one of the most important directors of his generation with a series of films that all competed at Cannes to great critical acclaim. This exclusive box set from Arrow Academy presents restored versions of three late career classics from the legendary filmmaker. Based on an ancient folktale, The Ballad of Narayama (1983) was the first of two works from the director to win the prestigious Cannes Palme d'Or. Imamura's magnum opus depicts the members of an extended farming family eking out their existence in the mountainous north of Japan against the backdrop of the changing seasons before village lore decrees they make the sacrifice of abandoning their aged mother on the top of a nearby mountain when she reaches her seventieth year. Making its HD debut, Zegen (1987) takes a satirical look at Japan's prewar colonial expansion through the unscrupulous eyes of its flesh-peddler antihero as he establishes a prostitution enterprise across Southeast Asia. Finally, the harrowing Black Rain (1989) details the precarious existence of a household of atomic bomb survivors as, five years after being caught in the blast of Hiroshima, they struggle to find a husband for their 25-year-old niece. These three works epitomize the director's almost documentary style of filmmaking, exposing the vulgar yet vibrant and instinctive underbelly of Japanese society through a sympathetic focus on peasants, prostitutes, criminal lowlife and other marginalized figures to explore the schism between the country's timeless premodern traditions and the modern face it projects to the world.
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    Alice Sweet Alice

    $15.99$29.99
    A young Brooke Shields meets an untimely end in this religious-themed proto slasher par excellence from director Alfred Sole. On the day of her first communion, young Karen (Brooke Shields) is savagely murdered by an unknown assailant in a yellow rain mac and creepy translucent mask. But the nightmare is far from over - as the knife-wielding maniac strikes again and again, Karen's bereaved parents are forced to confront the possibility that Karen's wayward sister Alice might be the one behind the mask. Bearing influences from the likes of Hitchcock, the then-booming Italian giallo film and more specifically, Nicolas Roeg's Don't Look Now, Alice, Sweet Alice is an absolutely essential - if often overlooked - entry in the canon of 1970s American horror.
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    At the end of the 1950s, celebrated French documentarian François Reichenbach (F for Fake, Portrait: Orson Welles), whose lens captured the likes of Brigitte Bardot and Johnny Hallyday, spent eighteen months traveling the United States, documenting its diverse regions, their inhabitants and their pastimes. The result, America is Seen by a Frenchman, is a wide-eyed - perhaps even naïve - journey through a multitude of different Americas, filtered through a French sensibility and serving as a fascinating exploration of a culture that is both immediately familiar and thoroughly alien. Prison rodeos; Miss America pageants; visits to Disneyland and a school for striptease; a town inhabited solely by twins; rows of newborns in incubators, like products on an assembly line - all these weird and wondrous sights, and more, are captured, sans jugement, by Reichenbach's camera, aided by whimsical narration (provided by, among others, Jean Cocteau) and a jaunty musical score by the late, great Michel Legrand (Une femme est une femme). Titled L'Amérique insolite - literally "unusual America" - in its native tongue, America as Seen by a Frenchman lovingly renders the various eccentricities of Americana circa the mid-twentieth century, and proves the old adage that reality really is stranger than fiction.
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    Everyone knows the classic American horror films. Night of the Living Dead, The Texas Chain Saw Massacre and A Nightmare on Elm Street, to name but a few. But we want to tell you a different story: a story of the unsung heroes of stars-and-stripes terror, films that have remained on the fringes of the genre either through lack of availability or else sheer obscurity. This is where American Horror Project comes in. Volume One of this series presents three tales of violence and madness from the 1970s. Malatesta's Carnival of Blood (Christopher Speeth, 1973) sees a family arrive at a creepy, dilapidated fairground in search of their missing son, only to find themselves at the mercy of cannibalistic ghouls lurking beneath the park. Meanwhile, The Witch Who Came from the Sea (Matt Cimber, 1976), stars Millie Perkins (The Diary of Anne Frank) as a young woman whose bizarre and violent fantasies start to bleed into reality - literally. Lastly, every parent's worst nightmare comes true in The Premonition (Robert Allen Schnitzer, 1976), a tale of psychic terror in which five-year-old Janie is snatched away by a strange woman claiming to be her long-lost mother. Remastered from the best surviving elements and contextualised with extensive supplementary material, American Horror Project proudly presents an alternative history of American horror and film heritage.
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    One of the greatest directors of the 1980s, John Landis (The Blues Brothers, Trading Places), expertly combines macabre horror with dark humor in the lycanthropic classic, An American Werewolf in London. American tourists David (David Naughton) and Jack (Griffin Dunne) are savaged by an unidentified vicious animal whilst hiking on the Yorkshire Moors. David awakes in a London hospital to find his friend dead and his life in disarray. Retiring to the home of a beautiful nurse (Jenny Agutter, Walkabout) to recuperate, he soon experiences disturbing changes to his mind and body, undergoing a full-moon transformation that will unleash terror on the streets of the capital... An American Werewolf in London had audiences howling with laughter and recoiling in terror upon its cinema release. Landis' film has gone on to become one of the most important horror films of its decade, rightly lauded for its masterful set-pieces, uniquely unsettling atmosphere and Rick Baker's truly ground-breaking, Oscar-winning special make-up effects. Now newly restored and presented with an abundance of extra features, this big beast of horror can be devoured as never before...
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    Before he created Westworld and Jurassic Park, Michael Crichton first blurred the line between science fiction and science fact with his breakout success The Andromeda Strain. Two years after the novel's publication, Robert Wise (The Haunting) directed the film adaptation, a nail-biting blend of clinically-realised docudrama and astonishing sci-fi visuals that ushered in a new subgenre: the "killer virus" biological thriller. A government satellite crashes outside a small town in New Mexico - and within minutes, every inhabitant of the town is dead, except for a crying baby and an elderly derelict. The satellite and the two survivors are sent to Wildfire, a top-secret underground laboratory equipped with a nuclear self-destruct mechanism to prevent the spread of infection in case of an outbreak. Realizing that the satellite brought back a lethal organism from another world, a team of government scientists race against the clock to understand the extraterrestrial virus - codenamed "Andromeda" - before it can wipe out all life on the planet. Aided by innovative visual effects by Douglas Trumbull (2001: A Space Odyssey, Silent Running) and an unforgettable avant-garde electronic music score by Gil Melle (The Sentinel), Wise's suspense classic still haunts to this day, and is presented here in a stunning, exclusive new restoration from the original negative.
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    WAS IT MAGIC, MURDER, OR MADNESS? In early twentieth-century Pennsylvania Dutch Country, young Billy Kelly (Chad Lowe, Highway to Hell) falls in with a charismatic "powwower" or folk magic healer, Dr. John Reese (Donald Sutherland, Don't Look Now), shunned by the rest of the community for his non-conformist beliefs. Together, they investigate the mysterious sickness that is blighting the area, which Reese believes to be the work of a sinister local hermit. But as the plague spreads and the wide-eyed Billy falls ever deeper under Reese's spell, are they doing God's work or the Devil's bidding? Also starring Mia Sara (Legend) and featuring a powerhouse performance by Donald Sutherland - reunited here with Don't Look Now screenwriter Allan Scott - Apprentice to Murder is a chilling and unforgettable tale of the macabre that blurs the lines between conventional notions of "good" and "evil".
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    THE LADYKILLER OF ROME Released within months of Fellini's La Dolce Vita and Antonioni's La Notte, Elio Petri's dazzling first feature The Assassin (L'Assassino) also stars Marcello Mastroianni, this time as dandyish thirtysomething antiques dealer Alfredo Martelli, arrested on suspicion of murdering his older, far wealthier lover Adalgisa (Micheline Presle). But as the increasingly Kafkaesque police investigation proceeds, it becomes less and less important whether Martelli actually committed the crime as his entire lifestyle is effectively put on trial. Best known for Investigation of a Citizen Above Suspicion and The Tenth Victim, Petri was one of the finest and yet most underrated Italian directors of the 1960s and 70s. Highly acclaimed on its original release but unjustly neglected since, The Assassin is a remarkably assured debut from one of the cinema's sharpest chroniclers of Italian social and political realities. Petri said that he wanted to reflect the changes wrought by the early sixties, and to examine "a new generation of upstarts who lacked any kind of moral scruple". Arrow Academy is proud to present The Assassin in a gorgeous high-definition restoration created by the Cineteca di Bologna.

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