American Drive-In

Starring:American Drive-in
Studio: Blue Laser Films
Product Type: DVD

Average customer rating:

Red River
Great Western, slightly disappointing ending.
A Massive Cattle Drive on the Chisholm Trail
Red River
Red River in color?

Red River
Starring: John Wayne , Montgomery Clift , Joanne Dru , Walter Brennan , and Coleen Gray
Director: Howard Hawks , and Arthur Rosson
Manufacturer: MGM (Video & DVD)
ProductGroup: DVD
Binding: DVD

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ASIN: 6304696612
Release Date: 1997-11-19

Amazon.com

Any short list of the all-time greatest Westerns is bound to include this 1948 Howard Hawks classic about an epic cattle drive. Red River features one of John Wayne's greatest performances. Like his Ethan Edwards in John Ford's 1956 masterpiece The Searchers, the Duke plays an isolated and unsympathetic man who is possessed by bitterness. Wayne is Texas rancher Tom Dunson, who adopts a young boy orphaned in an Indian massacre. That boy, Matthew Garth (played as an adult by Montgomery Clift in his screen debut), becomes Dunson's assistant and heir apparent--until Dunson's temper gets out of control during a long cattle drive and Matt intervenes to stop him. From that moment on, Dunson swears he will kill Matt. Red River has everything a great Western ought to have: a sweeping sense of history, spectacular landscapes, stampedes, gunfights, Indian attacks, and, of course, Walter Brennan as Dunson's crusty old cook and comic sidekick, Nadine Groot. As a special bonus, the film also features the legendary Harry Carey (upon whom Wayne would base some of his gestures in The Searchers) and his son Harry Carey Jr., who became a fixture in Ford and Hawks Westerns. Red River is essential for anyone who loves Westerns, or movies in general. This one's a real beaut. --Jim Emerson

Description

One of the finest westerns ever made, this "monumental, sweeping and powerful" masterpiece (Variety) features impassioned performances, stunning cinematography and adventure on a grand scale. Starring John Wayne, Montgomery Clift (in his screen debut), Walter Brennan, Harry Carey, Sr. and Noah Beery, Jr., Red River is a hard-hitting, action-packed adventure that captures the grandeur, majestyand dangerof the wild American West.Wayne gives "one of the best performances of his career" (Cinebooks) as Tom Dunson, a self-made cattle baron who'll do anything to protect his way of life. So when plummeting livestock values demand that he drive his herd through thetreacherous Chisholm Trail, Tom proves that he'll risk anything to reach his destination even his own sanity.

Customer Reviews:

Red River.......2007-06-25

Director Howard Hawks gave western icon John Wayne another indelible, ruggedly stubborn character to play in his masterful "Red River," a high point of their many collaborations. Populated by colorful supporting characters, including the salty Walter Brennan as camp cook Groot Nadine, "River" combines psychological drama, action, and suspense in a stirring, expansive western landscape. The final settling of scores between Wayne and Clift is unforgettable.

Great Western, slightly disappointing ending........2007-05-24

I thoroughly enjoyed this film. It's rare to see John Wayne playing a bad guy but he carried it well. The photography was great but the film suffers from contrast particularly during some of the frequent night time scenes. Images are almost lost in the dark of the night due to the limitations of old black and white film. If the light dark contrast could be adjusted, the film would benefit greatly. Beyond that, the acting was great, particularly Montgomery Clift. My lone complaint was the ending. It has a sudden character twist where Wayne shifts gears 180 degrees and everyone just seems to pass it off and forgive his characters actions through out the movie simply because he suddenly turns over a new leaf in the final two minutes. This was just a little too much for me. I would have preferred an actual showdown/shoot out.

A Massive Cattle Drive on the Chisholm Trail.......2007-04-11

The movie begins in 1851 in south Texas near the Rio Grande. Cattle baron Tom Dunson (John Wayne) begins with a small group of cows. After 14 years of hard work, he owns a herd consisting of 10,000 head of cattle. The cows are branded with the Red River mark (parallel curves which represent the banks of the Red River).

At the end of the American Civil War, the area is destitute, and Dunson's cattle have little value locally. For this reason, Dunson wants to drive them along the Chisholm Trail to Missouri. But all kinds of problems develop during the long, tedious drive. Quitters abandon Dunson. He finds and shoots them. Noises cause massive cattle stampedes. Finally, a mutineer takes over and leads the herd to Abilene, Kansas, to be sold for a hefty price and then loaded on a railroad. Will Dunson still get his rightful share of his life's work?

This movie comes in black and white. Made in 1948, it shows a young John Wayne. It also clearly predates political correctness, in that Indians are portrayed only as savages and despoilers of Euro-Americans.

Red River.......2007-03-24

Acting/directing not as good as expected, but still a must see for any serious western fan.

Red River in color?.......2007-02-27

I love this film of course. It is a classic. All the elements of a great film are there. The performances, the music. But why decry the ending? That ending is the film. Thats what happened in the film. I suppose some people do not like a happy ending. Would like to see John Wayne killed and come away from a viewing that resolved the story in that way. But not me I like the ending as it is. So I am happy. However one beef. This film has appeared on TV in color I have seen it several times. I just wonder why it does not seem to be available commercialy in color. Younger people seem to have an aversion to b and w. My grandchildren for instance. It is a cinema mystery why this film is not available to buy in color. Does anyone know the answer?

American Graffiti / More American Graffitti (Drive-In Double Feature)

Average customer rating:

Reliving the early sixties!
Great deal.
Beware of the extra charges on customs from usa ???
american graffiti/more american graffiti (drive-in double feature)
twsgray

American Graffiti / More American Graffitti (Drive-In Double Feature)
Starring: Candy Clark , Bo Hopkins , Ron Howard , Paul Le Mat , and Mackenzie Phillips
Director: Bill L. Norton , and George Lucas
Manufacturer: Universal Studios
ProductGroup: DVD
Binding: DVD

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ASIN: B0000VD128
Release Date: 2004-01-20

Product Description

A definitive slice of Americana, the fun-loving, laugh-filled American Graffiti films are now together for the first time in the American Graffiti Drive-In Double Feature. Produced by Academy Award winner Francis Ford Coppola and directed by George Lucas, American Graffiti transformed Ron Howard, Cindy Williams, Richard Dreyfuss and Harrison Ford into Household names.

FEATURES:

The Making of American Graffiti

Theatrical Trailer.

System Requirements:

Running Time 224 Min

Format: DVD MOVIE

Customer Reviews:

Reliving the early sixties!.......2007-05-12

I identify with this movie because I grew up at the same time and my two priorities were girls and cars or vice versa (come to think about it, that's still my two priorities!) I have owned a VHS version of Americian Graffitti for many years but I wanted a DVD version hoping that it will last many more years.
The original movie is hard to sequel so More American Graffitti didn't do a lot for me.

Great deal........2007-05-05

I would award 5 stars for the American Graffiti movie alone. It is well-presented here, and also includes some special features, including an informative "Making of.." documentary that features interviews with alot of the cast as well as those behind the camera. The movie is a classic, and is required viewing for any lover of fine movies.

But that's not all. The package also included the sequel to American Graffiti.. "More American Graffiti". This movie is not nearly the timeless classic as the original, but it is a great view for anyone who liked the first movie. Save for a few uninteresting plotlines involving the counter-culture in the 60's, the movie holds its own rather well. Milner's last race before his emminent death (this is not a spoiler, trust me) and Toad's tour in Vietnam are particularly worth viewing.

If you're willing to sacrifice not having the "Collector's Edition" of American Graffiti in exchange for having the sequel as well, then this is a great buy.

Beware of the extra charges on customs from usa ???.......2007-03-23

Every thing was great apart from I got a letter from the post office that i had to pay an extra £11.15 to get this item even thou i paid for all the post at time of ordering ... Which amazon didn't tell me .. ( i was not happy )

american graffiti/more american graffiti (drive-in double feature).......2007-03-12

both sides of this dvd skip so badly it is unwatchable.
unfortunatly i lost my receipt before viewing this piece of crap.
i would advise other customers to think twice before purchasing the franchise collection version of these two movies.

twsgray.......2007-01-18

It was a great deal, and the seller got it to me really quick.

Average customer rating:

Unsexy, unfunny sex comedy

American Drive-In
Starring: Deke Anderson , Joel Bennett , Anthony Benson , Ellen Albertini Dow , and Vincent Craig Dupree
Director: Krishna Shah
Manufacturer: Blue Laser Films
ProductGroup: DVD
Binding: DVD

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Hard Rock Zombies

ASIN: B0002V7S5C
Release Date: 2004-09-07

Customer Reviews:

Unsexy, unfunny sex comedy.......2006-03-04

This originally straight-to-VHS cowpie is a lamer-than-usual entry in the softcore sex comedy sweepstakes. It stars no one and has little reason to exist. It was produced and directed by Krishna Shah, with Shashi Patel as the Executive Producer. Clearly, these are a couple of Indian guys who tried to make a fast buck off us stupid Americans (can you blame them?) by slapping together a cheap piece of crap and putting it in a video box accentuating its (minimal) sexual content. This alone would not necessarily invalidate the film. Unfortunately, it would appear that these guys got all of their information about life in the U.S. by watching teenage sex comedies and added not one whit to the old formula. A young couple in a van visit the tiny City Limits Drive-In, where they are harassed by slick-haired, leather jacket-wearing toughs. The stereotype-ridden cast of characters includes lots of stupid old people, a prostitute who boffs guys in her trailer, two gay cowpokes, and fat people who eat like pigs in fast motion and disgusting close-ups. There are buttloads of pointless shenanigans, such as a guy hooking up the drive-in speakers to play the sound of a couple making out. Hardy-har-har. The film showing at the drive-in is Hard Rock Zombies, an actual movie that was also produced and directed by Krishna Shah (man, has this clown distinguished himself). It's about a bunch of dead heavy metal guys that come back to life and eat people and do a bunch of other stupid stuff. People attending the drive-in are constantly referring to the movie and repeating dialog from it. A midget who actually appeared in Hard Rock Zombies sits in his car and comments on how good he is in the movie. There's some occasional nudity and very lightweight sex. In one scene, a girl sitting on top of a guy is topless, but is clearly wearing [intimate wear] while supposedly having intercourse. An incredibly tasteless and criminally unfunny continuing bit has a guy trying in vain to get his girlfriend to give him a hummer. (...) The film gets its one and only star for its setting, the tiny drive-in that is the best part of the movie. Drive-in fans like myself have little enough reason to check this stupid thing out. Normal people should avoid it entirely.

Schlock! The Secret History of American Movies

Average customer rating:

A Good Film About Bad Films
A documentary on the rise and fall of the Exploitation films
Bad Girls Go To Hell Indeed
Worlds of Revelation for the Unititated
Not what it seems

Schlock! The Secret History of American Movies
Starring: Forrest J Ackerman , Samuel Z. Arkoff , Peter Bogdanovich , Roger Corman , and David F. Friedman
Director: Ray Greene
Manufacturer: Pathfinder Home Ent.
ProductGroup: DVD
Binding: DVD

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ASIN: B0000DC13D
Release Date: 2003-12-02

Description

The wild no-holds barred independent American filmmakers of the `50s and `60s tell their own story in this critically acclaimed survey of exploitation and sexploitation filmmaking. Features the last major interviews conducted with legendary producer Sam Arkhoff, and "Queen of thew Nudies" Doris Wishman plus Peter Bogdanovich, Roger Corman, Vampira, and many more

Customer Reviews:

A Good Film About Bad Films.......2005-09-12

This movie should be sold in that mail order catalogue: "Things You Never Knew Existed." Where the heck did they find all these wacko pictures, and even wackier filmmakers. Doris Wishman is like if your jewish grandma was a hell's angel. David Friedman is like if Abbott and Costello were the same guy -- sharpie and baggy pants comedian in one. A few vomitous images (including actual birth footage by -- yecch -- Caesarean section) I could do without though. But I felt like this movie was a passport to a whole world of movies I probably wouldn't want to visit in any other way. And that's a compliment.

A documentary on the rise and fall of the Exploitation films.......2005-07-19

This documentary written, directed and edited by Ray Greene features clips of independent movies made in the 1950s and 1960s at the height (relatively speaking) of exploitation movies in the United States. Along with the clips, "Schlock! The Secret History of the American Movies" has interviews with the people who made these movies. You should recognize at least some of what whizzes by here (e.g., "Nude on the Moon," "Carnival of Soul"") and if you have any familiarity with the genre you will recognize lots of names. Just be disappointed when one of these movies catches your fancy and then you discover it is not available on video or DVD.

This 2001 documentary begins by asking, "What is an exploitation movie?" An easy answer is not forthcoming, but you certainly will understand the evolution of the genre over the quarter-century in which it thrived. Greene finds the genesis of exploitation in the discovery that teenagers comprised an economic market distinct from the rather broad category of "children." I am not sure if I would privilege the arrival of Vampira on the scene as highly as Greene does, but you have to admit she makes a pretty good poster girl for the movies under discussion. Actually, the youth oriented films (e.g., "I Was a Teenage Werewolf") get rather short shift in "Part I: The Fast and the Furious," although it does introduce Roger Corman's work at A.I.P. and explores the idea that there are examples of exploitation films that might actually be meaningful (not that their creators are aware of such depth). There is also an emphasis on the idea that with exploitation movies it is how you sell these things that matters more than whether or not they are any good (because they usually are not).

Court rulings on obscenity set up "Part II: Sinema," which is the most interesting part of the documentary because Greene shows how the industry got from sex films dealing with the miracle of birth and "hygiene" issues, to the nudist camp films of Doris Wishman, to the Nudie Cuties and the films of Harry Novak. Once exploitation films go "Across the Great Divide" in Part III, and we get to the emphasis on blood and gore that has an impact on the sexploitation films and we get to what are called the Roughies. So if you are not interested in sexploitation you are going to be disappointed with "Schlock!" because this is where Greene is able to make his best academic arguments. Really. You can only look at so many naked women and Greene's analysis and the interview clips with Wishman and Novak are a lot more interesting.

The final section returns Corman to see what he was up to in the 1960s and looks at how what was happening at the end of the decade with the ratings system and "Midnight Cowboy" ended up sounding the death knell for exploitation flicks. The concluding argument is that today ALL movies are examples of exploitation, and during the end credits while we watch people walk by a poster for "Godzilla" ("Size does matter"), which reinforces the idea that today all movies are "exploitation" by definition. It is interesting to see these filmmakers point out that today movies have their best days and weeks when they open, which was the trademark of exploitation films in their heyday, versus the way movies from major studios would build momentum over time.

In terms of DVD extra we begin with behind the scenes footage with sexploiters Harry Novak (takes us on a tour of his office), Dorish Wishman (interview outtakes), and David F. Friedman (demonstrating a typical "sex hygiene" book pitch). Then Greene talks about "Sci-Fi: Science and Symbols" in a short clip for a television documentary and we have the short, "The Atom and Eve," a surreal industrial film from the early 1960s produced by the Connecticut Yankee Atomic Power Company, which uses buxom dancer Leslie Franzos to sell nuclear power (as Greene wryly notes in the card introducing this one, "Obscenity is in the eye of the beholder").

For Audio extras there is a KPCC Radio interview with Greene, the songs "Your One and Only Original Lizard Brain" and "Under the Rug," the latter by Johnny English, who wrote the soundtrack music and liked it enough to add lyrics and make it a song. For that matter, you can listen to the entire soundtrack. There is a exploitation art gallery (most of which pops up in the documentary), credits for the filmmakers and also credits for the talking heads from Forrest J. Ackerman to Doris Wishman (which Samuel Z. Arkoff, Peter Bogdanovich, Roger Corman and Maila Nurmi a.k.a. Vampira in between). You will also find an audio commentary track with Greene, co-producer Wade Major and special guests that really does continue to explore the topics broached in the documentary.

Bad Girls Go To Hell Indeed.......2005-04-16

Do they let us contradict people on this site? Because I'm looking down the comments and I see one guy who is saying this movie misspells the word "SCHLOCK" (I'm Jewish, it's a yiddishism, and they spelled it correctly, "SCHLOCK," not "shlock" as this incorrect spellchecker viewer says it should be) and another guy who says that sexploitation movies aren't part of the "schlock" genre (this despite the fact that the most articulate interview subject in this movie -- an honest to God theoretician of the exploitation realm -- is David F. Friedman, a key figure in sexploitation).

I mean, c'mon, ask yourself, is Russ Meyer an exploitation moviemaker, is he a "schlock" auteur? Answer: Of course. So why wouldn't his sexploitation competitors, who are a part AND ONLY A PART of this movie also be considered "schlock" filmmakers? They should be, and in this movie they are.

Sam Arkoff and Roger Corman get half this movie's running time, which seemed like plenty to me, since so much more has been written and said about them than the Doris Wishmans of this world. Speaking of Doris: as an aspiring "bad girl" filmmaker, I gotta say, I found her absolutely inspirational. "Bad Girls Go To Hell" indeed!

I think the guy who was unwilling to admit that sexploitation movies are exploitation movies needs to watch this thing again, and more closely. He'll have a good time if he does to, and so will you, dear and gentle reader.

Wishman forever!

Worlds of Revelation for the Unititated.......2005-03-27

It's amusing to read down the reviews and see the usual angels on the head of a pin discussions about inclusion and exclusion that seem to always occur between schlock devotees, along with the justifiable praise this wickedly amusing documentary deserves. This stuff is all subjective, so I'll just state my opinion, which is that this movie is splendid and that the filmmakers got it pretty much exactly right in the balance they strike between teenage exploitation and the "adults only" variety -- I clocked it, and it works out to pretty much a 50/50 split, which is how it ought to be if you're focusing on the actual exploitation production and distribution patterns of the 60s and not the films like Corman's "Bucket of Blood" which have gone on to individual fame through constant TV airings.

There was a lot of crossover between the teen exploitation and sex exploitation worlds, and it could be argued that "SCHLOCK!" could do a better job of demonstrating this; for example, there is no discussion of the fact that Sam Arkoff's teenage-themed AIP handled films by sexploiteers Harry Novak and Doris Wishman, in Wishman's case under the "Hallmark" bannerhead, which was created for movies too offensive to run under the schlock AIP monniker! But by blending these two worlds, this documentary makes a point that needs to be made, which is that the teen exploitation filmmakers and the sex exploitation filmmakers were two sides of the same outsider coin, and sometimes their relationship was even closer than that shopworn analogy makes it seem.

Many latter day schlock fans get their opinion about the nature of this bizarre movie world from television, which celebrates the goopy monster pics of the Roger Cormans and Ed Woods on a regular basis but which has refused to show the equally public and popular adults only fare that packed in theatregoers back in the 60s, and so a lot of the hardcore fans don't realize that sexploitation was a parallell universe in a similar orbit on the other side of the generation gap, a point this film makes elegantly and persuasively. How many "Plan 9 From Outer Space Fans" realize that Ed Wood ended his career making "monster nudie" exploitation movies for cult sexploitation producer A.C. Stephens, for example? Without realizing it, the "official" schlock history neglects more than half the movies the exploitation filmmakers created. This documentary corrects for this problem, and so has a thing or two to tell even some of the more devoted schlock afficianados about what was what back in the day. The eyewitness testimonials of the actual filmmakers are priceless, and should settle the question as much as it's possible to do so.

The fact that these people nailed down what to my knowledge is the only serious interview cult icon Doris Wishman ever sat for would be reason enough to buy this pic -- the terrific interviews with David Friedman and Sam Arkoff among others make this a must have too. I wished this movie was longer, and was going to give it four stars as a result, but I decided that if that's your worst criticism, maybe that's not a criticism after all.

Not what it seems.......2005-03-08

Man, I hate giving a lousy review to a movie that's gotten a lot of good ones, because now everyone's gonna write in to argue it with me.

But here's the thing: "Schlock!" begins promising, with brief scenes of movies like "Teenagers from Outer Space" and "The Fast and the Furious," and an interview with '50s TV horror movie host Vampira, but then takes an abrupt right-hand turn into nudism movies and burlesque, where it spends most of its time.

Now, I agree that the nudie film circuit has a fascinating history, and I'm all for watching clips of naked young women playing volleyball, even though they're all as old as my Grandma now. But my argument is they aren't really "schlock" movies -- at least not in the same sense that the teen exploitation and monster movies of the '50s and early '60s were. And even though the movie makes a strong argument that they're related, skin flicks and cheesy teen movies really are separate genres altogether.

In that regard, the movie doesn't live up to the promise of its title, and that's a shame. The filmmakers scored great interviews with industry giants like Roger Corman and monster mag publisher Forrest J. Ackerman, as well as "schlock" stars like Dick Miller and Vampira, but they only serve to make you wish there was much more of them. In fact, while the film shows several scenes of Vampira's appearance in "Plan 9 From Outer Space," it never even mentions the movie at all. And "Plan 9" is perhaps the king of all "schlock" movies!

Where was "Robot Monster," "Teenage Zombies" or "Bela Lugosi Meets a Brooklyn Gorilla"? I could name a million "schlock" movies that "Schlock!" ignores altogether, in favor of its odd concentration on nudism movies, which, while titillating (heh-heh), don't really belong here.

Two stars from me, with the hope that the next filmmaker to make a "schlock" movie documentary knows what "schlock" really is.

American Drive in / Return of the Killer Tomatoes! (1988)

Average customer rating:

American Drive in / Return of the Killer Tomatoes! (1988)

ProductGroup: DVD
Binding: DVD

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