Streaming VOD Movies, TV shows and Youtube Videos of Week 2 of 2020! SHUDDER Edition!

 

 

 

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These 4 films, which I have watched since starting my SHUDDER subscription (something like $2.49 for the month, for the next 3 months) are all FANTASTIC, films, in very different ways. But all of them have soared to the top of my MUST BUY List!

MANDY I raved about in a previous post is just a brilliant primary color tinged nightmare of a dream quest/revenge story committed to film.

THE HEAD HUNTER, is a claustrophobic, incredibly tense, incredibly rousing,  actioner/creature feature mash-up.

THE WAX MASK is one of the most sumptuously filmed and strangest Italian Giallo’s, being both a period piece and a Hammer studios homage, a stunning directorial debut.

And then we come to Lucio Fulci’s CITY OF THE LIVING DEAD. I am not a champion of the nonsensical, gore filled films that most remember Fulci for, like THE BEYOND and THE HOUSE BY THE CEMETERY and this one, CITY OF THE LIVING DEAD. I think all of these are the films he made when the audiences  neglected his true masterpieces, to some extent when he stopped caring about making great films, and just decided to pander to the lowest common denominator horror crowds. When Fulci cared, he was one of the most imaginative, talented and stylish filmmakers of his time. He made some of the best Giallos, some of the best westerns, one of the best Hitchcock homages, and one that was his stab at a serious film/period piece. It was that film’s failure that soured him on film and audiences, and made him a gun for hire, and by reports misanthropic to his cast, his crew and the audience, and a churner out of his gore films. That said while I do see these films as Fulci no longer being that filmmaker whose westerns would inspire John Woo’s Blood Ballets and dove motif, despite these films being set-pieces of gore… loosely supported by a story, they are despite all that… still very, very compelling and entertaining. He builds moments of tension and dread and horror, as well as a good smattering of WTF!. Just the audacity of these films, particularly CITY OF THE LIVING DEAD, is impressive. So while not a champion of this film like I am of his earlier films, even lesser Fulci… is jaw dropping. This movie has story structure issues, it doesn’t hold together as a cogent film, it is haphazard and at times silly, but all that aside it is always visually arresting and cinematically audacious. And once seen, you want to own the BluRay to see the making of features and here the interviews and commentary because you definitely want to know what the cast thought of him, after making them do some of the things he had them do in this film.

I’ll be doing an upcoming piece on Fulci, but I guess it says everything about Fulci, is that even what I consider his ‘slapped together/whatever’ film phase, consists of many films, such as CITY OF THE LIVING DEAD, that are must watch films. Even his films of derision, are dripping with imaginative talent.

 

DVD/Bluray Purchases for Week 1 of 2020!! Haul / Deals of the Week!

The webpage will not show this image anonymously.See my previous post where I sing the praises of this film.

The webpage will not show this image anonymously.The webpage will not show this image anonymously. Film Noir fan, so this collection of little seen noirs was a must buy. Currently re-watching 1957’s riveting SHADOW ON THE WINDOW by director William Asher (who before he became known for his tv work and teen beach movies, made three notable films, JOHNNY COOL, THE 27TH DAY, and this one). SHADOW ON THE MOON is a thriller, with very ahead of its time sensibilities. One of the earliest films to deal with child trauma, broken homes, latchkey syndrome, and teen violence. It is a surprisingly good film. Unfortunately it is a pretty bare-bones Bluray collection; no commentaries, special features etc. Usually that is reason enough for me not to purchase physical media, however in this case you do get nine well mastered films per collection, for roughly the cost of one film. And the films look great. Purchase Here!

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Bought this one, because it was described as a type of ode to THE WILD BUNCH, and it starred Woody Strode. I went for the DVD over the Blu-ray, because the Bluray offered nothing additional, arguably not even a better picture, and the DVD was half the price. Purchase Here.

THE LADY FROM SHANGHAI – An Orson Welles masterpiece, starring Orson Welles and his stunning wife Rita Hayworth, and made when their marriage was falling apart. And it is a testament to Welles as filmmaker, and both of them as actors, that none of that is in the film. Finally remasterd on Bluray and with special features and commentary, and it is dirt cheap. A no-brainer of a buy! One of Welles top 5 films, and from a filmmaker who made arguably nothing but great films, that is saying a lot. Purchase here.

I had never even heard of this movie before, but all the reviews were very strong for this 1945 film Noir imbued thriller. And being directed by the great Joseph H. Lewis  (of THE BIG COMBO fame), with a feature reach, remastered Arrow Video release made this the last of this installment’s must buy Dvds and Blurays. Purchase Here!

THE LAST WORD: Joe Kubert’s BEST Comic Book Covers!!(Some of them)

I have an appreciation for the late, great Joe Kubert here in 2018 as an adult, that I really didn’t have for him as a kid. And much of that is down to exposure, as well as a broader scope of reading material.

As a kid, comics that interested me were what interested most kids of the latter 20th century. We were children of Stan Lee and Jack Kirby, Chis Claremont and John Bryne, Marv Wolfman and George Perez, David Kraft and Keith Giffen, Bob Haney and Jim Aparo. The very exciting and colorful, but delineated world of Superhero comics.

The Brave & The Bold #84 - Neal Adams

But then the late 80s happened, and creators like Alan Moore and Frank Miller and William Mesner Loebs created works that seemed to challenge and expand the horizons and genres and tropes of the medium. They were following in the footsteps of late 70s pioneers such as Doug Moench and Paul Gulacy, and the aforementioned creators, who all had their moments of scripting comics with an Indy sensibility before the term existed.

And now as an adult, having explored much of the growth of the mainstream comic industry from their golden age roots, to their big screen interpretations, here in 2018 I am revisiting some work that was largely before my time.

Namely the westerns and horror books and combat books, of the late 60s and early 70s.

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And this deep dive into this world (I mean I have gone deep in 2018), has solidified and cemented and revealed somethings. Most notably is 1/ The western comic books of Marvel Comics, the 12cent and 15 cent, etc comics, RAWHIDE KID, TWO-GUN KID, GUNHAWKS, MARVEL WESTERN, by mostly Larry Lieber, and Stan Lee, and Jack Kirby, and Gil Kane, and Herb Trimpe and John Severin are masterpieces. And these books are MUST OWNS. And many have not been reprinted. And while MARVEL COMICS were hands down producing some of the best Western Comics, some other notable comics in this genre are the painted cover LONE RANGER comics by Dell and Gold Key Publishing, and DC’s TOMAHAWK–

(Brief interuption to gush on Kubert’s TOMAHAWK. The last 25 issues or so of TOMAHAWK go from Neal Adams covers to the final ten which are Joe Kubert covers, from issues 131 to 140. There are not many people who can follow Neal Adams on covers, and be able to equal him.

When Neal Adams does a run of covers, those become the definitive sought after covers, especially during this period of the 60s and 70s in DC. Whether BATMAN or DETECTIVE or SUPERMAN or SUPERBOY, to this day the definitive covers for all those titles, are the ones drawn by Neal Adams, and with good reason. Neal Adams is a master artist.

So it is no small compliment to say not only does Joe Kubert’s ten issue cover run on TOMAHAWK equal the work of his good friend Neal Adams, they surpass them. As someone who just acquired those ten books this year, listen to me when I say they are INCREDIBLY undervalued, sporting both stunning covers and interiors, and no true fan of comics should be without them. If you can get them in high grade for $10 a book, that is a steal.

Get those issues at the link below. You get great comics AND you earn a few pennies to keep this blog’s lights on.

https://www.mycomicshop.com/search?tid=181351&pgi=101&AffID=200301P01

)

–and ALL STAR WESTERN & WEIRD WESTERN. All fantastic and I will be doing a bit on Western Comics in an upcoming post.

 

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And 2/ where the Marvel Comics  of yesterday ruled the WESTERN genre, the WAR or COMBAT genre was ruled by DC Comics. Largely because of two names the great Robert Kanigher and the great Joe Kubert. Both men master story tellers, one with words and one with images, and both men incredibly prolific and productive. My favorite TEEN TITANS story of the silver age is by Robert Kanigher, my favorite FLASH stories by Robert Kanigher. So I always meant to pursue Kanigher’s work into his combat/conflict/war books of the period, and I am finally getting a chance to do that in 2018. And what immediately sells these books is the iconic covers and visual storytelling by the late, great Joe Kubert.

Joe Kubert’s cover art on Our Fighting Forces #135

His work, especially pre the mid 70s, where his covers got to play with the typography and marrying that to the cover image… gold. Absolutely gold. To the point where covers for OUR FIGHTING FORCES and OUR ARMY AT WAR for a brief period in the late 60s, early 70s are cover art truly raised to the level of Art with a capital A. Why anyone would pay $4, $5, $6, and $7 for a brand new comic book (that can be found in the $1 bins or reprinted in a much better quality trade in a few months), when you can take that same money and get a classic issue from this period of comics… is beyond me.

It is work you are typically not going to see unless you go looking. Not many people are showing off 50 year old war comic book covers. In 2018 I have gone looking.

Let me show you some of what I’ve found. We will start with a taste of his unconventional and relatively rare Superhero work and move onto his more prolific genre work.

 

 

 

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SYFYWIRE’s Matthew Funk says it best when they say…

“G.I. Combat #88

Kubert’s contributions to the visual language of war stories can’t be overstated, and this cover proves as much. This is very Stanley Kubrick-style imagery, but the comic predates Full Metal Jacket by 26 years. Kubert was creating iconic, haunting, and cinematic images of war that would influence generations of storytellers.”

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When you think of great, iconic cover artists, the names Gil Kane, Neal Adams, Jim Steranko, Nick Cardy, and more recently Alex Ross come to mind. And all deservedly so. But one that arguably has gotten overlooked by the masses is Joe Kubert, and this is largely because he worked mostly in genres that did not get the attention back in the day. But now as an adult and getting into genres of Western and War and Horror, I am getting exposed to the work of great artists such as Joe Kubert, I am seeing much of it for the first time, and it is…. ASTONISHING. What really amazes me about Kubert is when he gets to play with Typography in his covers, and make that part of his story-telling, those are absolute game changers. Such as the above, and many of his Combat books.

 

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SGT ROCK

G.I. Combat (Volume) - Comic Vine

Our Army At War 254 - Sgt. Rock - Joe Kubert

Cover

Ready to own some of these great comic books?

Then use the link below and start ordering:

https://www.mycomicshop.com/search?q=our+army+at+war&pubid=&PubRng&AffID=200301P01

 

Movie Trailers of the Day!

 

click for larger (if applicable) Trailer shows promise in this tale of cat and mouse.

The Hours Till Daylight (2015) I saw the first few images of this trailer, and turned it off. Because I was sold on seeing this immediately.

Camino (2015)The trailer plays a bit like THE WITNESS meets FIRST BLOOD. Definitely intriguing.

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This THE WAVE (BOLGEN) Trailer made me go… Awesome. That’s pretty high praise for a trailer.

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I watched the first thirty seconds of this trailer, and turned it off. Why? Because I knew this is a film I would be trying for myself. So much of what sepArates good genre movies from bad ones, is do you care about the characters?

Most genre fiction gravitates to the annoying or stupid kids who go exploring usually where they shouldn’t. This trailer in 30 seconds showed more depth to these characters than most genre films ever pack into a full movie. So yeah, I was immediately intrigued by the isolated THE THING like vibe.

All movie trailers courtesy of my new go to spot for watching trailers… Amazon Prime via Roku!

 

If you dug this blog post, leave a like or send an IM, or better yet go here and purchase today’s DEAL OF THE DAY:

Movie Posters Re-Imagined: Alternative Designs for the World’s Favorite Cult Films

 

THE CINEMA OF STATUES : The Films of Rainer Werner Fassbinder


“He was a personable looking man. First your eye said he’s not young anymore, he’s not a boy anymore. Then your eye said : he’s not old. There was something of youth hovering over and about him, and yet refusing to land in any one particular place… In short the impression was agelessness. Not young, not old, not callous, not mature – but ageless. Thirty Six looking fifty six, or fifty six looking thirty six, but which it was you could not say.”

FOR THE REST OF HER LIFE by Cornell Woolrich

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Have you ever watched a film, and mere moments into it been so captured by its construction, its strangeness, and its audacity that it earns a spot in your pantheon, your metaphoric showcase of worthy things? I’m guessing the answer for some of us is yes. I say some, because the strange, by its very nature, will not be the cup of tea of everyone.

MARTHA based on a Cornell Woolrich story “FOR THE REST OF HER LIFE” was my first introduction to the world of Rainer Werner Fassbinder, and what an introduction. I’ve been a huge devotee and fan of all things Cornell Woolrich since discovering his pulp fiction a few years ago. I own and have read a ton of Woolrich stories and novels. When I heard about this movie based (illegally it seems) on one of his stories, I had to try it.

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And MARTHA finally seen, I was blown away by the strange, nearly alien craft and audacity of that film, and that led me by fits and starts to today’s review of Fassbinder’s WORLD ON A WIRE.

I’ve watched movies all my life, I consider myself well informed when it comes to cinema. I’ve seen all the great genres, and most of the great directors. I can speak to you about German Expressionism, Film Noir, French New Wave, Italian Neo-realism, the Pan-African and Post-Colonialism movements. I can talk to you about blockbusters and straight to VOD masterpieces. And when you have seen as many films as I have, to get me through a movie these days… you have to either a/tell the familiar in a captivating way, or b/create something vibrant and unfamiliar.

Most movies and all Blockbusters are the former, they are variations on types of movies and a thematic structure that we have seen time and time again, since the dawn of cinema; what makes them successful is the ability to do the ‘rescuing the girl from the train track’ in a fresh and innovative way.

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Much rarer is the latter, films and filmmakers that fundamentally challenge and expand are definitions of the scope and pathways of cinema.

I’ve seen two of Rainer Werner Fassbinder’s films all the way through, and both of them have struck me that way. Now admittedly they are from phase 1 of the three loosely defined phases of his career. Phase 2 being his Melodramatic phase, Phase 3 being that melodrama morphed into his identity films, dealing with themes of national, sexual, and familial identities in collusion and in conflict. (for more on this and for an overview on the films of Fassbinder please see the excellent Film.com article by Daniel Walber here!)

Phase 1 is arguably his most experimental and innovative films, here you’ll find the genre infused stuff, tinged with film-noir, horror and scifi trappings, the genres that I enjoy. Pro-active genres. I find myself generally not the audience for his phase 2 or 3 films, I’m not a fan of melodrama or just statement films. But with most of these later films not yet tried, I’m open to being pleasantly surprised.

But Phase 1, his cinema of statues and stylization, static but wonderfully composed frames, filled with actors who are at times more statues than men, and when they are animated it is often in very jerky, stilted ways. His women, leading ladies, are variations on a theme, big eyed, statuesque but often emaciated to the point of boniness, strawberry blonds, odd beauty bordering on the antithesis of beauty, mannequins and masks, and a wonderful use of angles and reflections.

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In pieces the movies should not work, stilted, unnatural performances, what is generally considered signs of amateurish or bad acting. However in WORLD ON A WIRE (WELT AM DRAHT, 1973), that ugliness and unease, the uncomfortable pauses, the shots held too long, the awkward pacing, inappropriate and at times overbearing use of music, things we typically identify with bad films and bad filmmakers, in these two films of Fassbinder all these flaws are stylistic choices and become instead function, negating themselves and becoming calling cards of a fundamentally different definition of cinema.

WORLD ON A WIRE, which virtually nobody talks about, is this outrageous and ambitious and way long mini-series of a movie, equal parts science fiction, mystery, and avant-garde film, that has this incredibly intriguing and prophetic premise about a world in which they create not just an artificial intelligence, but an artificial world peopled with artificial intelligences.

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The intelligences are programed to be perfect representations of people, and have a based in time and motion relation to each other, and capable of sex and love and procreation. So an AI universe that is self propagating, and more predictive, as the world is designed to be on a 20 year curve, so the shopping habits and economic changes and housing changes and conflicts that occur in the artificial world today, will be predictive of what happens in our world in 20 years.

It’s a brilliant, mind blowing concept, that you’ll find in better science fiction stories, but not in movies; particularly not in movies of the period, the early 1970s. On top of which the AI universe is viewable and interact-able by means of downloading someone into one of the AI inhabitants of the AI world. What??? That is mind blowingly brilliant and audacious premise for a film, even today in 2016 in an age of avatars, much less for a film made nearly 50 years ago.

And all of that, is not even what the movie is mostly about: it’s a film-noir movie. With a scientist trying to get to the bottom of his coworker’s disappearance. And then there is all the Fassbinder weirdness going on this movie, that just adds yet another level to the movie.

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The doll like women who never seem to blink, random moments of strangeness, [a party scene, where people seem not to move, and the few who do, do the same movements over and over again. A scientist called into his bosses office for serious conversation which they have while not looking at each other and spinning in circles in their chair. a night club with mostly nude attractive Black Men and women dancing while the clothed patrons walk past feeling them up… it is just craziness that comes out of nowhere, but all of it leaves you gobsmaked and off-kilter and not knowing what is coming next.} And it’s not comedy, Fassbinder isn’t just taking the piss or going for laughs here, he is telling a straight story, but he is using a crooked path, fueled by dream logic, he wants the delivery not to be what you are expecting and in WORLD ON A WIRE he succeeds.

Fassbinder, very much the spiritual predecessor to later avant garde filmmakers such as David Lynch and Lars Von Trier, was a young maverick director who died way before his time at the age of 37, however in less than a score of years (before his untimely departure) he would make 44 films, 39 of those being feature films. It is a staggering body of work to have produced by the age of 37. How many of us will ever make one film, much less 44 of them. And to make such across the board unique films, love them or hate them, is a great testament to someone who obviously ate, drank and slept cinema.

600full-rainer-werner-fassbinder Image courtesy of film.com

I can see people not liking or dismissing Fassbinder’s 3+ hour Sci-Fi epic as just flawed. And it is flawed, like I said previously, Fassbinder likes the mistakes, the mistakes of time, mistakes of gender, mistakes of intention, mistakes of moment, and out of all these mistakes with WORLD ON A WIRE he makes, at least for me, something composed of the old, that feels endlessly new.

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Grade: B+. It is definitely not for everybody, but if you like directors who are creative with cinematography (not just 360 degree shots but 540 degree shots), adventuresome in storytelling, and loyal to their actors (Fassbinder works with the same actors repeatedly, including actors of color, such as El Hedi ben Salem, rarely done for the period, and still too little done today) then this is a film for you. Recommended.

The Fassbinder Collection Two – MARTHA

World on a Wire (The Criterion Collection) [Blu-ray]

Speak to Me of Death: The Selected Short Fiction of Cornell Woolrich, Volume 1 (Collected Short Fiction of Cornell Woolrich)

Movie Throwdown : EX MACHINA vs THE UNCANNY

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While Alex Garland’s debut film EX MACHINA was the AI film receiving all the acclaim in 2015, it was the relatively unseen film the UNCANNY by Matt Leutwyler that I found the superior film.

Now while visually it is the sexy and sleek and futuristic visuals of EX MACHINA that are poster memorable, it is The story of THE UNCANNY, that I find is the more compelling, haunting and ultimately daring and rewarding film.

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While I liked EX MACHINA, particularly the great performance of the unrecognizable Oscar Isaac of STAR WARS fame, and enjoyed its beautiful visuals; it is the UNCANNY that I really enjoyed, and see myself coming back to. But both films are great additions to the genre, followers in the footsteps of ShellEy, and are wonderful cautionary takes on the ramifications of the unchecked hubris of science.

 

Final Grades:
EX MACHINA – B- Ex Machina (Blu-ray + Digital HD)

UNCANNY – B+ Uncanny DVD on Sale!

Both films are available to try before you buy, EX MACHINA is on Amazon Prime and UNCANNY is on Netflix.

Enjoy!

STREAMING VOD Channel of the Day : TUBITV!


Okay faithful blog reader we’re going to launch a new installment… Streaming VOD Channel of the Day!!!

Okay the name needs work, but stick with me here.

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This is the golden age of choice, with more books, more music, more movies, more television, more video games, more product, more diversions at your fingertips than ever before in the history of mass-media. But the downside of all that choice, all that content, is determining what is worth your time, wading through the mire to find the marvels.

Theodore Sturgeon’s oft cited quote, ‘90% of everything is crud’ is one of the understood barometers of the digital and Internet age, and while I don’t think Sturgeon himself believed that pessimistic number (90%, that’s a bit pessimistic, I think more like 75% :)), it is true enough. There is at any given moment a lot of dreck to sift through, and limited time.

That’s where this article comes in.

Every installment we are going to examine a Streaming Roku VOD channel we think is deserving of your time, and cite specific examples you should check out from that channel.

So without further ado, this installment’s STREAMING VOD Channel of the Day (SVODCOTD for short :)) is (drumroll please)….

TUBI TV!!!

Okay, yeah it is not a name that rolls off the tongue, but let’s ignore that for the moment, the oddly named channel has some solid content and ok quality. Their content can be viewed at TUBITV.COM and the channel added to your Roku by going here.

And currently it has the below list of interesting content available. Many of the below are not available even on pay sites such as Netflix and Amazon Prime. However the negatives are:

1/ the quality needs to be better. TUBI TV needs to kick in for more bandwidth as quality can severely fluctuate during a film.

2/ the interruptions while relatively short are WAY too many! There is easily ten of them in a typical 90 minute movie. Interruptions need to be kept to less than four per 90 minute movie,

3/ Where commercials do interrupt the movie, they do so at the worst possible moment. A smarter placement of interruptions has to be devised

So a channel not without issues to overcome. But it looks like a channel that is trying to improve. So here’s the list of content you can checkout today on TUBI TV:

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DOGTOOTH
CHOKING MAN
THE MILL AND THE CROSS
SCALENE
THE LOCAL
LANDSCAPE NO. 2
MORLANG
BE WITH ME
THE UNJUST – Harrowing 2010 Korean crime film
OPEN CITY -2008 Korean film pitting an international pickpocket ring against Korea’s version of the FBI. Sounds very interesting.
BLOOD RAIN – Violent, Supernatural mystery from Korea
BLEAK NIGHT – Well regarded Korean Drama not on Amazon Prime or Netflix
ARAHAN – Well regarded 2004 Martial Arts comedy not on Amazon Prime or NetFlix
ANTARCTIC JOURNAL
GOOD MAN TOWN
OCEAN OF PEARLS
LIVING IN SEDUCED CIRCUMSTANCES-seemingly all the festival reviews state that this bit of venomous and divisive horror is overlong at 75 minutes, so someone listened as it has been cut down to 61 minutes for streaming
DR. BRONNER’S MAGIC SOAP BOX
AFTER PORN ENDS
THE STRIKING TRUTH
HE’S ON MY MIND
COLOUR FROM THE DARK
THE OTHER SIDE
NUMBER 13
NIGHT FEEDERS
FUGUE – I knew nothing about this film, but I’m glad I saw it. Director Barbara Stepansky creates a captivating drama/mystery/thriller with a supernatural tinge.
BAD TASTE
SHE BEAST
WALK OF THE DEAD/VENGEANCE OF THE ZOMBIES
THE HOUSE WHERE HELL FROZE OVER
STREET LAW
ICY BREASTS
MEET THE FEEBLES
KNIFE OF ICE
RETURN OF THE STREET FIGHTER
SISTER STREET FIGHTER
ZOMBIE A-HOLE
All this plus some intriguing content such as Fitness Classes. Find out more at TUBI TV.

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