Out now on Digital, VOD, and Film Movement Plus
Meeting a green-haired woman at the airport where she works, a woman ends up spending time with her and finding some freedom away from her abusive husband.
Out now on Digital, VOD, and Film Movement Plus
Meeting a green-haired woman at the airport where she works, a woman ends up spending time with her and finding some freedom away from her abusive husband.
Out now on Digital and On Demand
A group of men retreat to the countryside following a drug raid, there they get in the line of fire of The Stoic.
In 1973, Bing Crosby Productions was focusing on churning out low-budget flicks that were heavily marketed with exploitative flair. (Despite the company’s name, Crosby himself was not directly involved in the creation of these efforts.) With films including “Willard” (1971), “Ben” (1972), “You’ll Like My Mother” (1972) and “Walking Tall” (1973), the company offered a happy blend of violence, horror and thrills in contemporary settings. These titles proved very popular, and the company decided to dust off the concept of a wax museum setting for a horror film and brought back Jack the Ripper as key figure in its murder plot.
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A woman working with the local firefighters’ rescue team who is called to a retirement home due to the building being unstable and needing to be evacuated finds that the task will be much more complex than expected and that perhaps the evacuation is not why they were called there.
A father and son duo are called to an emergency plumbing problem. Only there are a few issues, one being the son’s germaphobia and the other being that it’s not exactly what they’d expect blocking the drains.
Rabbit Every Monday (1951)
Directed by Friz Freleng
Animation by Manuel Perez, Ken Champin. Virgil Ross, Art Davis
Music by Carl Stalling
“Rabbit Every Monday” casts Yosemite Sam in the hunter role usually occupied by Elmer Fudd, and Sam’s distinctive mix of bellicosity and idiocy expanded the possibilities for wildly original comedy.
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Francis Ford is mostly recalled today as a character actor in his younger brother John Ford’s classic films, but back in the 1910s and 1920s he was a prominent leading man and director. Most of his films from his halcyon days are no longer available, but his 1918 feature “The Craving” is now available in a digitally restored presentation from film historian and preservationist Ben Model’s Undercrank Productions.
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