Video mixtape composed of shock footage.
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Brief scenes of death related material: mortuaries, accidents and police work are filmed by TV crews and home video cameras. Some of it is most likely fake, some not as much.
In an intense action-filled 85 minutes, you will learn to defend yourself against the mounting threat of “knife culture” offenders.
A collection of death scenes, ranging from TV-material to home-made super-8 movies. The common factor is death by some means.
Using hidden cameras and never-before-seen footage, Earthlings chronicles the day-to-day practices of the largest industries in the world, all of which rely entirely on animals for profit.
A video store clerk showcases clips from Z-grade horror movies to curious customers.
DEATH SCENES II continues the exploration into the dark recesses of violence and rage that ended in such heinous crimes as the Manson Family's assault on society. You'll see the gruesome aftermath of mob reprisals, public executions and international terrorism. DEATH SCENES II uniquely ushers the brave and curious into a spellbinding trip through the reality that is our world today.
Join our fiendish host, Dr. Vincent Van Gore, as he leads you into the forbidden world of the dead. Only the nastiest car accidents, suicides and murders are here; faithfully and explicitly documented through actual crime scene investigations by police and emergency response teams from around the world. Everything you see is real; nothing has been faked. There are no boring autopsies or old World War II footage. Only the best and bloodiest corpses killed within the past 10 years are good enough to become the FACES OF GORE! If you cannot handle smashed brains, bug-eyed corpses and char-boiled fetuses, then DO NOT WATCH THIS DVD! Nothing you have ever seen before can prepare you for this breakthrough new horror film by TODD TJERSLAND, the Visionary Overlord of American Horror!
A compilation of scenes from Sai Enterprise's Guinea Pig, Ginî piggu 2: Chiniku no hana, Ginî piggu 3: Senritsu! Shinanai otoko, and Ginî piggu 4: Pîtâ no akuma no joi-san.
An early example of ultra-realism, this movie contrasts the quiet, bucolic life in the outskirts of Paris with the harsh, gory conditions inside the nearby slaughterhouses. Describes the fate of the animals and that of the workers in graphic detail.
Shockumentary that consists of various scenes of stock footage depicting death and real scenes of violence.
The second installation to the bizarre shockumentary series Traces of Death.
The third installment in the Traces of Death shockumentary series.
The fourth installment of the real-life death footage presented as a gross-out 'shockumentary'.
The fifth sequel of the self-proclamed "first true shockumentary" series, dealing mostly with real life graphic violence and its aftermath caught on video.
A compilation of the best gore bits in films released in the 70's and early 80's.
The first film in the Red Asphalt driver's education series, presented by the California Highway Patrol, shows graphic accident footage demonstrating the consequences of drunk, reckless and unsafe driving.
The results of serious traffic accidents caused by careless driving are displayed. One of several Driver's Education films produced by Highway Safety Films, filmed at actual auto accident scenes and consisting largely of color closeups of mangled accident victims.
A celebration of slasher cinema - from PSYCHO to the present day, with a focus on highlighting many of the genre's forgotten cult classics, deconstructing how to survive a slice and dice movie and meditating upon why it is almost always a final girl and rarely a final guy... this is a documentary which is designed for both the biggest fan of "mad maniac" movies and the person who may only have seen HALLOWEEN and SCREAM. Either way, this is a documentary that proves the SLASHER FILM is truly FOREVER!
If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.
