byNWR

While holding a sermon for his followers, the real life fire and brimstone preacher Estus W. Pirkle portrays what Christian Heaven according to his interpretation of the Bible looks like.

Pastor Estus W. Pirkle preaches about hell, where all non-Christians will suffer eternal torment. He's also visited by two self-professed “Christians” who don't believe in hell.

This exploitation classic purports to expose the secrets of the 1960s lesbian underworld.

Darby Clyde Fenster and Jerry Martin are a pair of penniless nincompoop-drifters who hop a freight train on their way to Florida. Our intrepid heroes find themselves facing one comic situation after another in this gloriously loopy Southern fried comedy-with-music.

With music by The Cardboards, The Shakes, Hans Brinker and The Dykes. By combining semi-fictionalized and documentary material, this film is as definitive a record of the Pittsburgh punk scene during its nascent underground as anyone could hope for. Beroes' band footage is radical departure from the gimmickry of stereotyped rock band documentary in its use of pans and slow dollys, capturing small glimpses of the musicians at work that a 'PR' film would have avoided at all costs. The cinematography demands a reconsideration of the rock band documentary's hoary technical vocabulary. From the time this film was made changes have already taken place in Pittsburgh punk-dom as the bands have moved from an insular salon society to more 'legitimate' venues. Some say things are better than ever, others mourn the passing of Pittsburgh punk's innocence. Beroes in Debt Begins at 20 has produced not only entertainment, but also a small and very precious time capsule.

This collection of short films represents a hint of the tectonic shift in the underground film world in connection with the punk rock “movement.” Restored from original negatives, it showcases the reasonably well-known alongside the extremely rare, from music shorts to impressionistic documentary.

Teenagers stumble across a prehistoric caveman, who goes on a rampage.

In a near-future 1980s, a small desert town’s Santa Claus goes to the big city in search of his wayward daughter. On that simple premise hangs this delirious punk rock collage of Cold War fears, suburban encroachment, and magic mushroom sandwiches.

Overlooked when the Tennessee legislature reapportioned the state, the 40-acre community of Shagbottom is discovered and notified to elect a state representative. The feud between Pa Culpepper and Uncle Foxey Calhoun resurfaces, with several incidents occurring at Postmaster Amos Quint's general store between Simon Crumb and Uncle Foxey, while at the Culpepper farm Ma Culpepper is trying to persuade Pa not to run for office. Lovers Nancy Calhoun and Del Culpepper are separated by the hostilities until the Smokey Mountain Jamboree arrives to televise the election and their country music revue.

A pathetic Joe (Nick Nickerson) pays a bitter prostitute, Margo (Althea Curier) to have sex with him, and is abused endlessly. A woman sculptor and her live model try to suppress their lesbian longings for each other. Lonely, bespectacled middle-aged Nick (Ken McCormick) goes to the House of Fetish – the local brothel – after watching a buxom stripper (Eve St. Pierre) do her exotic dance on stage. His wife catches him in bed with another woman, and whips her silly.

An alcoholic ex-cop, now the house detective at a scuzzy hotel in an even scuzzier part of town, stumbles through New York City's sleazy underworld searching for his kidnapped son.

Three women who haven't seen each other for years meet at a motel to talk about what they've done since they were together, and also to plan a heist of the King of Sex's crown during the upcoming Mardi Gras carnival. They pull the heist and are pursued by relentless detectives, and they must use their feminine charms to escape incarceration.

Backwoods bombshell Myrtle marries George, only to find out that George neither can nor wants to satisfy her desires. Lots of heavy breathing, roughing-up and weirdo moralism ensues.

The late 42nd Street maestro Andy Milligan, known for shoestring classics like Seeds and Guru, The Mad Monk, never completed this antebellum South melodrama, and all he left behind was a single unfinished workprint. As he told biographer Jimmy McDonough, "it's all there, except the finale I was unable to shoot." Thus, it may be left to the viewer to complete his filmed-on-Staten-Island Civil War epic, revealed here for the very first time.

The Wolfman, Dracula and Frankenstein spy on a girls’ school in the mountains, where most of the girls spend their time sunbathing in the nude, nude exercises and nude art classes. The monsters finally invade the school.

Based on the psychobabble of Reverend Estus W. Pirkle; what would happen to America if its citizens do not give up their depraved ways and turn to the light for salvation? Communist infiltrators, the 'footmen', will pave the way for an all-out invasion by weakening our will through television, dance, rock music, and alcohol. Once the invasion begins, the new Communist government will round up all Christians, and either execute them or force them to undergo reeducation. Only by putting their faith in the Bible where it belongs, says Pirkle, can America resist the coming Red Menace.

Three white kids travel down to Mississippi to help with voter registration. Murder, sex slavery and general unsavoriness follow.

Johnson, an agent for the Liquor Control Department, comes across the remote Cuckoo Bird Inn after escaping from a band of cut-throat moonshiners and a mysterious killer. He realizes there that he must discover the identity of the killer before the inn's demented occupants turn him into another display in the grotesque Chapel of the Dead.

On leave in a shore side town, Johnny becomes interested in a young dark haired woman. They meet and he learns that she plays a mermaid in the local carnival. After strange occurrences, Johnny begins to believe that she may actually be a real mermaid that habitually kills during the cycle of the full moon.

In this third installment of the "Olga" series, our heroine adds jewel smuggling to her repertoire of dope pushing and white slavery. As the vicious Olga (Audrey Campbell) expands her criminal empire, she also encounters more resistance as a string of once-trusted partners turn traitor in an effort to steal the successful racket out from under her. The result is exactly what fans of the series expect, a barrage of torture scenes featuring soldering irons, floggings, spankings, and even an electric chair. As with its predecessors, Olga's House of Shame is a silent black and white film with narration to explain the action, but even with direct commentary it's difficult to keep track of the characters and Campbell (who is occasionally caught laughing out loud at the absurdity of it all) has all the menace of a kindergarten teacher, even when wielding a machete.