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With a tantalizing "what-if?" scenario and a respectable cast of Hollywood veterans, The Final Countdown plays like a grand-scale episode of The Twilight Zone. It's really no more than that, and time-travel movies have grown far more sophisticated since this popular 1980 release, but there's still some life remaining in the movie's basic premise: What if a modern-era Navy aircraft carrier--in this case the real-life nuclear-powered U.S.S. Nimitz--was caught in an anomalous storm and thrust 40 years backwards in time to the eve of Japan's attack on Pearl Harbor? Will the ship's commander (Kirk Douglas) interfere with history? Will the visiting systems analyst (Martin Sheen) convince him not to? Will a rescued senator from 1941 (Charles Durning) play an unexpected role in the future of American politics? Veteran TV director Don Taylor doesn't do much with the ideas posed by this potentially intriguing plot; he seems more interested in satisfying aviation buffs with loving footage of F-14 "Jolly Roger" fighter jets, made possible by the Navy's generous cooperation. That makes The Final Countdown a better Navy film than a full-fledged time-travel fantasy, but there's a nice little twist at the end, and the plot holes are easy to ignore. James Cameron would've done it better, but this popcorn thriller makes an enjoyable double-bill with The Philadelphia Experiment. --Jeff Shannon

In Lucio Fulci's genre classic Zombi 2, the dead rise once again to terrorize and consume the flesh of the living, this time Caribbean style! Those new to Fulci should note Island of the Flesh-Eaters, Zombi 2, and the more commonly known Zombie all refer to the same film. Though there is no Zombi 1, Fulci's film was titled Zombi 2 to capitalize on the commercial success of Romero's Dawn of the Dead. Though marketed as a sequel in Italy, the only similarities to Romero's classic are the title and the fact that the dead rise to eat the flesh of the living. Instead of being a metaphor for consumerism, Zombi 2 is a straight-out adventure story that ends in a horrific, apocalyptic nightmare. The plot is fairly straightforward, and more or less exists simply as a structure to hang scenes of extreme gore and terror on. Dr. Bowles's boat floats into New York Harbor missing its crew and carrying an undead passenger. The doctor's daughter (Tisa Farrow), dead set on finding out what happened to her father, teams up with journalist Peter West (Ian McCulloch) and heads to the cursed island of Matool, where a zombie epidemic is growing and Dr. Bowles's friend, Dr. Menard (Richard Johnson), is desperately trying to find a cure. Will Anne find her father? Will Dr. Menard find a cure? Will our heroes escape? In all honesty, who really cares? Because those in the "know" already know you don't come to a Fulci film looking for Shakespeare. What Zombi 2 lacks in plot development and continuity, it more than makes up for in atmosphere, intensity, and of course the trademark Fulci gore. Some of the unique high points are the never-duplicated zombie-versus-shark vignette, the rising of the Spanish zombie conquistadores, and Fulci's trademark eye shot. Fans of Italian/apocalyptic/cannibal/zombie films should not miss Zombi 2. Along with The Beyond, it defines the genre. --Rob Bracco

The Master Of Horror Dario Argento Brings You Terror That's Hotter Than Hell!A young woman stumbles upon a mysterious diary that reveals the secrets of "The Three Mothers" and unleashes a nightmare world of demonic evil. As the unstoppable horror spreads from Rome to New York City, this unholy trinity must be stopped before the world is submerged in the blood of the innocent.Written and directed by Dario Argento, INFERNO is considered to be the sequel to his classic SUSPIRIA. This surreal shocker stars Irene Miracle (NIGHT TRAIN MURDERS), Daria Nicolodi (DEEP RED) and Leigh McCloskey (DALLAS), and features a pulse-pounding original score by Keith Emerson of Emerson, Lake & Palmer. Now transferred from the original vault negative materials, INFERNO contains visually stunning sequences of horror that Argento fans consider among the best of his career.

"WOE BE UNTO HIM WHO OPENS ONE OF THE SEVEN GATEWAYS TO HELL, BECAUSE THROUGH THAT GATEWAY, EVIL WILL INVADE THE WORLD."

The Seven Gates Of Hell have been torn open, and in three days the dead shall rise and walk the earth. As a reporter (Christopher George of PIECES) and a psychic (Catriona MacColl of THE BEYOND) race to close the portals of the damned, they encounter a seething nightmare of unspeakable evil. The city is alive - with the horrors of the living dead!

Directed and co-written by the legendary Lucio Fulci (ZOMBIE, THE BEYOND), CITY OF THE LIVIND DEAD features some of the maestro's most shocking and controversial sequences of all time. This is the definitive version of Fulci's hallucinogenic masterpiece of horror: uncut, uncensored and presented in all its brain-ripping, gut-spewing, head-drilling glory!

From The Director Of The Original Animated LORD OF THE RINGS And The Illustrator Of CONAN THE BARBARIANIt began as a once-in-a-lifetime collaboration between two of the greatest icons of the fantasy genre: Controversial animator Ralph Bakshi (director of FRITZ THE CAT, WIZARDS and the original THE LORD OF THE RINGS) and legendary illustrator Frank Frazetta (creator of the iconic CONAN THE BARBARIAN, VAMPIRELLA and Edgar Rice Burroughs book covers). It became - and remains - one of the most startling animation epics of all time. Now experience a world unlike any ever seen, where savage warriors, horrific monsters and luscious maidens battle for the soul of a civilization in a time of good and evil, pleasure and pain, and FIRE & ICEThis long-unavailable cult favorite has been remastered in High Definition from the original vault materials, remixed in stunning 6.1 DTS-ES and 5.1 Dolby Digital Surround EX, and loaded with exciting Extras.Disc 2 contains FRAZETTA: PAINTING WITH FIRE, the acclaimed 93 minute documentary that explores the remarkable life and career of the man who changed fantasy art forever. Archer Winsten, NEW YORK POST "Fantastic Monsters, Nightmarish Visions And Gobs Of Action!"

Frank Zito (a career performance by co-writer/co-executive producer Joe Spinell of ROCKY and THE GODFATHER fame) is a deeply disturbed man, haunted by the traumas of unspeakable childhood abuse. And when these horrific memories begin to scream inside his mind, Frank prowls the seedy streets of New York City to stalk and slaughter innocent young women. Now Frank has begun a relationship with a beautiful photographer (Caroline Munro of THE SPY WHO LOVED ME), yet his vile compulsions remain. These are the atrocities of a human monster. This is the story of a MANIAC.

Experience MANIAC like you've never seen or heard it before. Directed by William Lustig (MANIAC COP, VIGILANTE) and featuring landmark gore effects by Tom Savini (DAWN OF THE DEAD, FRIDAY THE 13th), this notorious classic was censored all over the world for its graphic violence and remains banned in England and Germany to this day. But MANIAC is more than just one of the most relentlessly depraved films of our time; it is quite possibly one of the most disturbing horror movies ever made.

Future B movie maverick Larry Cohen (It's Alive, Q: The Winged Serpent) made his directorial debut with this sly, often savage, social satire set in Beverly Hills. Yaphet Kotto swaggers into the backyard of an affluent, upper-middle-class Beverly Hills couple (Andrew Duggan and Joyce Van Patten) with a dangerous grin on his face and demands: "I want money and I want it now." Nothing from this point on goes as planned. The home invasion tears the veneer of civility that has been holding the couple's loveless marriage together, exposing their lies and schemes, while Bone (as Kotto's character is called) is revealed as a conflicted serial rapist just looking for a little tenderness. Directed with raw energy and aggressive flamboyance, this cynical portrait of American hypocrisy and corruption is more punchy than perceptive, a little glib in its conclusions, but thoroughly unpredictable in its execution. Cohen tweaks stereotypes and twists expectations, while offbeat characters and juicy dialogue electrify the drama. Kotto takes a big, meaty bite of his role, commanding every scene with a threat always beneath his stocky frame and burning eyes. Jeannie Berlin makes a memorable appearance as a ditzy shoplifter with a thoroughly off-center philosophy. --Sean Axmaker

Studio: Wea-des Moines Video Release Date: 09/30/2003

From Tinto Brass, the Director of CALIGULA

Berlin, 1939: At the dawn of World War II, power-mad SS Officer Wallenberg (Helmut Berger of THE DAMNED) is ordered to find and train Germany's most beautiful women to work in the opulent brothel of Madam Kitty (Ingrid Thulin of CRIES AND WHISPERS). Here these Nazi nymphs will submit to the bizarre passions and carnal degradations of the Reich's highest-ranking men and women while Wallenberg secretly records their acts for blackmail. But when an innocent young prostitute (Teresa Ann Savoy of CALIGULA) uncovers the conspiracy, her revenge will ignite a holocaust of pain, pleasure and shocking sexual perversion. The story is true. The depravity is real. The film is SALON KITTY.

John Steiner (MANNAJA), Tina Aumont (TORSO) and John Ireland (RED RIVER) co-star in this infamous epic co-written and directed by Tinto Brass and featuring exquisite production design by Oscar© winner Ken Adam (BARRY LYNDON, GOLDFINGER). Released in America as the heavily censored MADAM KITTY, this controversial shocker has been fully restored from the director's own personal vault print and features extended scenes of sexual atrocities. EXTRAS:
o International Trailer
o U.S. Trailer
o Tinto Brass Bio
o New 'Collectible' cover art

The commanding Herbert Lom stars as a sadistic, corrupt inquisitor in this salacious exploitation thriller from Germany set in 18th-century Austria. A handsome young Udo Kier takes a rare romantic lead as a young baron who rescues an innocent peasant girl from the clutches of a local witch hunter (the villainous-looking Reggie Nalder), only to run afoul of Lom's unholy warrior. An early entry in the "sex and sadism" genre, this production is an exploitation film with an intelligence behind it, but an exploitation film nonetheless: director Michael Armstrong revels in the most barbarous tortures as the impotent inquisitor punishes innocent young maidens for his own unclean desires. Strong performances from Lom, Kier, and Nalder and a cynical ending deliver a dramatic punch along with the grisly nastiness. This brutal thriller is not for all tastes: barf bags were handed out to audiences on its initial release. The new Collector's Edition restores the film to its full, uncut gory--that is, glory. --Sean Axmaker