Linda Vargas (Montserrat Prous) works a showgirl number with Maria Toledano (Kali Hansa, The Night of the Sorcerers) before picking up Ortiz (Manuel Pereiro), seducing him, calling the cops and killing herself by slicing her own throat, which implicates him in her murder.

His wife, Rosa (Jacqueline Laurent) attempts to learn the truth and discovers from Countess Anna de Monterey (Anne Libert, The Demons, A Virgin Among the Living Dead) that her husband assaulted Linda when she was just a young girl, going from drugs to, well, the title is Sinner: The Secret Diary of a Nymphomaniac, so you can guess the rest.

Made after the death of Soledad Miranda and before Franco would fall for Lina Romay, this comes from the more serious side of Jess Franco, feeling like it was inspired by the structure of Citizen Kane, which makes sense more than the absolutely formless movies he’d make later in his career.

The worst thing is that Jacqueline Laurent was fired from her position as a drama teacher at a private high school because of this film. Her students learned that she had appeared nude in this film — made 39 years before — and the school’s administration claimed that this and other erotic thrillers she made in the sixties and seventies posed a distraction.

The Kino Cult release of this film has a new commentary track by Tim Lucas, interviews with Jacqueline Laurent, Anne Libert and editor Gérard Kikoïne. It has English and French language options with English subtitles. You can get it from Kino Lorber.

Shot directly after Mario Bava’s Danger: Diabolik, this Roger Vadim-directed movie is based on the comic book of the same name by Jean-Claude Forest. The film stars Vadim’s then-wife Jane Fonda as Barbarella, a United Earth agent sent to find scientist Durand Durand, who has created a weapon that could destroy humanity.

Vadim was hired to direct this film after producer Dino De Laurentiis purchased the rights. This led to Vadim looking to cast several actresses in the title role, including Virna Lisi, Brigitte Bardot (that’s who the character was originally based on) and Sophia Loren before ending up picking his wife.

In case you’re wondering why this movie is such a mess, Charles B. Griffith was the last writer to work on it, saying that he had done uncredited work on the script after fifteen other writers — including Terry Southern — worked on the movie.

This film is packed with fashion, amazing sets — you can credit Bava’s film for some of that, and great characters, like John Phillip Law (who used the break in shooting to be in the aforementioned Danger: Diabolik) as Pygar the angel, Anita Pallenberg (Performance) as the Black Queen, Milo O’Shea as Durand-Durand, Marcel Marceau in a rare speaking role as Professor Ping, David Hemmings (Deep Red) as Dildano and even cameos from Fabio Testi and Antonio Sabato (who was originally to play the role that Hemmings ended up doing).

So yeah. This is a gorgeous film that makes no sense whatsoever. Is that such a bad thing? I first watched this as a child on HBO and I think when the part came in which the birds tear apart Barbarella’s clothes, my parents decided that it was time for me to go to bed. I was hooked on movies that were seen as being wrong for me to watch and Italian-shot films.

A sequel was planned with producer Robert Evans called Barbarella Goes Down, but it never happened. Nor did a 1990 remake, a Robert Rodriguez idea or a potential project with Nicolas Winding Refn, who moved on to other projects, saying, “…certain things are better left untouched. You don’t need to remake everything.”

The Arrow Video release of Barbarella is, as you always expect, overflowing with features. It starts with a brand new 4K restoration from the original negative by Arrow Films, all inside a reversible sleeve featuring original and newly commissioned artwork by Tula Lotay. It comes with a double-sided fold-out poster featuring the same artwork, six double-sided postcards and an illustrated book with new writing on the movie by Anne Billson, Paul Gravett, Véronique Bergen and Elizabeth Castaldo Lundén, and select archival material.

There’s audio commentary by film critic Tim Lucas, as well as alternative opening and closing credits in 4K with Dolby Vision and the isolated score.

Extras include an appreciation by film critic Glenn Kenny, a two-hour in-depth discussion between film and cultural historians Tim Lucas and Steve Bissette, a feature on the costume designs, an interview with camera operator Roberto Girometti, actor/director Ricky Tognazzi discussing the life and work of his father Ugo Tognazzi, an interview with Fabio Testi, a video essay by Eugenio Ercolani on producer Dino De Laurentiis, a trailer, U.S. TV and radio commercials and an image gallery.

You can get it on 4K UHD or blu ray from MVD.

Everyone always wants to be a rock star when they grow up. But after watching this TMZ special, which is on Tubi, no part of me is interested in the life that Taylor Swift has. She has to arrive at her shows inside a black curtained box so that no one stalks her or tries to get her before she’s on stage. She can’t go anywhere without being recognized. I understand, people trade their ability to be normal for all that money but when you can’t go anywhere, is it worth it?

This also shows how Dave Chapelle was attacked onstage and what happened next, as well as a stalker breaking into Sandra Bullock’s house and her calling the police from a panic room. None of these moments will ever happen to normal people, so when we go on and on about celebrities, maybe we should think for a bit about how rough it really can be.

You can watch this on Tubi.

Two men have been murdered after hiring an unknown prostitute. Sergeant Peckham (Chelsea Field) and her boyfriend, police psychologist David Stratton (Steven Bauer) are assigned to the case. They believe that it might be Felicity (Pamela Anderson), an amnesiac woman who has a dream where she kills men.

Pamela Anderson’s first movie was directed by Worth Keeter, who got his start making movies like Wolfman, Unmasking the Idol and Tales of the Third Dimension In 3D for Earl Owensby Studios before eventually making TV shows like Mighty Morphin Power Rangers and Beetleborgs. It was written by Gene Church and Terri Treas, who was Kelly Cobb in House 4.

Matt McCoy, who became the focus of the Police Academy series after Steve Guttenberg left, is also in this.

Directed by Terence Fisher and written by Jimmy Sangster, this sequel to The Curse of Frankenstein played double features with Curse of the Demon, which seems like the most perfect night of all time.

Baron Victor Frankenstein (Peter Cushing) escapes the guillotine by having a priest beheaded and buried in his place with the aid of a hunchback named Karl (Oscar Quitak). He changes his name to Doctor Stein and heals the rich while still tending to the poor in the city of Carlsbrück. He’s discovered by Dr. Hans Kleve (Francis Matthews), who doesn’t want anything other than to work with Frankenstein on his experiments. They place Karl’s brain into a new body (Michael Gwynn), which he hops will help him steal the heart of Margaret (Eunice Gayson). The experiment doesn’t work, as the body becomes contorted and turns back into a hunchback, which kills Karl.

As the important doctors discover Frankenstein is still alive, his poor patients attack him, killing him. Hans shows them the body, but he also puts the doctor’s brain in a new body and the two escape. The experiments will continue.

Hammer pre-sold this movie in the U.S. James Carreras told Jimmy Sangster they needed a script. Sangster said, “”I killed Frankenstein in the first film.” He was told “You’ll figure something out.” This was shot three days after shooting finished on Dracula.