I love Gold Ninja Video and all of their releases. Here are four new ones that are out today!

Ed Wood’s Revenge of the Dead: A 2-disc set of Wood’s Night of the Ghouls with the following extras:

• Audio commentary by Will Sloan and Justin Decloux of The Important Cinema Club podcast
• Audio commentary by film historian Elizabeth Purchell and KJ Shepherd 
• Ed Wood Apocrypha: A Video Discussion
• Kelton The Cop: An Appreciation of Actor Paul Marco by Justin Decloux and Will Sloan 
• The complete KELTON’S DARK CORNER (2006-2015), featuring Paul Marco’s final appearance as “Kelton the Cop,” with a new introduction by director Vasily Shumov
• BONUS FEATURE: Ed Wood’s Jail Bait (1954) in SD with optional commentary by Will Sloan and Justin Decloux
• SUPER 8 presentation of Plan 9 from Outer Space: With Optional Commentary by Justin Decloux and Will Sloan 
• Trick Shooting with Kenne Duncan (1960), a short film by Ed Wood
• Archival interview with Paul Marco
• The 2K scan of Final Curtain (1957), an unsold TV pilot by Ed Wood, which was incorporated into Revenge of the Dead.
• Ed Wood trailers
• Liner notes by Ed Wood expert Greg Dziawer

The Monster Man: A zany, no-budget apocalyptic feature from Writer/Director/Star/Movie Obsessive Jose Prenders, co-starring the legendary Ed Wood company player Conrad Brooks. This disc includes the unreleased mockumentary Unspeakable Horrors: The Plan 9 Conspiracy which includes interviews with Joe Dante and Fred Olen Ray!

The Golden Triangle: A Filipino/Taiwanese James Bond riff co-directed by the visionary behind the film where Bruce Lee Goes to Hell: The Dragon Lives Again.

Rock n’ Roll Asylum: It’s just another typical day at the Rock N’ Roll Asylum for well-respected Dr. Utger (Adam Thorn), and the loveable residents that include Pokaroo The Kangaroo, The Murderous Biter, and The Clown Receptionist.

But when the leather-jacketed Pandamaniac starts a murder spree with a hammer, it’s up to Dr. Utger to bring sanity back to the madhouse! Will his powers of the mind be enough to calm the restless masses? Or will Dr. Utger come face to face with some disturbing magic, time travel, and psychic powers???!!!

One of the wildest films you’ll ever see. Adam Thorn’s fever dreams is indescribable beyond things like “There’s a murderous panda with a hammer, a receptionist clown, evil wizards, and time travel.”

Save some money from the big sales on Black Friday and throw some money to Gold Ninja.

Here’s what else Severin has for sale:

Closed Circuit: ABOUT THE AUTHOR: When Frederick Burdsall isn’t at work or watching movies while covered in cats, you can find Fred in the front seat of Knoebels’ Phoenix. 

What we have here today, my friends, is your standard supernatural made for TV Giallo. From 1978, comes Circuito Chiuso (Closed Circuit),  directed by Giuiano Montado, who is probably best known for the trilogy of films he made dealing with the various abuses of power, the most known being Sacco and Vanzetti. It stars Flavio Bucci, Tony Kendall and to an extent Giuliano Gemma. Let’s look at the story…

A harmless, movie-loving old man goes to the cinema to watch the Giuliano Gemma western now appearing. Everyone takes their seats and the film begins to roll. Nothing out of the ordinary happens here until the final confrontation, when the Pistolero (Gemma) fires at his adversary and the old man is struck and killed by a bullet. With police already in the theater, it is quickly locked down so the killer can’t escape. We watch tensions build as the interrogations begin and no one is allowed to leave. The police chief decides to re-enact the crime in the hopes of figuring it out and gets a volunteer to sit in the death seat. When the final confrontation takes place, the pistolero fires and the volunteer is gunned down. There doesn’t appear to be any connection and finally the chief runs the film a final time, taking the death seat himself. Not to spoil anything but it doesn’t end well for the chief and the mystery is solved. 

It is part sci-fi, part social commentary and somewhat supernatural making for an interesting watch. If you go in expecting the usual black gloved killer and lots of bloody violence you will be very disappointed. Go in with an open mind, then watch and enjoy this visual experiment that has been overlooked long enough and I’ll see you at Knoebels.

The Unscarred: For his third feature film – and first outside his native Staten Island – writer/director Buddy Giovinazzo (Combat Shock) delivered an intense new take on alienation, desperation and retribution: In 1979, a shocking accident rocked the student exchange program at Stanford University and forever changed the trajectory of four young lives. Twenty years later, an impromptu reunion in Berlin will turn the sins of the past into an explosion of lust, deception, dark secrets and cold-blooded murder. James Russo, Steven Waddington, Heino Ferch and Ornella Muti star in this extreme neo-noir, now scanned in 2K from pre-print German vault elements with 2 hours of new Special Features for the first time ever in America.

Stir: In 1974, the cruel treatment of inmates at Bathurst Prison in New South Wales, Australia led to violent riots, savage reprisals and a still-controversial official inquiry. Six years later, this “furious, foul-mouthed, open wound of a film” (Bob Ellis, Nation Review) – the feature directorial debut by Stephen Wallace from a screenplay by Bathurst inmate Bob Jewson – dared to tell the inside story: When career criminal China Jackson (Bryan Brown) is returned to prison after exposing abuses by guards, tensions between inmates and officers begin to boil until they explode in rage, defiance and shocking carnage. Max Phipps co-stars in this “intense and authentic account of a brutal system” (Cinephilia) – nominated for 13 AFI Awards including Best Film, Best Direction, Best Screenplay and Best Actor – scanned in 2K from the 35mm interpositive at The National Film and Sound Archive of Australia.

Combat Shock novelization: Buddy Giovinazzo’s landmark gut-grinder is now an all-new page-turner. Available to purchase by itself or at a discounted price in two of our Severin Black Friday Sale Bundles.

There are two bundles, The Stir Crazy Bundle and The Buddy G Bundle for these movies and associated books.

Spider Labyrinth: The title of this movie may translate as The Spider’s Nest, but it was released here as The Spider Labyrinth, which is a really awesome name for a movie. Good thing that this blast of late 80s Italian horror lives up to it.

Professor Alan Whitmore (Roland Wybenga, Sinbad of the Seven Seas) is a professor of languages whose life’s goal is to translate the sacred texts of a pre-Christian religion. This brings him to Budapest, where Professor Roth gives him a black book and plenty of paranoid ramblings, telling him about a cult called The Weavers that worship living beings from before humanity was even an idea.

This film has its roots in not just giallo — Whitmore is the stranger in a strange land who is confronted by a dead body and plenty of mystery about exactly why — but also the works of Lovecraft, informing us that there are religions that existed before the ones that we know and accept. Also, a shade of yellow forms over this story as our hero has a phobia about spiders, as he was locked in the closet with one as a small child and has carried that fear with him into his adult life.

Oh yeah — there’s also a fanged woman who can climb the walls like a spider out there killing anyone who helps our hero, even transforming the murder of one of the maids into an Argento-style art murder. It helps that Sergio Stivaletti, who did the effects for so many of the giallo maestro’s films, is on hand here. And this movie works admirably without CGI, as the ending gets absolutely into the stratosphere of wildness with an infant that becomes a spider.

This isn’t just a giallo cover movie. It has a genuine story to tell and some beautiful scenes along the way, as a real air of death just under the surface of reality. Sadly, its director Gianfranco Giagni has mostly worked in television, such as the show Valentina (a remake of Baba Yaga), or made documentaries such as Rosabella: la storia italiana di Orson Welles and La scandalose.

You can buy this by itself or get it as part of The Tangled Web Bundle which includes the Spider Labyrinth 4K UHD, the Collectable Spider Baby Metal Figurine and the Spider Labyrinth Sticker. It’s a $73 value for $65.

There’s also a Saturday sale and a huge bundle where you can get everything. You can also get half off anything that was released a year or longer ago.

Look, just throw your paycheck to Severin and they’ll take care of your movies for you. The sale starts at midnight tomorrow.

I’m excited about a lot of what Severin has for sale, but beyond excited for these two movies.

Raiders Of The Living Dead: A regional New Hampshire film with a synth score that was reedited with new footage by Sam Sherman with that iconic Independent-International Pictures logo at the start of the show?

If you’re wondering, “Is it weird?” My answer is, “Would it be on our site if it wasn’t?”

While filming on this movie originally began in New Hampshire by co-writer Brett Piper as a movie called Graveyard, it was finished by writer-producer Samuel Sherman, the man who formed Independent-International Pictures with Al Adamson.

In an abandoned prison, a doctor is using executed convicts to form a labor force of the living dead. Meanwhile, Jonathan (the one-time Flick and future adult actor Scott Schwartz) has turned his dad’s LaserDisc into a laser gun and decides that he should hunt down zombies with the help of his girlfriend, grandfather, a reporter and a librarian (who was played by Zita Johann, the female star of Universal’s The Mummy, lured out of retirement by Sherman).

There are three versions of this. A sixty-minute version by Piper called Dying Day, an initial take on the footage by Sherman called Dark Night and then Raiders of the Living Dead, which is one of the best carny movie titles ever.

Now scanned in 2K from the negative of the final release version, the Severin release has over 4 hours of new & archival Special Features – including two previous cuts in their entirety – that reveal the full ROTLD saga.

The Dead One: The Dead One is a significant movie because it’s one of the first two zombie films made in color — the other is Dr. Blood’s Coffin — and it was made outside of the Hollywood system in New Orleans. It mostly played in Southern drive-ins, in Mexico and the UK before it disappeared for 41 years.

Shot in Eastmancolor and Ultrascope, a form of Cinemascope from Germany, The Dead One has a cool looking zombie and otherwise would be an unremarkable film other than the fact that it’s a Barry Mahon film and stands out from the rest of his output, which is either falls into the disparate genres of nudist films, roughies, propaganda movies or children’s films.

Actually, the poster for this would like you to know just how remarkable this movie is, saying that The Dead One is “The Greatest VOODOO Film Ever Made – Filmed on Location in New Orleans Where VOODOO was introduced to the New World.”

A zombie is haunting the plantation of Kenilwort and is commanded by Monica Carlton (Monica Davis, who is also in Mahon’s 1,000 Shapes of a Female, Rocket Attack U.S.A. and She Should Have Stayed In Bed), the mistress of the decaying plantation.

This is probably the most restrained Mahon film I’ve seen. It played double bills for a long time, a filler for drive-ins that would run late into the night while what happened in the steamed up cars looked a lot like the other movies Barry was known for making.

You can buy both of these movies alone or as part of the Independent-International Appreciation Society Bundle, which comes with the Independent-International Pictures Logo T-Shirt. It’s a $76 value that’s only $68.

You can get these movies tomorrow at midnight from Severin.

Every Black Friday, Severin brings so much stuff for sale that starts to make you realize that it’s better to buy for yourself than give or receive. This year is no different. This is the first of several guides to what they have for sale starting tomorrow at midnight.

Up first are the Michele Soavi releases!

Cemetery Man: Throughout the 1990’s, Michele Soavi kept the traditions of Italian horror alive. Starting as an actor in films like Aliens 2: On Earth, City of the Living Dead, Demons and The New York Ripper, Soavi would also become an assistant director to greats such as Dario Argento (Tenebre, Phenomena), Lamberto Bava (Blastfighter and the previously mentioned Demons) and Terry Gilliam (The Adventures of Baron Munchausen and The Brothers Grimm). Finally, he’d graduate to creating his own films, including Stagefright, The Sect and The Church.

Cemetary Man is based on Tiziano Sclavi’s novel Dellamorte Dellamore (the best translation is “About Death, About Love”). Sclavi also created the comic book Dylan Dog, whose protagonist looks exactly like this film’s star Rupert Everett (and which was also made into a 2011 film).

Francesco Dellamorte (Rupert Everett, My Best Friend’s Wedding) takes care of the Buffalora cemetery. He lives in a shack, with death and his mentally challenged assistant Gnaghi his only friends. Quite frankly, his life sucks. Young punks in town tell everyone he’s impotent. And his only hobbies are putting together a skull-shaped puzzle and crossing out dead people’s names in the telephone book.

That said, he has a hell of a job to do. The gates of the cemetery read “For those who will rise again,” and after a week, the dead rises from their graves, ready to kill the living. Francesco must kill them when they rise, even if no one wants to hear what a problem he’s facing. Again, the townspeople think he’s a moron, the mayor doesn’t care and, according to Franco, the town’s bookkeeper, he’d have to do a ton of paperwork if he really wanted the help.

While watching a funeral, Dellamorte falls in love with a widow. He waits for her to visit the graveside of her dead husband, then takes her on a tour of the grounds. As they have sex on the graves, her dead spouse rises and fatally bites her. Or maybe it’s a heart attack. Or maybe she isn’t even dead.  That said, seven days later, she also rises from the dead and Dellamorte must put her down as well.

Meanwhile, Gnaghi falls in love with the mayor’s daughter, Valentina. Even when she’s decapitated, he won’t fall out of love, instead digging up her head and starting up a romance. And the widow rises again, leading Dellamorte to believe that he was the one who killed her, not her husband. This causes him to either go insane or to begin seeing the truth, as the Angel of Death appears to him, begging him to stop killing the dead and only kill the living.

The widow has become the unattainable object of Dellamorte’s desire. He even tries to talk a doctor into removing his penis so that one aspect of her, the assistant to the new mayor (oh yeah, Valentina killed her dad when he shunned her new relationship) who is afraid of penetration, will fall in love with him. That relationship ends when she is raped, loses her phobia and marries her attacker.

Dellamorte then goes into town and kills anyone who said he was impotent. Meeting a prostitute in a bar, he realizes that she is also his unattainable love. He kills her and everyone in her apartment by setting it on fire.

Remember that bookkeeper, Franco? Well, he’s killed his whole family and the other murders that Dellamorte has done are all pinned on him. He drinks iodine to kill himself, but before he dies, Dellamorte visits. While visiting, he kills a nun, a nurse and a doctor, finally trying to confess to everything but no one will believe him.

Death reveals himself again and laughs that Dellamorte has not figured out what the difference between life and death is. So our hero packs up the car, grabs Gnaghi and tries to escape the town. As they race out of a tunnel, their car wrecks and Gnaghi is critically injured.

Dellamorte fears that the rest of the world has ceased to exist. He decides to kill himself and Gnaghi before his assistant is miraculously healed. He throws Dellamorte’s gun off a cliff and the two men decide to go back home.

If you’re looking for a narrative film that makes sense, this is not the movie. If you’re seeking a dream meditation of life, love and loss, then fire up your DVD player. Or streaming device, it is 2017 after all. Shot in a real abandoned cemetery, there are moments of poetic beauty and grace, like when the floating fool’s fire lights dance around the graves as Dellamorte and She make love. And there are also moments of abject horror and dread, as the film has an incredibly memorable personification of death.

Soavi would drop out of filmmaking to take care of his sick son in the late 1990s, returning to work in television in the early 2000s. Here’s hoping that he gets another chance to return to features, as Cemetery Man is everything I love about film — strangeness that is not easily accessible or categorized.

The Severin blu ray of Cemetery Man is packed with extras, including:
DISC 1: UHD

• Audio Commentary By Director Michele Soavi And Screenwriter Gianni Romoli
• Trailers

DISC 2: BLU-RAY

• Audio Commentary By Director Michele Soavi And Screenwriter Gianni Romoli
• At The Graves – Interview With Michele Soavi
• Of Love And Death – Interview With Actor Rupert Everett
• She – Interview With Actress Anna Falchi
• Archival Making-Of

DISC 3: BLU-RAY

• A Matter Of Life And Death – Interview With Gianni Romoli
• Graveyard Shift – Interview With Cinematographer Mauro Marchetti
• Head Over Heels – Interview With Actress Fabiana Formica
• The Living Dead Mayor – Interview With Actor Stefano Masciarelli
• The Music From The Underground – Interview With Composer Riccardo Biseo
• Resurrection – Interview With Special FX Artist Sergio Stivaletti
• Cemetery Gates – Interview with Set Designer Antonello Geleng
• Grave Encounters – Interview With Alan Jones, Author Of Profondo Argento
• Trailers

DISC 4: Bonus Soundtrack CD

• Exclusive Booklet By Claire Donner Of The Miskatonic Institute Of Horror Studies

Beyond being available as a $55 UHD release, this is also available in the That’s Dellamore Bundle, which includes the Cemetery Man 4K UHD, Cemetery Man Snowglobe, Cemetery Man 4 Piece Enamel Pin Collection, the new Soavi Hall of Fame Enamel Pin and the Cemetery Man T-Shirt. If you buy those separately, they’re $158. You get them in the bundle for $142.

The Church: Michele Soavi directed four horror films from 1987 to 1994, starting with Stagefright and ending with Cemetary Man that continued the rich tradition of Italian horror. With training from Joe D’Amato and Dario Argento, as well as second unit work on two Terry Gilliam films, he emerged as a unique presence with an eye that combines those aforementioned traditions with a gaze toward the art film and the new.

Some considered this movie a sequel to the Demons series of films, with each movie all based around one cursed place. Demons was all about a movie theater (including Soavi as the Man in the Mask that lures people to their doom) and Demons 2 concerns an apartment building. There are also a million other movies that are and are not connected to that series that only Joe Bob Briggs can properly explain (or this article).

The film opens with the history of the church. Upon finding stigmata on the foot of a village girl, Teutonic Knights wipe out a village — man, woman, child and animal — burying them in a mass grave. It seems the devil had infiltrated the entire town and this was the only way to deal with it. One villager (Asia Argento) tries to escape and is impaled and tossed into the grave. The knights cover the grave with crosses and build a church upon it.

In modern times, we meet Lotte (Argento, again), the daughter of the church’s sacristan, Hermann; Evan, the new librarian who starts a relationship with Lisa (Barbara Cupisti, Stagefright, Cemetary Man), an artist restoring the artwork in the church; the bishop; the reverend (Giovanni Lombardo Radice, The Omen, City of the Living Dead, House on the Edge of the Park) and Father Gus (Hugh Quarshie, Nightbreed, Star Wars: The Phantom Menace).

The cathedral is filled with secret pathways that Lotte uses to go out clubbing, before coming back and getting slapped by her father for smelling like cigarettes and booze. There’s also a rumbling, bubbling undercurrent of pure evil presided over by black-robed monks.

Evan and Lisa may be sneaking off and making love, but he is only really in love with learning more of the church. As she finds his way to the stone with the seven eyes, he kneels before the status and tears his own heart out, holding it above his head as it beats its last, while we’re treated to fast-moving visuals of the pulsating city above the church set to the music of Philip Glass (The Church also features music by Keith Emerson and Goblin).

As the possession of Evan increases — yes, ripping out his own heart was just the start — we’re treated to a litany of insane images. Lisa is taken by a demonic goat. An elderly couple bickers and then the wife is found using her husband’s head to ring a church bell. A man kills himself with a jackhammer. A bridal party photo shoot ends with the bride model impaled. A woman is absolutely destroyed by a subway train. A giant flesh tower of dead bodies rises as the mechanics of the church kick in, trapping everyone there with death the only escape. Oh yeah — there’s also a flashback to the original builder of the church being impaled on his mechanical security system.

The Church is less about a narrative flow and more about a collection of images and moments that add up to one impressive smorgasbord. Soavi saw the other Demons films as “pizza schlock” and ended his artistic relationship with Argento with this film. Yet he was contending with a script that had a ton of other writers, including Argento, Soavi, Franco Ferrini, Lamberto Bava, Dardano Sacchetti (who wrote nearly every major Fulci movie, as well as A Bay of Blood and Shock), Fabrizio Bava and Nick Alexander. What emerges is a wild exercise in style, featuring a multitude of references to artwork both religious and modern, including the painting “Vampire’s Kiss” by Boris Vallejo.

If you’re expecting a movie that’s easy to follow, I suggest you find another one to watch. But if you’re searching for arresting visuals and a technically proficient director who has a ton of visual tricks he wants to blow your mind with, then by all means, get ready to experience The Church.

The Severin UHD release has the following extras:

DISC 1: UHD

• Trailer

DISC 2: BLU-RAY

• The Mystery Of The Cathedrals – Interview With Director Michele Soavi
• Alchemical Possession – Interview With Co-Screenwriter/Producer Dario Argento
• The Eleventh Commandment – Interview With Co-Screenwriter Franco Ferrini
• The Ghostwriter – Interview With Co-Screenwriter Dardano Sacchetti
• Lotte – Interview With Actress Asia Argento
• Here Comes The Bride – Interview With Actress Antonella Vitale
• A Demon Named Evan – Interview With Actor Tomas Arana
• Father Giovanni – Interview With Actor Giovanni Lombardo Radice
• Monsters And Demons – Interview With Special FX Artist Sergio Stivaletti
• Holy Ground – Interview With Make-Up Artist Franco Casagni
• Building The Church – Interview With Set Designer Antonello Geleng
• The Right-Hand Man – Interview With Assistant Director Claudio Lattanzi
• Return To The Land Of The Demons– Interview With Alan Jones, Author Of Profondo Argento
• Trailer

DISC 3: Bonus Soundtrack CD

• Exclusive Booklet By Claire Donner Of The Miskatonic Institute Of Horror Studies

There’s a ton of merch that goes with The Church which you can buy indivdually or as part of the Our Soavi-est bundle of the sale! This one includes all THREE Brand New Soavi titles: The Sect 4K UHD, The Church 4K UHD, and Cemetery Man 4K UHD, as well as the Cemetery Man Snowglobe and 4 Piece Enamel Pin Collection, the new Soavi Hall of Fame Enamel Pin, The Sect Pendant, The Church – Stone With Seven Eyes Pendant, The Church Goat Demon 3D Metal Keychain and Gang Bang Woven Patch, Soavi Signed Postcard, The Sect T-Shirt, The Church T-Shirt and Cemetery Man T-Shirt. It’s all worth $370 but costs $299.

There’s one more release!

The Sect: Between Ed Sanders’ book The Family — which examines the origins of Manson’s Family — and Maury Terry’s The Ultimate Evil — which suggests that a worldwide network of Satanists is responsible for the Manson family and Son of Sam murders, we’ve come to accept the notion of an organized army of evil. But who are they?

In the revised 2002 edition of The Family, Sanders referenced the Process Chuch of the Final Judgement as the “satanic group of English origin” behind these killings. The Process successfully sued Sanders’ publisher to remove this reference.

That said the die was cast. By 1980, books like Michelle Remembers suggested a deep conspiracy of Satanic ritual abuse. The Satanic Panic of the 80’s found sacrifice and worship around every corner. Perhaps the author you’re reading now was targeted. Yet no real evidence has ever been found.

Michele Soavi’s The Sect concerns that network of Satan as they prepare the way for the Antichrist. From a commune being slaughtered in the early 1970s — a scene with references to the Rolling Stones that repeat throughout the film — to multiple modern murders that follow, including a heart being left on a train and a suicide in public, the devil’s helpers are organized, know how to plan and are well ahead of the rest of society.

Just a note — as cheesy as Sympathy for the Devil reads today — The Rolling Stones were at the forefront of the occult 60s thanks to their association with Kenneth Anger.  If you’re interested in learning more, I’d heartily recommend Gary Lachman’s Turn Off Your Mind: The Mystic Sixties and the Dark Side of the Age of Aquarius.

But let’s get back to The Sect. In modern Germany, schoolteacher Miriam Kreisl (Kelly Curtis, sister of Jamie Lee) saves Moebius Kelly (Herbert Lom, Hammer’s The Phantom of the Opera) after an accident and brings him back to her house. Within a few hours, he’s injecting her and shoving beetles up her nose while she sleeps and giving her nightmares of a giant bird having sex with her.

From there, the film descends into more of a series of nightmares than a fixed narrative. That makes sense once you realize that its origins in three different scripts that producer Dario Argento, director Michele Soavi and writer Gianni Romoli couldn’t finish. So you’re left with a film with a giant glowing blue gateway to Hell in the basement, a plot to conceive the Antichrist much like Rosemary’s Baby, an evil Shroud of Turin that can kill and bring people back from the dead and, oh yeah, a super smart rabbit named Rabbit who can use a TV remote.

The Sect has some references to other films, with the first victim being named Marion Crane (Psycho) and another named Martin Romero (obviously, George Romero and his Braddock vampire film Martin).

Following Soavi’s Stagefright and The Church, this film offers less of the pure insanity that he’d bring to bear in his next film (and sadly, final horror film) Cemetery Man. Yet a restrained Soavi is still more visually inventive than a hundred lesser directors. From images of animal-masked children to the evil Jesus that smokes up and annihilates hippies in the flashback, there’s a continual undercurrent of menace and doom.

Strange symbols just appear. People disappear even after we see them arrive. Or they die in airplane accidents and still appear. Kathryn (Mariangela Giordano, Evelyn from Burial Ground, she of the incestual zombie child relationship) shows up to get smothered by the previously mentioned evil shroud. Worms show up in the water. A possessed Kathryn convinces a trucker to kill her. Rabbit symbolism abounds. Kathryn gets back up off the operating table and attacks Miriam before killing herself again, which a doctor tries to explain as a commonplace thing. Long black tunnels lead to a sinister mortuary. The doctor who couldn’t save Kathryn and Damon, the Jesus-like killer from the opening, are working together. A woman’s face is ripped clean off, Hellraiser-style. Even trusted detective Frank is taken over and wants to kill Kathryn now that he knows her secret. Whew. I hope these short bursts of words give you an idea of just how much happens in this movie. It never really lets up, becoming more and more unreal.

Moebius comes back to life to tell Miriam that every moment of her life has been planned, that they own her, that everything has been for this moment of indescribable joy. The cult gathers as the doctor injects her, sending her to sleep.

Finally, the devil comes to take Miriam. In shadow form, he appears to be human, but what attacks her is a giant bird that pecks at her neck and has his way with her. The cult lowers her into a pit as Moebius raves, screaming that he is her father and that she will give birth to the Antichrist. As she waits in the blue basement water, midwives swim around her, facilitating the birth as the moon slowly goes dark.

A giant amniotic sac with a child inside is lifted as the moon goes completely black.

In a shot straight out of Rosemary’s Baby, Miriam moves through the crowd to see what Moebius refers to as their “revenge against God.” He offers her the chance to raise the child.

Cut to her kneeling, beatific in white, as she stares into the blue waters of the well below. The doctor attempts to be tender to her, but Miriam tosses her down the pit.  She makes her way to the rest of the cult and accepts her child, running with it as a motorcyclist chases her and crashes, creating a giant wall of fire.

Moebius screams that they are ger family now. Miriam kneels into the flames of the crashed motorcycle and sacrifices herself to destroy the baby and Moebius.

Fire crews put out the bodies as we see their charred remains wash away — except Miriam is still alive under all of the ash. An eagle circles the sky as Miriam believes that her son saved her.

The Sect is crazy, but it still doesn’t feel as strange as The Church or Stagefright. Yet again, when compared to any other film, it’s odd as hell. It flies by, a mix of imagery and ideas that takes you on a whirling dervish of a ride.

The Severin UHD of The Sect has the following extras:

DISC 1: UHD

• U.S. Release Trailer

DISC 2: BLU-RAY

• Sympathy For The Devil – Interview With Director Michele Soavi
• (You’re The) Devil In Disguise – Interview With Co-Screenwriter/Producer Dario Argento
• Catacumba – Interview With Co-Screenwriter Gianni Romoli
• Cult Of Personality – Interview With Actor Tomas Arana
• Owner Of A Lonely Heart – Interview With Actor Giovanni Lombardo Radice
• In The Shaded Area – Interview With Cinematographer Raffaele Mertes
• Four Times Argento – Interview With Composer Pino Donaggio
• Total Eclipse – Interview With Special FX Artist Sergio Stivaletti
• Oh Well – Interview With Set Designer Antonello Geleng
• The Birth Of Evil – Interview With Film Historian Fabrizio Spurio
• Into The Dark Well – Interview With Alan Jones, Author Of Profondo Argento
• Catacomb In The Kitchen – Michele Soavi Shows Us His Dark Basement
• Italian Trailer
• U.S. Release Trailer

DISC 3: Bonus Soundtrack CD

• Exclusive Booklet By Claire Donner Of The Miskatonic Institute Of Horror Studies

There’s so much more but we’ll get to that in another post. See you at midnight at Severin!