Christine Lunde

A space freighter that has gone adrift suddenly catapults into an alternate universe.

19세기의 고성에서 의문의 가면 무도회가 벌어지고 사진 기자 레베카는 이를 취재하고자 몰래 잠입하고, 우연히 마주친 옛 애인과의 조우가 심상치 않을때 절대의 비명과 함께 성 안에선 참혹한 살인 축제가 벌어지는데...

From Amir Shervan, the director of SAMURAI COP, comes another great 90's action classic. One man (Johnny Greene) teams up with another (Tadashi Yamashita) to take down the cartel run and its evil leader (Robert Z'Dar).

When Bud McCall is framed for a drugs charge he ends up in prison and he must prove his innocence by testifying against his former police partner to put him and his gang behind bars for good.

The government's new urban renewal policy results in street gangs fighting for control of the inner cities. While most of the residents flee, one factory owner determines to fight the gangs for his property.

A stomach churning potpourri of explosions, gunfire and army trucks ramming through grass and twig huts. The needle in a haystack plot seems to involve our protagonist rescuing his family from some South American drug cartel, or something. At one point Carradine yells those immortal words: "get the hell out of here" through closed lips. The villain of the piece never utters a line of dialogue, preferring instead to stalk about in a cape, squinting cannily beneath beret and drooping mustache (with hawk perched on shoulder for added effect). Avoid at all costs, unless you enjoy beating yourself repeatedly over the head with a flail.

A female CIA agent is assigned to train and lead an all-female squad to Colombia to stop a renegade agent who has hired himself out to a drug cartel.

Two beach combing-shutterbugs accidentally capture a murder on film. Now detectives, the boys set out to capture a murderess shot only from behind, with a rose tattoo on her behind. Fun in the sun turns dangerous when they end up shooting bullets instead of film.

"One of Kuchar’s few feature-length works is this ribald pastiche to postwar Hollywood melodrama, that period when the studios were trying very hard to be adult. The intricate, overheated plot involves a nurse trapped in an unhappy marriage who escapes the big city in search of greener pastures in Blessed Prairie, Oklahoma. Swerving from earnest homage to dark satire, Kuchar simultaneously imitates and savages the legacy of Sirk, Preminger and Minnelli that inspired him, gleefully intertwining the suggestive and the scatological, while also pointing towards the later postmodern parodies of Cindy Sherman. The Devil’s Cleavage is also a rich time capsule of 1970s San Francisco, replete with cameos from Curt McDowell and Art Spiegelman." —hcl.harvard.edu