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From the horrific to the heroic, cinematic werewolves are metaphors for our savage nature, symbolizing the secret, bestial side of humanity that hides beneath our civilized veneer. Examining acknowledged classics like The Wolf Man (1941) and The Howling (1981), as well as overlooked gems like Dog Soldiers (2011), this comprehensive filmography covers the highs and lows of the genre. Information is provided on production, cast and filmmakers, along with critical discussion of the tropes and underlying themes that make the werewolf a terrifying but fascinating figure.
The Rabbit-Man by Michael Babbish S.T. Ranger, known as The Rabbit-Man, enjoyed his pleasant life in The Garden until it was drastically changed. After he finds himself in a cutthroat environment known as a Metroscape, The Rabbit-Man must survive the hardships he encounters as well as evade a mysterious enemy whose presence is signaled by a strange blue aura. The engaging story of The Rabbit-Man is one that involves overcoming not only external difficulties, but also internal turmoil. Will The Rabbit-Man have what it takes to overcome the unforgiving trials he meets or will he ultimately succumb to despair? Find out as you journey with him and his friends in an unforgettable story filled with dangerous creatures, hideous enemies, spectacular characters, and events that will leave the reader’s mind buzzing.
A new hero is needed for an uncertain time. Weapons of mass destruction, while outlawed by the nations of the world, have fallen into the hands of criminals. The threat posed by these weapons makes citizens fearful. Just as it seems the criminal element is going to be successful, Michael Miller comes of age. Michael is a young man with unusual abilities due to the fact he is the child of a human father and alien mother. Bipedal aliens visited the world in 2047 and Michael's mother remained. Will Michael, aka Tiger-Man be able to meet this challenge and will his abilities be enough to offset the evil genius of a mad scientist and his devilish henchmen? Only time can truly tell, however uncertain.
Thanks in large part to an exploitation film producer and distributor named K. Gordon Murray, a unique collection of horror films from Mexico began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios to the lucha libre horror films featuring El Santo and the "Wrestling Women," these low-budget "Mexploitation" films offer plenty of campy fun and still inspire cult devotion, yet they also reward close study in surprising ways. This work places Mexploitation films in their historical and cultural context and provides close textual readings of a representative sample, showing how they can be seen as important documents in the cultural debate over Mexico's past, present and future. Stills accompany the text, and a selected filmography and bibliography complete the volume.
In 1932, The Mummy, starring Boris Karloff, introduced another icon to the classic monster pantheon, beginning a journey down the cinematic Nile that has yet to reach its end. Over the past century, movie mummies have met everyone from Abbott and Costello to Tom Cruise, not to mention a myriad of fellow monsters. Horrifying and mysterious, the mummy comes from a different time with uncommon knowledge and unique motivation, offering the lure of the exotic as well as the terrors of the dark. From obscure no-budgeters to Hollywood blockbusters, the mummy has featured in films from all over the globe, including Brazil, China, France, Hong Kong, India, Mexico, and even its fictional home country of Egypt--with each film bringing its own cultural sensibilities. Movie mummies have taken the form of teenagers, superheroes, dwarves, kung fu fighters, Satanists, cannibals and even mummies from outer space. Some can fly, some are sexy, some are scary and some are hilarious, and mummies quickly moved beyond horror cinema and into science fiction, comedy, romance, sexploitation and cartoons. From the Universal classics to the Aztec Mummy series, from Hammer's versions to Mexico's Guanajuato variations, this first-ever comprehensive guide to mummy movies offers in-depth production histories and critical analyses for every feature-length iteration of bandaged horror.
Xiao Yitian fell down the cliff seriously, but unexpectedly found that he had crossed the kumuhai islands in Wuxiu continent. Inadvertently, found that their body into the position of fetal gas is the only person to practice. His soul is very strong, and he is recommended to the mainland by a small tribe. From then on, we began to go to the peak of martial arts and create the supreme myth.
Any on-screen schmuck can take down a wolfman with a silver bullet. It takes a certain kind of hero to hoist that wolfman overhead into an airplane spin, follow with a body slam, drop an atomic elbow across his mangy neck, leg-lock him until he howls, and pin his furry back to the mat for a three-count. It takes a Mexican masked wrestler. Add a few half-naked vampire women, Aztec mummies, mad scientists, evil midgets from space, and a goateed Frankenstein monster, and you have just some of the elements of Mexican masked wrestler and monster movies, certainly among the most bizarre, surreal and imaginative films ever produced. This filmography features some of the oddest cinematic showdowns ever concocted--Mexican masked wrestlers battling monsters, evil geniuses and other ne'er-do-wells, be it in caves, cobwebbed castles or in the ring. From the 1950s to the 1970s, these movies were staples of Mexican cinema, combining action, horror, sex, science fiction and comedy into a bizarre amalgam aimed to please the whole family. Chapters examine the roots of the phenomenon, including the hugely popular masked wrestling scene and the classic Universal horror films from which Mexican filmmakers stole without compunction. Subsequent chapters focus on El Santo, Blue Demon, and Mil Mascaras, the three most prominent masked wrestlers; wrestling women; other less prominent masked wrestlers; and the insane mish-mash of monsters pitted against the heroes. Each chapter includes background information and a full filmography, and a wide assortment of striking illustrations--posters, lobby cards and other graphic material, some better than the movies they advertised--accompany the text.
Breaking free of his death loop in the royal city, Subaru awakes in an opulent mansion, being tended to by the twin maids Ram and Rem. After sustaining terrible injuries, he has been taken to the home of the Margrave Roswaal, Emilia's guardian. The two maids, along with the young librarian Beatrice, are the sole guardians of the mansion's forbidden library, but their quiet, peaceful days come to a violent end when another cycle of death begins! Subaru is the only one who remembers the time he's spent with the people he cares about, but will he be able to save them?
Private detective Easy Rawlins looks for a gangster's girlfriend in 1940s L.A.
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