Shout! Factory reissues and upgrades four of Corman’s New World/Concorde sword and sorcery epics (the original full-frame Concorde DVD versions of which are long out of print and ridiculously expensive) in their SWORD AND SORCERY COLLECTION.
Deathstalker (Richard Hill, CYBORG II) is an outlaw who lives by killing and stealing. His seemingly altruistic act of rescuing a kidnapped girl – who he then gropes and is well on his way to shtupping before they are disturbed – is witnessed by King Tulak (George Sorvic) who offers Deathstalker riches and position to kill magician Monkar (Bernard Erhard, SATAN’S TOUCH) who has usurped his kingdom and taken his daughter Codille (Barbi Benton, HOSPITAL MASSACRE). Deathstalker refuses and rides off, but he is given another incentive to fight Monkar by sorceress Toralva (Lilian Kerr), who tells him that Monkar possesses two of the three powers – a medallion and a chalice – which, when joined together, render their owner immortal. Monkar wants the third: the Sword of Justice. Toralva sends Deathstalker to a cave where the Sword of Justice is guarded over by Salmaron, who was transformed into a Ghoulie-esque creature by Monkar. Deathstalker frees Salmaron from his curse and he is transformed back into a human (Augusto Laretta, THE OFFICIAL STORY). Deathstalker and Salmaron next cross paths with Oghris (Richard Brooker, FRIDAY THE 13TH PART III) who is on his way to Monkar’s castle for a tournament which will decide who will become Monkar’s heir (although Deathstalker points out that being heir to an immortal does not seem like much of a prize). Deathstalker agrees to accompany Ogrhis to Monkar’s castle. They are then joined by topless female warrior Kaira (Lana Clarkson, FAST TIMES AT RIDGEMONT HIGH). Deathstalker does not intend to participate in the tournament until Monkar brings out Codille as his new “bride” and Deathstalker steps up to rescue her from being pawed by the other warriors (including a pigman). Monkar rewards Deathstalker by promising to send Codille to his chambers that night, but he instead transforms one of his thugs into her to kill Deathstalker. The Codille double is unsuccessful and Kaira is killed when the double turns back into his normal self, but Monkar has more tricks up his sleeves to get the sword and kill Deathstalker.
Shot in Argentina, DEATHSTALKER benefits from gorgeous set design by Emilio Basaldua (Carlos Saura’s TANGO) and costumes, as well as some of John Carl Buechler’s better creature designs (assisted by R. Christopher Biggs, whose first effects job was DEATHSTALKER scripter Howard Cohen’s SATURDAY THE 14TH). Buechler also served as second unit director and Bret Mixon (RETURN OF THE LIVING DEAD) provided the film’s optical effects. Despite a number of decapitations, the film’s goriest highlight is saved for the end. Buechler’s effects work consists mainly of creatures and facial appliances to some of the less human characters. Leonardo Rodriguez Solis’ cinematography is diffused without looking gauzy (Solis also shot DEATHSTALKER and THE WARRIOR AND THE SORCERESS). The stand-out contribution, however, is Oscar Cardozo Ocampo’s (AMAZONS) rollicking score, which drives the film (some of his themes would be recycled in later Corman sword and sorcery pics with Ocampo billed for “additional music” under the name “Oscar Camp”). Unfortunately, the film’s triumphs are undercut by post-production interference (producer Sbardellati, who directed as “John Watson” was not involved in post-production) including cuts for pacing that more often confuse rather than speed-up the narrative. One cut suddenly has Deathstalker stalking the castle’s halls (on the commentary, Sbardellati says that they shot “stalker stalking” shots whenever sets were not ready) and Salmaron being chased by guards, but cuts the reason why he is being chased (he witnessed the guards grabbing Oghris). Benton’s sword-fighting scene was also cut, King Tulak never shows up after the opening sequence, and Codille and Deathstalker have almost no dialogue together and no developed chemistry; additionally, what exactly Deathstalker does with the three powers is not specified (there are a handful of rotoscope shots, so it does not appear as if whatever happened was cut because they did not have a post-production effects budget). It is not known if editor John K. Adams (STREETWALKIN’) was involved in the additional editing. Footage from the film was edited into Concorde’s DEATHSTALKER II as well as the reportedly poor 2003 shot-in-Russia remake BARBARIAN, which cast Mr. Universe Michael O’Hearn as the DEATHSTALKER character and Martin Kove (BLOOD TIDE) as Munkar.
Producer James Sbardellati’s only other directing credit was the action flick UNDER THE GUN, but he got his start as an assistant director and second unit director on New World’s HUMANOIDS FROM THE DEEP and BATTLE BEYOND THE STARS. He was also first assistant director on THE BEASTMASTER. He later served as first AD on John Frankenheimer’s THE ISLAND OF DR. MOREAU and REINDEER GAMES, New World alum Bill Paxton’s FRAILTY, and Victor Garcia’s dire MIRRORS 2. Argentinian producer Hector Olivera also produced DEATHSTALKER II and THE WARRIOR AND THE SORCERESS and directed BARBARIAN QUEEN as well as WIZARDS OF THE LOST KINGDOM for Concorde. Co-producer Alejandro Sessa produced BARBARIAN QUEEN and THE WARRIOR AND THE SORCERESS and directed AMAZONS for Concorde and STORMQUEST (both produced by Olivera). Associate producer Frank Isaac got his start as assistant producer on THE BEASTMASTER and went on to the produce the other three films in this set. DEATHSTALKER was only the second feature credit for TV actor Hill (who had just come off the short-lived series TODAY’S F.B.I.). Hill then flew to Italy for Chuck Vincent’s WARRIOR QUEEN (produced by Harry Alan Towers and Joe D’Amato) with Sybil Danning, and to the Philippines for Cirio Santiago’s FAST GUN (Santiago made the trip to Los Angeles to shoot THE DEVASTATOR and THE DUNE WARRIORS with Hill). He also appeared in stunt coordinator Spiro Rizatos’ CLASS OF 1999 II and DEATHSTALKER II director Jim Wynorski’s STORM TROOPER. He did not return to the DEATHSTALKER series until the fourth and final installment. Before DEATHSTALKER, Brooker had already made exploitation immortality by playing Jason Vorhees in FIRDAY THE THIRTEENTH PART III, in which he was the first of the Jason actors to don the iconic hockey mask. Rather than continuing on as an actor, Brooker went behind the scenes as a television director, producer, and production manager. Former Playboy model (and Playboy Records singer) Barbi Benton made the guest star rounds in 1970s and 1980s TV (including PLAYBOY AFTER DARK, HEE-HAW, MATCH GAME, CHiPS, THE LOVE BOAT, FANTASY ISLAND, an appearance as a singer on THE SONNY AND CHER SHOW, and a jaunt to the UK for a part in one of the supernatural-themed episodes of THE HAMMER HOUSE OF MYSTERY AND SUSPENSE) before appearing in the Cannon slasher HOSPITAL MASSACRE/X-RAY. Her only other feature credit after that was DEATHSTALKER, but she has made more recent appearances in more than a couple documentaries and TV specials on Hugh Hefner (including E! TRUE HOLLYWOOD STORY and Hefner’s own reality show THE GIRLS NEXT DOOR). Although Clarkson had a fairly impressive resume including appearances in FAST TIMES AT RIDGEMONT HIGH, SCARFACE, and AMAZON WOMEN ON THE MOON (as well as BARBARIAN QUEEN, its sequel, THE HAUNTING OF MORELLA, and WIZARDS OF THE LOST KINGDOM II for Corman), she is unfortunately best remembered as the murder victim in the real life trial of record producer Phil Spector. As Munkar’s henchman Kang, Victor Bo – son of filmmaker Armando Bo (FUEGO) – also appeared in BARBARIAN QUEEN below.
DEATHSTALKER was distributed theatrically by New World (while it was still under Corman) and released on home video by Vestron (most of New World’s other releases were released on cassette by Embassy) and laserdisc by Image Entertainment. It was first released on DVD by New Concorde in 2001 in a fullscreen, open-matte transfer with only the trailer and other coming attractions as extras (it was re-released by New Concorde in 2003 paired with DEATHSTALKER II on a double-sided disc, but more on that below). Shout! Factory presents a new 1.78:1 anamorphic widescreen transfer sharing the same side of a dual-layer disc with its sequel. The image is quite attractive throughout apart from some bits of dirt and debris. The mono audio is in fine condition with Ocampo’s score coming through boldly. Shout has also included a newly recorded audio commentary by producer/director John Sbardellati, effects artist John Carl Buechler, and actor Richard Brooker, moderated by Code Red’s Bill Olsen. Richard Hill was supposed to appear on the track, but was unavailable and Brooker was a last minute replacement; although this is fortuitous since the actor was also the film’s stunt coordinator and horse wrangler. According to Brooker, Hill wanted his Deathstalker to be a bit James Bond-ish and was doing Connery impressions offscreen (there also seems to be a bit of Clint Eastwood in the on-screen version). Reportedly, the Argentinian press made up a story about a romance between Benton and Victor Bo which made his career. The theatrical trailer (2:02) is also included.
Four years later, Deathstalker returned for Corman’s company Concorde in DEATHSTALKER II; this time in the form of John Terlesky (APPOINTMENT WITH DEATH). Deathstalker run afoul of the imperious Sultana (Toni Naples, SORORITY HOUSE MASSACRE II) and she wants to settle the score. He is approached by princess-in-disguise Reena the Seer (Monique Gabrielle, NOT OF THIS EARTH) who tells his fortune – with a crystal ball that is actually a glass doorknob – and promises him riches if she will follow his lead. Where she leads him is into a lot of trouble involving assassins, zombies, and Amazonian women – lead by Maria Socas (THE WARRIOR AND THE SORCERESS) – who want to put Deathstalker on trial for his womanizing (in the form of a wrestling match to the death with real-life wrestler Queen Kong [SLASH DANCE]). Meanwhile, magician Jarek (John LaZar, BEYOND THE VALLEY OF THE DOLLS) is trying to track down Reena because the evil double that he has installed in her place (Gabrielle again) is bonded to her and needs human flesh and blood to maintain her appearance. Jarek and Sultana agree to help each other capture the Deathstalker and Reena.
Opening with the famous stock shot exterior of the castle from Corman’s own THE PIT AND THE PENDULUM, DEATHSTALKER II is a sequel in name only. The plot is a grab bag of references to RAIDERS OF THE LOST ARK, ROBIN HOOD, HAWAII 5-0, NIGHT OF THE LIVING DEAD, ABBOTT & COSTELLO and much more. Much of the toplessness of the extras serves its exploitation purpose, but also adds to the wacky atmosphere; although, there is an ugly but brief rape scene late in the film. The gore is more limited this time around and the various thugs (reportedly the same three for every scene with Terlesky occasionally donning a mask himself when he was not in the scene) chasing Deathstalker and Reena all wear masks rather than facial appliances. What make-up effects there are here are the work of Christopher Biggs, who assisted John Carl Buechler on the previous film. The end credits contain some funny outtakes including laughter and teasing during the shooting of Gabrielle’s erotic scenes, an Amazon dropping her arrow as she is about to fire it, some spills taken by Terlesky and other actors during the fight scenes (and a painful-looking one during Terlesky’s leap from a window), and Terlesky burning his hand when he grabs a torch that had been smoldering for hours. The supporting cast list is filled out by fake names such as Frederic Loren (Vincent Price’s character in HOUSE ON HAUNTED HILL), Norman Bates, and Rufus T. Firefly (Groucho Marx’s character from DUCK SOUP) among others. Terlesky is athletic and funny, but he’s no Deathstalker. The film probably might have been just as enjoyable had his character been given a different name and the film a different title. Terlesky, who also appeared in Wynorski’s memorable CHOPPING MALL for producer Corman, has since moved onto directing television with such series as UGLY BETTY, CASTLE, THE GLADES, and ARMY WIVES. BAYWATCH’s John Allen Nelson played Deathstalker in the third entry DEATHSTALKER AND THE WARRIORS FROM HELL.
Gabrielle may not have been most people’s idea of the next Emmanuelle, but she’s quite funny, sexy and adorable here in her dual role. Gabrielle finished this film and immediately flew to France to shoot Walerian Borowczyk’s EMMANUELLE 5 (DEATHSTALKER II editor Steve Barnett ended up re-editing and directing new footage for Concorde’s U.S. edit of the film). Naples made fourteen films with Wynorski and Corman, including SORORITY HOUSE MASSACRE II and its sequel HARD TO DIE, the erotic thriller SORCERESS with Linda Blair and Julie Strain, and most recently the cable erotic filler THE BREASTFORD WIVES. LaZar was cast by Wynorski on the strength of his performance in Russ Meyer’s BEYOND THE VALLEY OF THE DOLLS. He also appeared in Meyer’s SUPERVIXENS. More recently, he appeared in Fred Olen Ray’s ATTACK OF THE 60 FOOT CENTERFOLDS and a handful of episodes of the softcore cable series CLICK, loosely based on the comic strip by Milo Manara. Socas had previously played the topless, captive princess in THE WARRIOR AND THE SORCERESS (reviewed below) and also appeared in Hector Olivera’s WIZARDS OF THE LOST KINGDOM. Footage of one of her appearances was also worked into HOLLYWOOD BOULEVARD II. Marcos Woinsky (COCAINE WARS) plays Chinn, an assassin sent by Jarek (Wolinsky also appeared in BARBARIAN QUEEN below). Leonardo Solis’ cinematography is clean, but not as attractive as his work on the previous film (the lighting betrays the cheapness of the newer sets). Some sets are recycled from the prior film (on the commentary, Wynorski reveals that several films had made use of the standing sets in the intervening four years and that DEATHSTALKER II was actually the last film to shoot on them). Wynorski regular Chuck Cirino provides a rousing main theme, but the score also features recycled music from Ocampo’s score for the original film as well as additional music by Christopher Young.
DEATHSTALKER II was originally released on VHS by Vestron, and then in a fullscreen, open-matte transfer on DVD by New Concorde in 2001. That edition featured an audio commentary by director Jim Wynorski, actors John Terlesky and Toni Naples as well as the theatrical trailer as well as bonus trailers (those extras were also included on the 2003 double feature edition). Shout! has ported over the commentary and trailer, but created a new 1.78:1 anamorphic widescreen transfer that shares the same disc with. Despite some dirt – very visible during the opening credits opticals – and reel change marks, the image is attractive enough (and apparently significantly brighter than the master the commentators were watching) to show the mismatch between the recycled footage from the original film and the flatter cinematography of the sequel. The commentary is just as jokey as the film. The commentators poke good-natured fun at the film (the script was re-written on location). Terlesky choreographed the swordfights and directed parts of his fight scene with LaZar. He also points out which masked stuntmen were actually him and in which shots he was doubled during his wrestling scene with Queen Kong. The film’s trailer (1:44) and a photo gallery rounds out disc one’s extras.
Disc Two pairs BARBARIAN QUEEN and THE WARRIOR AND THE SORCERESS (Shout! Factory previously released these two titles as a dual-layer, double-feature disc and this seems to be a repackaging of this previous edition). YOJIMBO goes galactic with THE WARRIOR AND THE SORCERESS. On an alien planet with two suns, water is more valuable than gold. Warrior monk Kain (David Carradine, CIRCLE OF IRON) wanders into a village caught up in a stalemate between two warring clans. The tyrant Zeg (Luke Askew, NIGHT OF THE SERPENT) and his men control the village’s well. Zeg also holds captive the sorceress Naja, who he wants to make him an indestructible sacred sword. Kain kills the guards around the well, allowing the villagers as well as Zeg’s rival Bal Caz (William Marin) access to water. The gluttonous Bal Caz invites Kain into his fortress and offers payment for Kain to lead his men against Zeg. Kain overhears Bal Caz planning to dispose of him after he gets control of the well. He leads Bal Caz’s men out into the square but then walks away to let them fight each other while he watches from the vantage point of the inn belonging to Bludge (TV actor Harry Townes). Zeg and Bal Caz are forced to call a truce when slave trader Burgos (Arthur Clark) arrives to sell them slaves from a fallen village. Bal Caz provides Burgos’ men with poisoned water gourds bearing Zeg’s coat of arms in hopes that Burgos will return with an army to dispose of Zeg for him. Although Burgos’ men have already died, Kain warns Zeg of Bal Caz’s plot and he takes his men out to recover the gourds. While they are away, he kidnaps Naja and takes her to Bal Caz. He also kidnaps Bal Caz’s alien advisor and takes him to Zeg as a bargaining chip. Kain also taps the well to drain it and cause even more chaos between the two warring clans. Meanwhile, Burgos is on his way back with an army.
Scripted by William Stout and director John Broderick, THE WARRIOR AND THE SORCERESS is probably the least interesting film in the set. For most of the running time, it holds very closely to its film source. By ascribing Carradine’s character a plot-specific motive for his actions, the script makes him a less intriguing character. This is not helped by Carradine’s bland performance as both actor and a swordsman. In almost the same role, Toshiro Mifune and Clint Eastwood conveyed much without words; Carradine, on the other hand, conveys little with much more dialogue. Askew only just gets by with his dignity intact thanks to some trite dialogue, but Marin is just awful. Socas and Anthony Delongis – who also choreographed the stunts – as Zeg’s captain Kief, come off best (fortunately, the script makes Kief an intelligent and formidable opponent). Leonardo Solis is on hand again as director of photography, as are production designer Emilio Basaldua (as Emmett Baldwin) and costume designer and Christopher Biggs as make-up effects artists (besides Bal Caz’s Ghoulie-like advisor, the effects also include a four-breasted woman and severed hand). The film features some new cues by Luis Maria Serra (billed as Louis Saunders), but viewers watching the set in order will recognize the recycling of cues from Oscar Ocampo’s DEATHSTALKER score. Costume designer Maria Julia Bertotto is billed as Mary Bertram. Co-writer Stout is better known as an art director, having provided the production design for RETURN OF THE LIVING DEAD and MASTERS OF THE UNIVERSE (in which Delongis played both Blade and served as Frank Langella’s stunt double). Stout also provided some additional artwork in this film. Stout also did design work on CONAN THE BARBARIAN and its sequel, as well as RED SONJA, RAIDERS OF THE LOST ARK, FIRST BLOOD, THE CLAN OF THE CAVE BEAR, INVADERS FROM MARS, and more recently, PAN’S LABYRITH. His only other writing credit is the outline for New World’s GALAXY OF TERROR. Broderick had previously worked with Corman as the producer of Steve Carver’s CAPONE. He also produced HOWLING VI: THE FREAKS and SHOWDOWN IN LITTLE TOKYO. His last directorial credit was the comedy A BEDFULL OF FOREIGNERS. He died in 2001.
First released on VHS by Vestron in 1985 and then again in 1989 by Live Home Video, THE WARRIOR AND THE SORCERESS was previously released on DVD by New Concorde in a fullscreen transfer in 2002 with the trailer as the only substantial extra. The 1.78:1 anamorphic widescreen transfer on display here is attractive, but like the other films in the set, it does not seem to have been cleaned up. Once or twice, a vertical scratch is visible (likely damage to the original negative in camera) and some of the darker scenes are murky (although they may always have been so). The mono audio serves the dialogue and mostly recycled music well. The film’s trailer is (2:02) the only related extra, but the feature is preceded by trailers for DEATHSTALKER and DEATHSTALKER II. DEATHSTALKER’s Lana Clarkson is back as the BARBARIAN QUEEN. On the day of her wedding, Amethea’s (Clarkson) village is raided by the knights of King Arrakur (Armando Capo, AMAZONS, billed as Armand Chapman). Her sister Taramis (Dawn Dunlap, FORBIDDEN WORLD) is raped and kidnapped and her betrothed Argan (Frank Zagarino, WHERE THE BOYS ARE ‘84) and her friends are taken as slaves. Amethea fakes her death by setting the hut she is hiding in on fire. When she emerges, she discovers that her friend Estrild (Katt Shea, HOLLYWOOD HOT TUBS) has managed to evade being taken prisoner. The two immediately set off to free their people and meet up with Tiniara (Susana Traverso) who was taken but escaped, killing her captor and taking his horse and supplies. While traveling by canoe, they happen upon an outpost belonging to Arrakur. They kill the men and discover that Taramis is being kept there, and that she has been traumatized by her ordeal. On the way to Arrakur’s kingdom, but they are nearly killed by rebels whose village has been raided. The rebels send the child Dariac (Andrea Scriven) to lead them safely through the catacombs beneath the city where the girl’s father Zohar (Tony Middleton, THE OFFICIAL STORY) and other rebels infiltrate the village in disguise. Amethea discovers that Argan is still alive and being trained to fight as a gladiator along with pal Strymon (Victor Bo, DEATHSTALKER). Taramis wanders off and Tiniara and Estrild go in search of her. Estrild is cornered by guards and raped. When Tiniara is nabbed by the guards, Amethea comes to her defense and they are both taken. The childlike Taramis is taken in by Arrakur as his new favorite. While Estrild is sent to the gladiators’ harem, Tiniara and Amethea are taken down to the dungeon for interrogation to find out where the other rebels are hiding. Estrild meets up with Argan and Strymon and they try to convince the other gladiators to rebel. While Tiniara is menaced by a torch-wielding guard (Marcos Woinsky, DEATHSTALKER II), Amethea is given over to an inventive and sadistic torture expert. Tiniara frees herself but is killed. Amethea also escapes and reunites with Estrild, but will they be able to the rebels to fight?
Although Lana Clarkson deserved better, BARBARIAN QUEEN was further ruined in post-production by the arbitrary pruning of the running time down to seventy-one minutes. Among the roughly ten minutes of deleted and extended scenes fortunately included here as an extra One of the important deleted scenes explains why Argan is suddenly fighting with one of the gladiators who pledged himself to the rebellion. Another important scene features Dariac trying to convince her father to trust Amethea. One gets the impression that either there is more that was cut, or some important scenes that were never filmed. With all that said, there are other problems in BARBARIAN QUEEN that stem from the script. Amethea and Argan have absolutely no scenes together until the end, so there’s really no time to develop chemistry (although Zagarino is pretty stiff throughout) and some important supporting characters are never introduced by name, even though they are given names in the end credits (this may have to do with the re-editing). The fight scenes also seem to rely more on quick cuts than actual choreography (although Clarkson is still badass with a sword). The music score is credited jointly to James Horner (ALIENS) and Christopher Young (HELLRAISER). Horner scored UP FROM THE DEPTHS, BATTLE BEYOND THE STARS, and HUMANOIDS FROM THE DEEP for Corman before moving on to more prominent assignments including his work for Corman alumnus James Cameron (starting with ALIENS). Since Horner was doing mainstream work by the mid-1980s, it is likely that his work here is recycled from the earlier Corman productions. Young’s contribution may have been recycled from Olivera’s other Corman effort WIZARDS OF THE LOST KINGDOM, although Young’s regular collaborator Jeff Vaughn is credited here as scoring mixer. Shea had a couple small appearances in films like MY TUTOR and SCARFACE, and then some more prominent parts in the 1980s including this, PSYCHO III, and Cirio Santiago’s THE DEVASTATOR (with Richard Hill) for Concorde. Her more memorable contributions to exploitation cinema, however, have been as a director with STRIPPED TO KILL and its sequel, the memorable DANCE OF THE DAMNED, and STREETS for Concorde. She also helmed the Drew Barrymore/Sara Gilbert thriller POISON IVY for New Line before taking over direction of THE RAGE: CARRIE 2 from Robert Mandel (F/X). Born in Texas, Dunlap made her acting debut in as the underage object of desire in photographer David Hamilton’s LAURA. Her only other Corman credit was in FORBIDDEN WORLD before getting a small part in Ron Howard’s comedy NIGHT SHIFT. Besides HEARTBREAKER and LIAR’S MOON, her only other credit is this film. BARBARIAN QUEEN was Traverso’s only American credit, although she has appeared in other Argentinian exploitation production. Zagarino followed up BARBARIAN QUEEN with roles in Giannetto de Rossi’s CY WARRIOR, Ferdinando Baldi’s TEN ZAN – ULTIMATE MISSION, Enzo G. Casterelli’s STRIKER and HAMMERHEAD, as well as a couple Cannon Films appearances, before busting into the direct-to-video action market of the nineties. Despite a meaty part, Woinsky is uncredited.
First released on VHS by Vestron in 1985 in R and unrated versions, BARBARIAN QUEEN was previously released on DVD by New Concorde in an open-matte transfer in 2001 with the trailer as the only related extra (it was re-released on a double-sided disc with its sequel by New Concorde in 2003), Shout! Factory’s new transfer is a 1.78:1 anamorphic widescreen transfer. Since the deleted scenes include some additional gore and nudity, I’m assuming that the print itself is the R-rated version. The new framing looks fine (theatrical screening was still a secondary consideration with Concorde movies in the mid-1980s) and the mono audio is in good condition. Besides the film’s trailer (1:48) and the aforementioned deleted scenes (9:58) – the cuts do not entirely add up to ten minutes since Shout has framed the deletions with snippets of the surrounding footage for context – the film is preceded by trailers for STREETS (with Christina Applegate) and ANGEL IN RED. (Eric Cotenas)
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