1990: THE BRONX WARRIORS
1990: I GUERRIERI DEL BRONX
1982, Blue Underground, 89 min, Italy, Dir: Enzo G. Castellari

From the director of the original INGLORIOUS BASTARDS and LAST SHARK and the writer of ZOMBIE comes this explosive Italian post-nuke. Anne, heiress to a weapon's manufacturer, runs away to the war zone of the Bronx to avoid inheriting her questionable family business. She must navigate the wasteland with Trash, a gang leader of the Riders, as rival gangs and bounty hunters seek to capture her. Mixing elements from both ESCAPE FROM NEW YORK and THE WARRIORS, BRONX WARRIORS is an action-packed whirlwind of insanity.


THE GATES OF HELL (aka CITY OF THE LIVING DEAD)
Paura nella città dei morti viventi
1980, Grindhouse Releasing, 93 min, Dir: Lucio Fulci

If you like great photography, supernatural themes, painful insertions of carpentry tools, portals to Hell, vomiting-up of intestines and maggot-dripping zombies, then this is the film for you. A priest commits suicide by hanging himself in the church cemetery of Dunwich, and the horrific act opens the gates of Hell. As zombies pour forth. a reporter, a psychic, a psychiatrist and his patient must close the gates before All Saints Day or the dead will destroy the world (in a creatively gory way of course). Gruesome savant Fulci’s follow-up to ZOMBIE features fantastic makeup by Gino de Rossi and cinematography by Sergio Salvate.


THE BEYOND
…E TU VIVRAI NEL TERRORE! L’ALDILÀ
1981, Grindhouse Releasing, 87 min, Italy, Dir: Lucio Fulci

In director Lucio Fulci’s gothic masterpiece, Lisa (Catriona MacColl) inherits a decrepit New Orleans hotel and hopes to renovate it. What her real estate agent failed to tell her is that one of seven doors to Hell is in the cellar; after several gruesome accidents, the passageway opens, unleashing a horde of zombies. Both gory and surreal, Fulci's tribute to Antonin Artaud’s Theatre of Cruelty is not so much a film as a stunning series of brutal images - faces eaten by spiders, seeing-eye dogs gone mad, men losing eyeballs and, of course, blood-soaked bodies. With one of Fabio Frizzi's most menacing scores.


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