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Ilsa is an evil Nazi warden at a death camp that conducts “medical experiments”. Ilsa’s goal is to prove that woman can withstand more pain and suffering than men and therefore should be allowed to fight on the front lines.

The first Franco/Erwin Dietrich effort is probably Franco’s most exploitive film with numerous sadistic scenes of torture and perversion. A true exploitation masterpiece that only a director like Franco could make. Maria (Lina Romay) is sentenced to prison for life for killing her father that attempted to rape. She is sent to a special section of the jail know for it’s cruel and sadistic treatment of prisoners. The wardress (Monica Swinn) is a sadistic lesbian who knows no mercy and takes pleasure in her job. Maria seduces a male nurse who she eventually kills in order to spring an escape from the hellhole. A must for all fans of sadistic WIP films and for Jess Franco addicts. Also stars Franco regulars Paul Muller, Martine Stedilm and Eric Falk.

The movie starts out with Arthur, King of the Britons, looking for knights to sit with him at Camelot. He finds many knights including Sir Galahad the pure, Sir Lancelot the brave, the quiet Sir Bedevere, and Sir Robin the Not-Quite-So-Brave-as-Sir Lancelot. They do not travel on horses, but pretend they do and have their servants bang coconuts to make the sound of horse’s hooves. Through satire of certain events in history (witch trials, the black plague) they find Camelot, but after literally a quick song and dance they decide that they do not want to go there. While walking away, God (who seems to be grumpy) come to them from a cloud and tells them to find the Holy Grail. They agree and begin their search…

In this made-for-TV horror showcase, Karen Black plays four separate roles in three successive tales written or based on the works of venerable genre writer Richard Matheson. In “Julie,” Black portrays a prim college literature instructor who engages in a debauched affair with one of her students after he drugs, date-rapes, and blackmails her into submission; here and in the other stories, however, things aren’t what they seem. “Millicent and Therese” features the actress in two roles as good sister/bad sister twins who use witchcraft to settle their sexual and moral differences. In the final and most famous segment, “Amelia,” Black plays a spinster with an insufferable mother who sublets a high-rise apartment in the city in order to find romantic freedom. When she purchases a Zuni fetish warrior doll as a present for her anthropology-professor beau, it comes to life and chases her around the flat with considerable tenacity. A failed pilot for a horror anthology series, Trilogy of Terror first appeared on ABC in 1975 and subsequently gained a devoted cult following. Black originally didn’t want to participate, but agreed after her husband, Robert Burton, was cast in the role of the date-raping blackmailer. Although the actress has appeared in numerous subsequent horror films, it was her indelible quadruple roles here that inspired cult New York rockers the Voluptuous Horror of Karen Black. The film also allegedly inspired the 1984 horror-blaxploitation flick Black Devil Doll From Hell. A belated sequel, Trilogy of Terror 2, also from former Dark Shadows director Dan Curtis, followed in 1996.

In the year 2018 violence has been outlawed and corporations have replaced government as the ruling party following the demise of politics. With the absence of war or conflict, a forcibly passive population’s bloodlust is satisfied by a brutal new sport known as Rollerball. A high-octane melding of the outlawed sports of the past, the worldwide phenomenon of Rollerball has resulted in a corporate-backed sensation. The most popular athlete in the world, Jonathan E. (James Caan) has steadily risen through the ranks to become a legendary veteran of the sport. When the corporate backers of Rollerball begin to fear that Jonathan’s popularity has instilled him with a potentially dangerous amount of power, a thunderous struggle between man’s free will and the oppression of the masses threatens to shatter the fragile strings that the puppet masters use to manipulate mankind. His determination to remain with the sport flying in the face of the very reason Rollerball was conceived, the corporate rulers hatch a plot to abandon the rules in hopes that Jonathan will be killed and their grip of power will remain an unyielding chokehold on an increasingly bloodthirsty populace.

The film that has become the master work in Italian horror maestro Dario Argento’s canon, Deep Red holds up brilliantly despite the plethora of copycat slasher films it inspired in the years to follow. The film opens with a flashback murder shown from the perspective of a child while an eerie nursery rhyme plays. Cut to the present, pianist Marc Daly (David Hemmings) witnesses the murder of a psychic while chatting with his drunken pal, Carlo (Gabriele Lavia). While the police investigate, Marc joins forces with attractive reporter Gianna (Daria Nicolodi). Once Marc realizes that he is a target for the killer, he seeks help from Giordani (Glauco Mauri), a professor of the paranormal, who soon becomes one of the killer’s victims. Marc’s research leads him to an abandoned house where he discovers a secret room that hides a corpse. Before he can call the cops, he is knocked out and awakens to find the place in flames while Gianna holds him. Racing to the neighbors to call for help, Marc discovers an important clue that leads him to a nearby school where he finally finds the killer’s identity. The madman attacks him, but the police arrive to save Marc. Though the case appears to be solved, Marc comes to the disturbing realization that one piece of the puzzle remains.

New York narcotics detective Popeye Doyle follows the trail of the French connection smuggling ring to France where he teams up with the gendarmes to hunt down the ringleader.

“The Naughty Stewardesses” follows four fetching flight attendants as they deal with randy passengers, dirty old men, “fashion” photographers, and other hazards in the sky and on the ground. Donna Desmond and Tracy King star with Carrol and Livingston.

When a bunch of beautiful stewardesses attempt to relax at a ranch, they find themselves attacked by mysterious horsemen. Ignoring the smarmy script, the Ritz Brothers regale their old fans and win a few new ones by running through some of their classic routines, including the legendary “hero sandwich” bit.

In the golden days of independent film distributors, companies would often try to disguise experimental fare as traditional drive-in programmers. Pick-Up is an interesting example of this technique: the ad campaign marketed it as southern exploitation fare, complete with a poster depicting a nubile ingénue being menaced by a gang of truck-driving hicks. Viewers who actually saw the film would come to realize the imagery on the poster art only accounted for a few minutes of the film’s running time and that the film was a much different proposition than its ad campaign made it seem. Pickup is actually an artsy venture that depicts two young women — fun-loving and self-styled mystic meeting up with, a young man who is driving a luxury R.V. across the state for an automotive delivery service. When a storm-related detour leaves the trio stranded in the swamp, they decide to indulge in nature — and each other. Each relives a past trauma that drove them to leave home and the story ends with a very “1970’s” surprise ending. Pick-Up was the only feature from ad exec-turned-filmmaker Bernard Hirschenson, who has had a long career making documentaries and television commercials.

This fast-paced Disney endeavor stars Kim Richards and Ike Eisenmann as two adolescents with acute psychic powers. The kids are actually space aliens, but suffer from amnesia and are unaware of their origins. Pursued by greedy business-mogul Ray Milland, who wants to harness their special powers for his benefit, Kim and Ike are rescued by likeable camper Eddie Albert. He and the kids escape to the mountain of the title when Albert’s RV suddenly acquires the power of flight. In 1978, the film spawned the sequel Return from Witch Mountain.

The Day of the Locust is anything but a cheerful, light look at Hollywood in the ’30s. It recreates both the town as well as the filmmaking world around which much of the town revolved with devastating accuracy. The movie tells the twin tales of talentless wannabe actress Faye Greener (Karen Black) and Homer Simpson (Donald Sutherland), a lovelorn accountant who couldn’t care less about movies. Around this framework, a huge and intricate social network is tellingly revealed, until the film’s gruesome and tragic ending. Not for those who prefer to hang onto their illusions about the glory days of Hollywood, The Day of the Locust, based on the novel by Nathanael West, is a must-see for serious film buffs.

The Man Who Would Be King opens with author Rudyard Kipling (Christopher Plummer) working in his study. His solitude is broken by the arrival of a tattered, half-mad derelict, who is soon revealed to be his old acquaintance Peachy Carnahan (Michael Caine). As Kipling listens in rapt fascination, Peachy relates the incredible adventures of himself and his partner-in-chicanery Daniel Dravot (Sean Connery). Serving as military officers in India, Carnahan and Dravot have masterminded all sorts of underhanded money-making schemes, the most elaborate of which takes them to a remote city in the hills of eastern Afghanistan. Here, through methods both foul and fair, Daniel passes himself off as the incarnation of Alexander the Great, the better to lay his hands on the vast riches all around him. Unfortunately, Daniel begins to believe his own lies, and the results are disastrous for both himself and Peachy. Inadvertently exposing Daniel’s scheme is his native wife, played by Shakira Caine (Michael Caine’s real-life wife).