Description

TV Series about a Judge who gives up on the justice system after his daughter and wife are murdered. He begins to live a double life and forces the guilty defendents from his court to join a vigilante group called 'The Night Watchmen.' ... Read more

Reviews (5)

episodes contained....
I think it contains only one episode--Judgement Night, which is the last episode of the first season.

A little help?
Can someone please write a *useful* customer review describing the actual contents of the tape, please? Stating that the *show* is "awesome" or so-and-so is "hot" tells us *nothing* about the quality of the transfer itself, or the material included. Is this the pilot? The first several episodes? Several random episodes? It's certainly *not* the entire series; that wouldn't fit on a single VHS tape.

Jeff Freilich, Ken Wiederhorn are not the stars
Jeff Freilich, Ken Wiederhorn are not the stars of this movie. I know. I was in all three seasons.

More episodes produced
Wish there were more episodes of this series for sale. Especially of the second and third seasons.

haven't checked out video yet...just seen the tv show
I think Ramy Zada is sooo hot ..looks like an ex boyfriend of mine.....does anyone know where/how I can get a pic of this actor? I will be checkn' out the video Thanks ~M~ ... Read more

Description

An attractive college student begins a journey of terror when she takes a class on fear from an "off center" professor who believes one must experience fear firsthand to understand it. ... Read more

Reviews (2)

THIS WAS A GOOD 80'S MOVIE!!!
FORGET THAT REVIEW ABOVE THIS THAT PERSON OBVIOUSLY WROTE FOR THE WRONG MOVIE....BUT THIS WAS A GOOD MOVIE A LIL DATED BUT THE STORY IS SO GOOD KIND OF UNIQUE.....ONLY ONE PROBLEM, TO MAKE THESE STORIES REALLY STAND OUT IT NEEDED MORE GORE AND THATS WHATS MISSING. BUT ALL IN ALL GREAT STORY WITH GREAT POTENTIAL. ALSO I LOVE THAT CUTE LIL ACTRESS PAMELA SEGALL!!!

Blind Love
This movie is about wanting something you can not have and willing not to stop until you get it. This woman keeps tabs on this man for years and works her way into marrying the most poweful man in the world.Once she finds him again the thrill begans again but the outcome backfires.Played by wonderful actors this is a must see movie. ... Read more

Amazon.com

Legendary horror directors George Romero and Dario Argento team up to direct a pair of short films inspired by the writing of Edgar Allen Poe.In Romero's story, a woman (Adrienne Barbeau) and her lover hypnotize her ailing, older husband into signing over his riches. But when he dies while still under their command, his soul haunts them, seeking to be freed from their hypnotic spell. In Argento's tale, a crime-scene photographer (Harvey Keitel) kills his live-in girlfriend in a fit of jealous rage, but her black cat continues to torment him after her death. While Romero's piece toys with horror conventions and Argento's plays out in his typically elongated fashion, their dramatic story lines, unexpectedly gruesome imagery, and ironic endings shock some life into the movie. It is rumored that this was originally meant to be a quartet of horror tales with contributions from Wes Craven and John Carpenter, but at least we got these two. --Bryan Reesman ... Read more

Reviews (15)

Two horror greats in one film.
While George A. Romero and Dario Argento worked together on the production of Dawn of the Dead, this was the first movie the two actually 'worked' on together as directors. Each contributed a short film based on a story by Edgar Allen Poe. Romero adapted The Facts in the Case of M. Valdemar while Argento chose The Black Cat. Romero's comes first and it is routine EC comic style stuff, solidly made yet hampered by pacing that is a tad too methodical. But the payoff is worth the trip and the cast (Adrienne Barbeau, Ramy Zada, and Bingo O' Malley) contribute nice work. Argento's segment is far more energetic, a surreal trip into madness as a crime scene photographer (Harvey Keitel) is driven by his art to kill his live-in girlfriend's black cat. Of course the cat returns, again and again, and things get even worse in that surreal nightmare way that only Argento can pull off. Not content to just adapt The Black Cat, Argento also tosses in references to other Poe stories; namely The Pit and The Pendulum, The Tell-Tale Heart, Bernice, and several characters have famous Poe names (Usher, Pym, etc.). If he didn't go overboard, then he wouldn't be Argento, now would he? Blue Underground has done another first rate job with this wonderful disc. The maligned movie has never looked or sounded this good and the extras are more than worth the bonus disc. Romero and/or Argento fans will love it. Recommended.

Animal-Handling AND Masonry: Components for Perfection
When directors get together, they have the potential to make interesting things happen. When great directors join forces and decide to take on a project, even better results areexpected. It honestly doesn't matter what type of material they're doing or if the viewing population has tasted it time and time again. They, the silver screen's version of power coupling, know their art, understand the little versions - or perhaps perversions - of atmosphere that balance the viewing scales, and have the most cards to play when it comes to forging complete pictures. Unfortunately, both don't always deliver a knockout punch like you'd like.

In this initial piece, it's a story you've heard before. An older fellow with dollarsign-laced pockets decides to marry a younger woman. People jeer it in the community and friends seem appalled by it, but attraction is attraction and a little IWantATrophyWife-itus is sometimes what wealth is all about. In our tale, we join an ex "airline hostess" and her much older husband as he's teetering on that painful plateau just outside of dying. Plans are in the works on how to acquire some of his fortune before his estate and the long years of "settling" are addressed, with hypnosis and the application of falsified doctor reports working fairly well. It all seems to be going splendidly, too, and three million dollars is all set to arrive in two weeks - providing the wife, Jessica, can keep her husband around that long. As movies would have it, however, he dies and the planning gets worse and worse and worse until....

This Romero addition to the power duo has some serious flaws in it. The plot is thin, the effects are a little drowsy, and what seems to start off well dances down the corridors of lackluster architecture. Honestly, it's a good thing that things happen the way they do in these tales, because the atypical plan thrown into this type of movie would normally end up with someone going to jail for a very long time. Money or not, you wouldn't want to bury someone in your own backyard with a couple of bullet holes in them and you wouldn't want them kicking it with you ice-cream and getting freezer burn. This is worse than that in some ways, however, because it seems to say that a master in his field and Savini can't get together and make something that hasn't been seen a hundred times over. Instead of illustrating a story the way an audience knows they can, they take a Poe idea, splash a little effect work on it, and somewhat go through the motions.

In Argento's version of The Black Cat, things play out a lot better. Our focal point, a man with a gruesome day job, brings home a little hatred and finds himself in a not-so-happy position of trying to conceal what he's done. When things get a little stressed and push come to shove (and hack and slice), it seems that things can get a little ugly at home. This seems especially when you're the owner of a cat you hate and don't want to keep up with, and moreso when you're half of a marriage that will ultimately self-destruct. Without giving all the gray matter away, this ultimately becomes a testament to revenge going awry, why you should treat animals a little bit better, and why post-it notes are a good thing if you don't want to leave out any small details to a crime.

In my personal opinion, the Argento piece is a short film made in gore heaven. Not only does it make a show of force with all its little pieces coming together and working out all-too-well, but it also gives little shout-outs to other Poe stories as well.
And then the eye candy begins to make its rounds.
The first effects, mutilated bodies, birth even better effects. The deaths seem to get worse and worse until, in one place, I saw something that I could almost feel because of the way the image evoked words like "pain." Still, it didn't stop there. With little kitties doing things little kitties shouldn't do; hairless, nasty, and bathed in the debris brought to you by a mind that has imported images of this variety time and again, it gets even more graphic. And that's all I really ever wanted.

Combine that with build, a good plan that twists until it morphs into something horrific that the main character couldn't foresee, and nice acting and you can even overlook Romero's shoddy addition to this collection. Simply be warned that it does have a little kick in the "gruesome" department.

The Evil Eyes are crossed---but it's still good stuff.
I have to confess: I was thrilled beyond words when I heard Blue Underground was releasing this 1991 collaboration between two of my favorite horror masters, George Romero and Dario Argento. I bought the DVD sight-unseen, having only seen a few snippets of sequences from the second story in this two-movie collection, Argento's adaptation of Edgar Allen Poe's "The Black Cat".

I had seen those snippets as part of a larger Argento documentary called "Dario Argento: an Eye for Horror"---and they were ghoulish indeed! Harvey Keitel impaled on a stake? Mewling, hairless baby cats walled up with a gore-caked corpse, 'Cask of Amontillado' style? The gruesome final finishing touch---death by merciless, razor-sharp pendulum---that even Poe himself had shied away from?

I had to have it, just for the Argento work alone! As for the Romero adaptation of "The Facts in the Case of M. Valdemar", well how could you lose, with the evil mastermind behind "Night of the Living Dead" helming up a short movie about a miser left in hypnosis after death?

Blue Underground has done an excellent job with their Limited Edition DVD: the DVDs themselves are nicely decorated with two of the more chilling sequences from the film, and the material on the bonus DVD (including---hey!---a tour of make-up guru Tom Savini's home!)is worth the price of admission alone. It's a handsome DVD, and a nice addition to any horror movie aficionado's collection.

As for the movies---well, they're not what I had expected, highly uneven, and not the best examples of either Argento or Romero's work. But they're enjoyable, gory, ghoulish fare, with Romero's piece more subtle and stylish and Argento's entry an over-the-top assault on the senses that pays tribute to some of the nastiest of Poe's nuggets, including "The Black Cat", "Lenore" (ah yes, her lovely 32 teeth! nice touch, Dario!), "The Pit and the Pendulum", "The Cask of Amontillado", "The Tell-Tale Heart", and even a glib nod to "The House of Usher".

Taken together, the two pieces that comprise "Two Evil Eyes" give the film a "Creepshow"-like feel, not surprising given that Romero helmed that movie. Romero's piece here has been unfairly savaged, and while it seems sedate in comparison to Argento's gory Italian Grand Opera, it's a stately, stylish little chiller. Adrienne Barbeau plays the crafty youngish wife of financier Valdemar (played to the hilt by Bingo O'Malley, who gave me the creeps!---he also shows up as Stevie King's dad in the Meteor episode of Creepshow), who plots with her hypnotist lover to get rid of the sick old man and abscond with a fortune.
Not surprisingly, things don't go as planned; look for an opening shot right out of "Night of the Living Dead" and a scene-chewing contest by movie veteran E.G. Marshall and Barbeau (who holds her own).

But it's really Argeno's sanguine little number you should check in for. Ostensibly an adaptation of "The Black Cat", it features Harvey Keitel as a demented crime photographer whose lifestyle and pre-occupations would make his "Bad Lieutenant" character cry for his mommy. It's not Dario at the height of his game, but it's wicked, depraved, gory stuff.

All told, these two shorts make a jolly, gory little evening of Poe-vian goodness. Break out a nice cask of Amontillado from your cellar (don't mind the knocking from the other side of the wall), open up a tin of caviar for your trusting black cat, put a blanket over your pet raven's cage, and enjoy two horror masters having some fun with their medium.

Good horror, great directors
This movie is based on the writings of Poe. The first film is okay. It drags a little, but once things pick up it gets very interesting. The second film is probably the BEST horror short ever made. If you're a fan of episode horror films, (Creepshow, Trilogy Of Terror and the like), then this is a MUST HAVE DVD. The extras alone are worth the purchase. It's a limited edition, so make sure you snag it up before it's gone!

for completists only
I bought this movie only because I am an Argento nut and wanted to have everything he has done. His segment is the only reason I gave this three stars; Romero's segment is a real let-down. I can't even believe it was made by the same guy who made Dawn of the Dead and Martin! ... Read more

Reviews (8)

PAINFULLY HORRIBLE
I wish I could find something positive to say about this film, but it would be sinful not to warn others about it. I watched this film with some friends and felt compelled to apologize to them afterword. It's difficult to find the right words to describe how unbelievably bad it is. The acting is atrocious, the photography is horrible, the script is non existent and the ending brings a movie that is already painful to sit through to an excruiatingly, tortuous finish, like a slow painful death. It would be hell to be forced to watch this one again.

Terible
This movie should not be let out into the public. This is not an accurate description of what what happen today, even. The graphics are horrible, and the dialogue is worse. The only thing i liked about this movie was when the big fireball came out of the sky and killed thisone dude.
but in all seriosness, all i can say about this movie is....
kill me, kill me now

DO NOT WASTE YOUR TIME.
"End Times" or "What if Jesus Lived Today" - These seem to be the only 2 ideas that some modern christian writers and producers can come up with. This is the worst movie I think I've ever seen - poor dialogue, cheesy effects, bad music and worse editing (check out the sweat stain on the police officer's armpit as he takes a swing at Peter). It should be an embarrassment to any follower of Christ serious about having a rational dialogue with the world they live in. The only redeeming value in this movie were the laughs I had (there's a strange sort of humor that exists only in things that aren't supposed to be funny). But if you're looking for that kind of humor, better go with "American Movie."

Everything that was bad about Sunday School
Chances are good that most of us in our 40s and 50s have unpleasant memories of Sunday School. Of all my own distasteful memories, the very worst are the hokey illustrations in the kids Bible we used to read. Remember them? The kind of drawings that still appear in Jehovah's Witness literature that depict Jesus and Joseph and Mary as clean-cut suburban types dressed in bathrobes? That stylized 1950s look, in which Jesus and his disciples look like cleancut college boys, turned me off of religion for years. Even now, I cringe when I come across examples of it.

That's why I cringed when I watched "The Judas Project." A good concept--a twentieth-century Christ--but an unspeakably bad presentation. The music is horrible pop evangelism, banged out on a piano, with insipid lyrics. The dialogue is wooden, with contemporary cool talk mashed together with quotations from the King James that make little sense. The acting is one-dimensional and stereotypical; even veteran character actor Jeff Corey, who plays the twentieth-century version of Caiaphas, is atrocious, looking as if he's been drugged and then dragged to the set. The camera work is amateurish; in one scene, where Judas and Jesse (the Christ figure) are in an animated conversation at a cafe table (with a rather stupid Peter wordlessly looking on), the camera lights are so close and so hot that the faces of the two speakers become beaded with sweat. The Mount Tabor transfiguration scene is pure kitsch masquerading as piety. In short, the movie started out bad, and just got worse and worse. As a piece of art, it's embarrassing. As an apologetic, it's off-putting--just like being in Sunday School again!

This isn't to say the film is a total failure. It does have moments when it almost rises to the occasion. The central dilemma introduced in the film--the way of love and powerlessness represented by the Christ figure, and the way of worldly domination and power represented by the Judas figure--is important and timely. But it's barely scratched, and even then seems like a leftover from the Judas-Jesus conflict in "Jesus Christ Superstar" (an infinitely better movie, by the way). The crucifixion scene, which takes place in an abandoned barn, has great cinemagraphic potential. But the camera person blows it again, failing to take advantage of the possibilities.

St. Paul says that when we grow up, it's time to put away the things of childhood. Too true. So let me encourage readers of this review to skip this Sunday School caricature and go straight to some adult cinematic explorations of Christ. Denys Arcand's "Jesus of Montreal" or even Mel Gibson's recent and controversial "The Passion of the Christ" would be good places to start.

I shook my head for Christians everywhere.
This film is an utter failure in every way. I sets the gospel of Jesus in a modern setting and attempts to draw you into this "what if" scenario. Well, it was a noble effort, but EVERYTHING ELSE about the film was horrendous. From poor acting, horrible script, no direction,(just to name a few) and poor technical effects (few of which appeared to have anything to do with budget) to a complete disregard to the cultural implications of Jesus not having appeared some 2000 years ago. One of the filmakers even brags about having composed the music before the film was written! He BRAGS about it! You don't brag about that, because it's an extremely DUMB thing to do! Please do not use this film as a basis for your Christianity! If it converts you, then God has made it so DESPITE the efforts of these filmakers! It was a good idea that went horribly wrong. Only buy this film as an example of pitiful filmaking! ... Read more

Reviews (3)

Funny About Love
Let me begin by saying that I read the review about this movie by "petershelley". WHOA! How could anyone be so opposite of everything this movie was about!! He does not have a clue and I mean not one about life, people, love, emotion, vulnerability and what it is really all about. This guy is so off base I actually pity what a superficial life he must live. He needs to get off his pedestal and get down here where the real people live. I believe that the performance by Gene Wilder was phenomenol and I could FEEL his pain when his wife walked out the door after their break-up. Knowing Mr. Wilder's history with his departed wife, Gilda Radner, one can only guess at his source of the emotion he exibited in that scene. No wonder I could feel it-I don't think you call that acting. I think it was real. Does Mr. Shelley know what it feels like to want to have a child and not be able to? I think not. If he did he would understand the motivation behind the actions of Duffy in the movie "Funny About Love". ANYONE who has been there knows that you CANNOT intellectualize about such a thing as Mr. Shelley does in his review. IT JUST IS. Christine Lahti's character represents so much of what it is to be a woman these days and try to be everything to everyone and not lose herself and her dreams and ambitions. She very much needed to know that Duffy loved her more than he loved the dream of having a child. That what we have in the here and now is all we really ever have, and even that is temporary. Mary Stuart Masterson of course brought so much humor to a really pretty sad situation. Because of her ability to love unconditionally she was able to give something extraordinary of herself to someone she loved and cared about without having to OWN that person. She was able, out of friendship or love, to fulfill the dream of another human being and complete his life. What greater gift is there on this earth? What an amazing movie, I loved every minute of it and can't believe it has taken it over 10 years to cross my path. I HIGHLY RECOMMEND THIS MOVIE and of course "Immediate Family" is right up there with it. Alexis Baughman

Gene Wilder Rules In This Romantic Comedy!!
Gene Wilder rules in this romantic comedy also co-starring Christine Lahti.It's a must see!!

Duffy Bergman¿s biological clock is about to go off
This tale of Gene Wilder as a Gary Trudeau-like celebrity political humourist doesn't work as comedy, drama or romance. The screenplay by Norman Steinberg and David Frankel is based on an Esquire article by Bob Greene entitled Convention of the Love Goddesses, which is represented by Wilder speaking at an all female college, declaring that men are "self-pitying" and in awe of women. However this hardly qualifies as feminism, which director Leonard Nimoy amusingly plays with by having Wilder's car pass a line of phallic trees. The only relationship he seems to have with a woman where Wilder isn't controlling or negative is his affair with the much younger Mary Stuart Masterson, and even this is invalidated by his unwillingness to declare his emotion, echoed in Sotto Voce being the name of a featured restaurant.
The main romance here is with Christine Lahti. At first her disinterest in him gives her some strength. She is a waitress at a book signing event of his yet unimpressed with his fame. However wardrobe dress her in Annie Hall-wear and soon she is revealed to be self-consciously weak, which diminishes Lahti's otherwise appealing qualities. The inability of the couple to bear a child sours their relationship, and Lahti bears the teary-eyed guilt.
What is noticable about the treatment is the parallels to be made with Woody Allen movies, specifically Annie Hall and Manhattan. Masterson is a bad driver like Diane Keaton was, and swears the way Keaton did in Manhattan, and the age difference recalls Allen and Mariel Hemmingway. Wilder too gets his share of arrogant jokes at the expense of others, and has Allen's ability to extend his performance beyond the comic persona. His reductive James Cagney imitation is about the only thing I liked.
At first Nimoy paces at a clip, aided by the music score of Miles Goodman, but soon the timing comes to a holt and we're left stranded with people we'd rather do without. It's not encouraging that Anne Jackson as Wilder's acerbic mother is quickly disposed of. The treatment's continued coverage of Lahti telegraphs events, and only the most desperate of romantics can be pleased with the conclusion. ... Read more

Reviews (8)

PAINFULLY HORRIBLE
I wish I could find something positive to say about this film, but it would be sinful not to warn others about it. I watched this film with some friends and felt compelled to apologize to them afterword. It's difficult to find the right words to describe how unbelievably bad it is. The acting is atrocious, the photography is horrible, the script is non existent and the ending brings a movie that is already painful to sit through to an excruiatingly, tortuous finish, like a slow painful death. It would be hell to be forced to watch this one again.

Terible
This movie should not be let out into the public. This is not an accurate description of what what happen today, even. The graphics are horrible, and the dialogue is worse. The only thing i liked about this movie was when the big fireball came out of the sky and killed thisone dude.
but in all seriosness, all i can say about this movie is....
kill me, kill me now

DO NOT WASTE YOUR TIME.
"End Times" or "What if Jesus Lived Today" - These seem to be the only 2 ideas that some modern christian writers and producers can come up with. This is the worst movie I think I've ever seen - poor dialogue, cheesy effects, bad music and worse editing (check out the sweat stain on the police officer's armpit as he takes a swing at Peter). It should be an embarrassment to any follower of Christ serious about having a rational dialogue with the world they live in. The only redeeming value in this movie were the laughs I had (there's a strange sort of humor that exists only in things that aren't supposed to be funny). But if you're looking for that kind of humor, better go with "American Movie."

Everything that was bad about Sunday School
Chances are good that most of us in our 40s and 50s have unpleasant memories of Sunday School. Of all my own distasteful memories, the very worst are the hokey illustrations in the kids Bible we used to read. Remember them? The kind of drawings that still appear in Jehovah's Witness literature that depict Jesus and Joseph and Mary as clean-cut suburban types dressed in bathrobes? That stylized 1950s look, in which Jesus and his disciples look like cleancut college boys, turned me off of religion for years. Even now, I cringe when I come across examples of it.

That's why I cringed when I watched "The Judas Project." A good concept--a twentieth-century Christ--but an unspeakably bad presentation. The music is horrible pop evangelism, banged out on a piano, with insipid lyrics. The dialogue is wooden, with contemporary cool talk mashed together with quotations from the King James that make little sense. The acting is one-dimensional and stereotypical; even veteran character actor Jeff Corey, who plays the twentieth-century version of Caiaphas, is atrocious, looking as if he's been drugged and then dragged to the set. The camera work is amateurish; in one scene, where Judas and Jesse (the Christ figure) are in an animated conversation at a cafe table (with a rather stupid Peter wordlessly looking on), the camera lights are so close and so hot that the faces of the two speakers become beaded with sweat. The Mount Tabor transfiguration scene is pure kitsch masquerading as piety. In short, the movie started out bad, and just got worse and worse. As a piece of art, it's embarrassing. As an apologetic, it's off-putting--just like being in Sunday School again!

This isn't to say the film is a total failure. It does have moments when it almost rises to the occasion. The central dilemma introduced in the film--the way of love and powerlessness represented by the Christ figure, and the way of worldly domination and power represented by the Judas figure--is important and timely. But it's barely scratched, and even then seems like a leftover from the Judas-Jesus conflict in "Jesus Christ Superstar" (an infinitely better movie, by the way). The crucifixion scene, which takes place in an abandoned barn, has great cinemagraphic potential. But the camera person blows it again, failing to take advantage of the possibilities.

St. Paul says that when we grow up, it's time to put away the things of childhood. Too true. So let me encourage readers of this review to skip this Sunday School caricature and go straight to some adult cinematic explorations of Christ. Denys Arcand's "Jesus of Montreal" or even Mel Gibson's recent and controversial "The Passion of the Christ" would be good places to start.

I shook my head for Christians everywhere.
This film is an utter failure in every way. I sets the gospel of Jesus in a modern setting and attempts to draw you into this "what if" scenario. Well, it was a noble effort, but EVERYTHING ELSE about the film was horrendous. From poor acting, horrible script, no direction,(just to name a few) and poor technical effects (few of which appeared to have anything to do with budget) to a complete disregard to the cultural implications of Jesus not having appeared some 2000 years ago. One of the filmakers even brags about having composed the music before the film was written! He BRAGS about it! You don't brag about that, because it's an extremely DUMB thing to do! Please do not use this film as a basis for your Christianity! If it converts you, then God has made it so DESPITE the efforts of these filmakers! It was a good idea that went horribly wrong. Only buy this film as an example of pitiful filmaking! ... Read more