Hunter S. Thompson – His Final Hours (2006)

One of these minor documentaries, that only die-hard fans can dig. Directed by William Hicklin for Cineflix International (Canadian TV production company) it makes an interesting effort to uncover last 24 hours of Hunter S. Thompson's life as a part of Final 24 biography series. While most of the classic and modern documentaries on Hunter have covered him on a current time basis or in retrospective – coming up with personal interviews and live/archival footage – this stuff goes down a little bit weirder patch favoring his last day as a TV play. We get a bunch of actors impersonating Thompson, his son, wife and befriended video camera operator – Ben Fee, who's been invited over at that time to shoot the family reunion. Obviously, it's been made after writer's suicide, so nobody was able to interview him anymore, but a drama take itself – known well from many criminal or historical documentaries – works here as well.

However, director had also ambition to map Hunter's long way to fame, thus he interviewed his ex-wife, few old Rolling Stones editors and his neigbours. There's even a psychiatrist and one minor book biographer in this bunch, but both without a real muscle. Overall His Final Hours is a nice collage of acted reconstruction and Hunter's back-story, which weaves in and out as the countdown to an end is getting nearer. All threads are linked, all explanations are given and all known facts are unveiled as we watch the actors giving their performance on a snowy-white set (as Thomspon took his life in February) in a country house, carrying a forced resemblance to Owl Farm. For those of you, who've read two or three biographies about Thompson, there won't be probably any new crack on the writer, but this material is consistent enough to serve as an expanding pill for the readers, who are after obnoxious or shocking details, which in Hunter's case seem more than easy to catch. He proclaimed himself the last public drug fiend anyway.

Thompson's twisted, double nature and persona playing comes first as an explanation for his mythical drive towards drugs, alcohol and wild non-conformism. Although portraited as a juvenile delinquent in Louisville, who nevertheless aspired high and then bitter journalist for many years (two books rejected, being limited to smalltime press writing for a long time), who suddenly broke through with Hell's Angels in 1966 and then just winged ahead to better deals, there's never any doubt about his great writing talent. This is confirmed by everybody in the movie, can hardly be questioned and happens only when another frustrated crappy writer sweats out some adolescent bunk in order to get his five minutes. But more interesting is digging in Hunter's closet, which is done with a surprising dose of competence. Sandra (ex-wife) doesn't take his charm away, but speaks of his dark temper as well.

Respectively his former Rolling Stone editor – Alan Rinzler, takes us back to the early 70's recounting anectdotes how Hunter must've got loaded with everything he could have laid his paws on (usually coke, weed and whiskey) in order to crystalize the angelic vision out of thin air. Otherwise he couldn't write. If he was zonked out like a space monkey, he coudn't write either. Apparently, a delicate balance was necessary. That – as it's stated here – was a good line in a short run, but in the late 70's or early 80's started taking it's toll as an integral part of Hunter's lifestyle and ultimately as a destructive fix. The most detectable result was a crashing level of his writing as imaginative started becoming real (a prisoner of his own narration theory). In fact, between 1973-1983 he didn't write anything new – The Great Shark Hunt (1979) was brilliant stuff, but only a retrospective collection of previously written materials – with Curse Of Lono (1983) opening another period. But even this book would have never been published if not Douglas Brinkley's intervention, who had to put it together virtually by himself!

Then we eventually come to fin de siecle, 2003-2005, when Hunter underwent two hip surgeries, suffered broken leg pain and started getting weary and depressed from daily mixture of painkillers and Chivas Regal. At that point it wasn't mystery for anyone, that he was a hard drinking alcoholic, although most of the people interviewed in the movie prefer to speak of "a professional drinker". Whatever, diplomacy was never Hunter's strong line and he wouldn't mind in-your-face anyway. Moreover, he's been spreading the word about his suicidal mood at least two years before he's actually done it as well, so nobody could have been genuinely surprised (covered in the movie). The way he's done it? Hemingway way? Stashing almost 30 guns loaded around the house? The only option really. And the word he left on a paper: "Counselor"? Probably an ultimate gonzo joke... but we'll never know, cause he's dead now sniffing heavenly coke. Good filler for detail hunters, but you need to be Hunter's lover to really appreciate it!

Full movie

Corman's World: Exploits of a Hollywood Rebel (2011)

One of these documentaries for which many of us have been sharpening their teeth and ticking days off as DVD release date was coming closer. Although it premiered on Sundance Festival a year ago, not all folks from around the globe could have attended, so instead they were forced to sit on their asses impatiently! As a big fan of Corman I need to say it's value lays mainly in high rollers of Hollywood uttering words of praise for the man, who let them literally be... who's been often their lifeblood. You have to check out Jack Nicholson, Bruce Dern or Martin Scorsese who finally confirm, what we've all known but very rarely got admitted loud – Corman's film school has been the main link between 60's exploitation cinema and 70's auteur fireworks being the ground of new artistic forms developed in family environment.

As far as Corman's career is concerned, Alex Stapleton's movie speaks of few facts I wasn't aware. Documentary builds at large upon the story comprehensively told by Corman himself in his great book How I Made Hundred Movies In Hollywood and Never Lost A Dime, which tells you everything you need to know, hence those ones, who've read the book, might find a history of his career (revealed once again) a bit boring. But let's not forget, that there is still a lot of people outside the fandom, who've never heard of Corman or they've just drifted once or twice toward these regions and never really bothered to grab any solid book about the exploitation pope! "Corman's World..." seems to serve this purpose just fine mixing a biographical side with New Horizons office footage and very inspiring interviews with mentioned above and many others like David Carradine, Ron Howard, Joe Dante, Allan Arkush, Polly Platt, Peter Bogdanovich, Robert De Niro, Peter Fonda and many more. This list is very impressive itself!

On technical side it's a good job – maybe not ravishing, but all right – and it ticks all the boxes of modern documentary. Posters, trailers and press clipppings are being mixed with cinematic part and laid in simple manner, while narration heads toward tension build-up and eventually brings a climax. The movie seems longer than it really is, but that's due to compact construction. Corman's professional and private life in a pill was definitely a challenge, that's why screen time needed to be sped up multiple times, which reasonably trimmed his legendary 380 productions to 50 essential ones in a flash. Director also opted for leaving off Filipino chapter as that's been nicely exposed in another recent documentary - "Machete Maidens" (2010). Apart of that, we get basic treatment, from Corman's mythical schlock entries like "The Monster From the Ocean Floor" and "The Fast and the Furious", through unforgettable Poe flicks like "House Of Usher" or "Tomb Of Ligeia" (favourite Poe movie of Martin Scorsese) and then "The Terror", "The Wild Angels", "The Trip", and finally to New World Pictures period, when Corman made a fortune on such exploitation classics like "Big Doll House", "Grand Theft Auto", "White Line Fever" or "Death Race 2000" (to name only few).



But it wasn't exactly simplest task to do – covering a story of the guy, who has had three production/distribution companies, discovered 50% of Hollywood's biggest names, totally revolutionized production side of filmmaking, invented a new way of budgeting it, created dozen of exploitation sub-genres from a scratch giving a root to the modern action movie, improved and mastered the art of entertainment marketing (including these famous sticky trailers), took over distribution of European art films on US market in the 70's with profits and on the top directed more than 300 movies himself! Not all of these achievements have been discussed in "Corman's World...", but the most important were licked with clear sense of understanding, many to the credit of former Corman's collaborators and workers.

Saying that we need to stress once again, that Total Documentary on any topic is virtually impossible to score – the more extensive the subject, the more you need to shave it off as pedantic exploration of every single pocket carries a danger of down-playing or even losing the storyline completely. Grabbing all these threads together is hard enough and still it rarely happens on the screen! Making of an excellent documentary is very difficult as it needs a perfect insight! Besides, I'm deeply convinced, that no documentary can match a biography book as the latter one doesn't have time limitations and as a verbal medium cuts the distance to the analytical, left side of your brain. A film is a magic powder and it either turns you on or not – connection is more crucial than fishing it all out!

However, "Corman's World..." does one thing nicely. It creates a sense of slight disappointment in viewer's consciousness by picking the bits of actors talk as far as Corman's critical acclaim is concerned. Above all histories of life with their tutor, they spontaneously come up with one justified question, why he never got Lifetime Achievement Academy Award? And then it goes, smoke disperses while director shows Roger Corman tying his bow tie and heading to the L.A. ceremony, where Quentin Tarantino thanks him in the name of fans from around the world for making such a lot of great movies. He finally gets his official recognition, which he maybe didn't give a shit about, but it instantly cements his life-of-film-art status lifting him up from an underground phenomenon to acknowledged filmmaker of undeniable prestige. The thing is, he never chased for awards as money from his operations was smoothly flowing in, but in the end there are not many guys in this business with similar film score and such a massive worldwide cult. Along the line, this documentary should be treated as a cherry on the top!

Rockin' at the Red Dog: The Dawn Of Psychedelic Rock (1996)

Attention, all 60's psych crazies! No matter whether you're a greenie San Francisco sound fan, a thorough West Coast scene completist or all obscure psychedelia collector, this film will definitely meet your needs. "Rockin' at the Red Dog: The Dawn Of Psychedelic Rock" is one hell of a documentary, directed and edited by Mary Works and John Nutt – experienced filmmakers, who grabbed an amazing opportunity to link all threads of early psychedelia together and showcased them in a mind-blowing string of extensive interviews, rare footage and on-screen insights – clearing up all daisy-chain connections, which eventually gave birth to San Francisco scene. After all, they had one in a lifetime situation to pull it off by witnessing the reunion of owners, workers and friends of legendary Red Dog Saloon in Virginia City, Nevada after 25 years from it's opening in 1965 – the original underground bunch, who's been nothing less than a missing link to psychedelic culture of the high 60's and whose deep passion marked a real change of the times!

This extended family of individuals was essentially a hot mix of underground entrepreneurs, musicians, drug dealers, hookers, go-go dancers, light/poster artists and all other sorts of countercultural dropouts... so called quality people. As history is being told, in the summer of 1965 three friends (Chan Laughling, Mark Unobsky, Don Works) decided to fork out their pocket money and get a start-up running. That's how Red Dog Saloon was born – a weird, retro-psychedelic venue, which quickly became a direct inspiration and a blueprint for the whole phenomenon of free form dancing events in San Francisco. This smooth transition on the other hand was enabled by a trio of free individuals, who spent the summer in Virginia City tasting psychedelics and having fun with new music and liberating atmosphere... they felt a new smell was definitely in the air. When the summer was gone, they rolled their sails and eventually drifted back to San Francisco, where they started a small collective – Family Dog, which today is considered a historical glue of San Francisco scene. By organizing dances to rock music with bands such as: The Great Society, Big Brother & The Holding Company, Quicksilver Messenger Service, The Grateful Dead, Family Dog quickly established itself as the first truly alternative event agency!

Connection was made initially by Chan Laughlin, who's been scoring drugs in San Francisco for the whole team as they couldn't find acid in Nevada at that time (and probaby many other goodies). This was obviously the same acid, that Stanley Owsley has been manufacturing since March 1965, making Ken Kesey's Acid Tests possible and flushing whole Height Ashbury district as well, which around late 1964 transformed into flourishing area with new rock'n'roll bands, artists and hipsters popping like spring onions. One of these acts was early psychedelic group – The Charlatans, whose manager bumped into Chan around North Beach – a famous Beat Generation district – and proposed his band as a leading act for the Red Dog Saloon. As The Charlatans became regular contributors to Red Dog Saloon ambience, new bands formed around USA and few of them have flown to Virginia City. Among these obscure acts – some recognized only by ardent 60's psych diggers – were such bands as: PH Phactor Jug Band, The Final Solution, StoneGround and early Big Brother & The Holding Company. Although not all of this great music was registered, a heavy fusion of old school country, folk, Southern blues and rock'n'roll played live at the Red Dog Saloon, eventually mutated into what became known as psychedelic rock!



Especially The Charlatans with their vintage, circa 1890 dress code sprang a sense of new style – the fashion creation of "real me"! That was to evolve soon enough into a general hippie look, which flashed with LSD-inspired colours, Native American or Indian rags and circus uniforms (which went down on San Francisco streets like a hurricane, when a local theater has sold out it's costume department). Rolling on the wave of cultural, political and music revolutution, Height Ashbury district by 1967 became a flaming enclave of radical thinking, LSD culture, new forms of rock music, experimental theater, alternative press and full-blown commune living... but as David Getz and Peter Albin (Big Brother & The Holding Company) claim on the screen, this innocence started wearing off with people being overcome by their own self-importance just around when Summer Of Love finished. Before 1968 it was over and by 1969 it went baroque!

As they say, the psychedelic culture of the 60's was a great thing to live in and it gave an unique sense of cosmic identity, but eventually it spiralled downwards... the beginning and the end were divided by not more than 3-4 years, but even this short period mirrored the cyclical nature of the universe in a way, with golden age being the peak (1965-66), silver age carrying the first wind of inevitable downfall (1967) and iron age being the bottom (1968-69). On a personal level, many of Red Dog Saloon workers feel that LSD changed their lives blowing the lid off irreversibly... you weren't able anymore to simply tolerate being stuck in a traffic jam, because you needed to get to work, which you didn't know why you were doing and that apparently nudged a response. The end came down when The Media bought this news, digested it and passed it on as a fad for rebellious youth. As the effect a whole throng of teenagers, criminals and businessmen jumped on the bandwagon washing it out with their lack of commitment and pass the buck ethics. Still, all persons interviewed in this documentary claim they were profoundly transformed by the 60's and many found their way into things they didn't know anything about beforehand. A must-see for 60's researchers and 60's psych collectors, containing never seen before rehearsal footage of The Charlatans and The Final Solution + many rare photos by such a cult figure as Jim Marshall. Absolutely brilliant work!

[This documentary can be purchased from Monterey Media]

Cocksucker Blues (1972)

As it was likely to happen and eventually it did, the most notorious documentary about a rock group ever made never got a chance for a public release. While an artistic vision of Robert Frank embodied in "Cocksucker Blues" doesn't offer any justification itself, it's potentially damaging effects on the image of the group who ordered it, definitely do. Despite coming through as one of the grittiest documentaries you'll ever see, it grabs The Rolling Stones by the balls handing these lads over on a hot smokin' plate. However it's more than that as one of the most famous photographers of the last century and a real Beat Generation documentarist not only shot ravishing footage of famous British rock stars, but also stamped his persona on the reel. What he said about "Cocksucker Blues" afterwards appears very significant too: What goes on on the tour was worse than what you see. Even if after watching the movie it hits as a strong statement, it's probably true anyway.

Although definitely a masterpiece of beat cinema, it was actually made when Beat Generation cohorts have already burnt out as comets while the remaining ones – whose pieces of life-as-art have flown freely around and inspired the others – joined the second circuit of culture. Still, it might be seen as the ultimate prank of counterculture's godfathers. "Cocksucker Blues" was initially ordered and produced by Marshall Chess, the president of freshly started Rolling Stones Records and filmed on multiple locations in United States, which The Rolling Stones were passing on their Exile On Main Street '72 Tour. Being first US tour of the group since 1969, when they played infamous gig on Altamount Higway in California (during which 4 people died), the expectations of the American public were very high. It shows clearly in the movie when die-hard fans are being interviewed outside local venues sometimes declaring their need of seeing the group is strongest than will to live... My life is half-wrecked anyway – we get to hear from one of the hippie burnouts.

"Cocksucker Blues" underground fame has been rising for a long time and finally achieved a real cult status. It's scarcity helped! First screening of the film in 1976 was closed to the public as Robert Frank has got involved in a long lawsuit over the rights to it's release with The Rolling Stones themselves – musicians tried to block it, scared to death by it's nihilistic agenda. The court ruled in favour of Frank's demand eventually – the movie could have been shown... but only if director was present in person. This ruling obviously stopped it's theatrical release and was a primal reason why "Cocksucker Blues" never made to DVD. As screenings became very rare, the only existing copy of the movie was finally bootlegged (as usually by these cool anonymous film lovers) and effectively circles around in the Internet today. This is our luck as this shit is a real must-see for those who have a passion for drug fueled madness rarities from the epoch of spiraling hedonism.



Robert Frank's insider, homemade 16 mm style is a foggy tunnel of casually edited scenes from the tour. A camera jumps in and dives into the hotel rooms where The Stones sleep and do drugs, where they fuck and play cards, where they drink and mumble to the camera... usually strung out or zipping up their pants after a good dick wetting, or just waiting for a quick fix and a bottle of whisky to be delivered. The king of decadence and intravenous drug use quickly pops forward – it's Keith Richards, who occasionally rumbles around throwing TV sets from hotel balconnies for fun. Otherwise he's just getting fucked on junk, continually cooked on demand by one of his skinny girlfriends. In one of the best scenes he cannot even stand... he's just there on a bench zonked out like a can of mushed peas, leaning on his girl who's equally wasted.

Except hotel footage, The Stones are captured on stage usually giving a top notch performance. When they join forces with Stevie Wonder and his band, the scene goes on fire while Uptight becomes Satisfaction and Mick grabs Stevie and together they kick off a live soul dance to a romping, cracking-ass work of extended brass, rhythm and guitar section. Steamy stuff, which becomes a cloud of blurriness when band comes off stage to get loaded all over again. Frank catches genuine moments of ultimate bendover as Mick Jagger gets so washed up that his monologues become nothing more than worn humming without any sense or clue. In the meantime roadies go on a frenzy of fixing their veins or coke snorting with occasional group fucking – a famous scene of screwing stripped groupies on a private plane would be probably enough to wake up most of The Stones fans. We even get some famous drug fiends featured – Terry Southern is cleaning his nose passing the bump to Tina Turner and then being involved in a long chat over precious qualities of white powder. Mick Jagger comes through as a coke fan too... but from time to time he'll pass a joint and get hungry.

60's were over for The Rolling Stones, guys! Hard stuff dominates in "Cocksucker Blues" and while lads are tumbling down, their golden period wears off, they get to be seen as a bunch of not so highly aspiring rock'n'rollers with simple vices. Frank's approach is great as it doesn't sugarcoat the shit! His film is very dark and gloomy lacking any voice-over with the only exception being a quote from William S. Burroughs in the end of the movie. A very witty choice indeed as the life of the band has just become a non-stop sex and drug party with rollercoaster amplitude of moods and sliding concentration on music matter. Occasional, non-verbal commentary like showing TV with '72 presidential campaign going on or dexedrine ad, fills this picture of a killing music tour by the biggest rock stars remained on stage. You wanna find out what The Stones got into when the 60's went down crashing? Just grab this and forget about other documentaries.

Breakfast with Hunter (2003)

Arguably, the best documentary on Hunter S. Thompson made till this point! While you might have had a good time watching recent stuff like "Gonzo: The Life and Work of Dr. Hunter S. Thompson" (2008), "Buy The Ticket, Take The Ride" (2006), "Hunter S. Thompson – His Final Hours" (2006) or even reaching for obscure documentary like "Fear and Loathing in Gonzovision" (1978), produced by BBC – this film by Wayne Ewing is your champion. After all, if you want to have a sneak peek at someone's life, who's better than a neighbour? Ewing was luckily based in Aspen, strictly inside Hunter's crowd and he happened to take part in writer's daily life. He lived near, he appeared when called up and most importantly he was a great documentarist, hanging out with a camera since late 70's and capturing all these moments, that could have been turned into heavy shit afterwards.

„Breakfast with Hunter” is a real gem of personal documentary making, being praised by many Thompson's fans as the one, which managed to get through the mythical wall of smoke. It shares Thompson's life as we were in his room, drinking Chivas Regal, smoking weed and occasionally being victims of his unstoppable temper. This is it, man! We hear Thompson mumbling with his famous Southern accent (a legendary perk actually), getting pissed drunk on scotch, sharping teeth on the brutes and jabbering high whenever one of his romantic visions kicks in. The legend finally appears in flesh and bone. We're not led again through Hunter's wife, son and editor interviews, invited to go public with their judgements and feelings, which used to be tangible, but by that time they got nailed by director, they cooled off and became yesterday's newspaper. We're shaking hands with Hunter here and that's what makes this film a purely valuable experience!



Ewing gets us mostly through late 90's in Hunter's life, departing around the time when our cult persona stood ugly trial for alleged drunken driving in Aspen, sliding through 25th anniversary party for "Fear and Loathing in Las Vegas" book in New York and Louisville and finally closing in on the premiere of Terry Gilliam's film adaptation starring Johnny Depp. Film's occasional flashes from the past like Hunter's race for sheriff's chair in 1972, help well to fix the narration. We'll never probably witness Hunter closer than we do here... leaving out his unforgettable books and maybe two written biographies. As the most apparent Thompson's kickside comes again Johnny Depp. We may clearly notice here how close they were and how well their spirits resonated. This was yet before Depp became a big Hollywood star, for which we have to point again to "Fear and Loathing in Las Vegas" (1998) as a turning point for his professional career. After all, I don't think that Johnny Depp would disagree as Hunter's influence on his life is undeniable, cemented later on by financing Hunter's eccentric funeral – writer's ultimate fantasy.

This outstanding footage contains absolutely magical moments like that one, when Hunter is paid a visit by Alex Cox and his script writer – first team assigned to direct "Fear and Loathing in Las Vegas" – whom he hated enough after two hours of "conference" (this timing is obviously softened on the screen) to throw their coats on and show them out. He despised the animation idea, personally rendered as a cartoon, which I think resembled too much of his nightmare – "Doonesbury". That's when we see "the story" breaking down into single moments, which later glue together and ride on. These events eventually were to bring Terry Gilliam to the picture, who came up with a vision that was to Hunter's liking and became a cult movie. Another one of my favs is Hunter frivolously juggling with an open whisky bottle in a trailer, where the actors usually take a break. He's smashed and spills it all over making Johnny Depp laugh as a child – one of these famous teenager pranks Hunter loved, which became his character's official trade mark – a minor, but perfect insight into his style of doing things.

I doubt you'll find any more personal documentary on Hunter and I'm quite convinced you're gonna dig it if you're Thompson's ardent fan. This film makes me wanna quote few lines from "Kingdom Of Fear" (2003) stating all which Hunter S. Thompson stood for in his life and what eventually added to his depression: The news is bad today, in America and for America. There is nothing good or hopeful about it – except for Nazis, warmongers, and rich greedheads – and it is getting worse and worse in logarithmic progressions since the fateful bombing of the World Trade Towers in New York. that will always be a festering low-watermark in this nation's violent history (…) Fly high, doctor!

[This great documentary can be purchased from Wayne Ewing's website]

Machete Maidens Unleashed! (2010)

While B-movie lovers genuinely understand, that what Americans were watching throughout the 70’s in then still widely popular drive-ins, was shot mostly in Philippines and other exotic countries… for newcomers it might come as a surprise. However, this fantastic documentary is NOT A GOOD PLACE FOR THEM TO START as it’s targeted specifically for classic exploitation cinema followers and I’m guessing that among this weird crowd it will find it’s purpose. After all, it talks about jungle movies, tits & ass, New World Pictures bunch, obscure spysploitation spoofs with Weng Weng, horrors with John Ashley and art of making sticky dive-in trailers. If you’re up for these themese, you’re gonna have a real ride with "Machete Maidens Unleashed!" as it definitely keeps the word unleashing almost everything there is to be unleashed.

Directed by Mark Hartley - who did a classy job on "Not Quite Hollywood: The Wild, Untold Story Of Ozploitation" documentary - this thorough look inside follows an exploitation timeline enlightening us about the beginning of American sponsored B-movies in Philippines from the first war movies, through cheap horrors and then stepping up to bring the story of Roger Corman and New World Pictures, who by their presence infuenced native Filipino directors and producers (the most obscure for the Western World), who by the middle 80’s cut couple of hundreds low-budget movies by themselves. What director did exceptionally well on this picture is he squeezed some real answers from the whole bunch of adventurous businessmen, directors, actors, editors and producers involved. Due to his priceless effort we get to know almost everything we’ve been always afraid to ask or because we just couldn’t afford this out-of-print book on obscure 70’s cinema. That’s where "Machete Maidens Unleashed!" breaks the ground in my opinion and that’s where it does the real favour. That’s quite difficult to undermine.



However, that’s not where this brilliant picture draws the line as it definitely generates a lot of new buzz around the exploitation cinema, which is accidentally or not coming back to life due to the rising interest in this style of directors and viewers! The exploitation revival has been a fact for the last couple of years, when we got such great movies as: "Planet Terror", "Black Dynamite", "Machete" or "Hobo With A Shotgun" and some less appreciated, but still fun to watch like: "Run Bitch Run!", "Nuns With Guns" or "Zombie Strippers". I personally don’t buy the arguments that they sometimes do not have a good plot (really???), or they’re in bad taste (hmmm?), or the acting is poor (sic!), or something else is wrong, for instance there is no Brad Pitt. Did "Big Doll House" have it? No, but it’s still a great brain junk. Even if you don’t like revival flicks, you love to feed your cravings with 60’s & 70’s classic, thus you will surely enjoy "Machete Maidens Unleashed!" and that’s why it’s been made for ya!

As a matter of fact, we lack tight, essential documentaries on the subject and in context of "Corman’s World…" arriving shortly, we might have a window to jump into the forgotten world of passion for the teen market when tits & ass were liberating feminine issues – an argument lifted primarily by the actresses in this documentary. When filmmaking was fun and the titles were often more important than the movies. When the trailes didn’t really concern a storyline and when you were making it for as little as you could making as much as possible (I’m fundamentally not at all against this concept) to be praised as a cult personality 40 years later! If all these things seem familiar and you were often pondering them stoned watching "For Y’ur Height Only", this is a movie to be enjoyed and rewatched!

"Hunter Thompson: The Crazy Never Die" - rare documentary about the legend!

"Hunter S. Thompson: The Crazy Never Die" (1988) is a rare documentary produced by The Mitchell Brothers, owners of the famous O'Farrell Theatre in San Francisco. Originally issued as a VHS tape only, it pictures Thompson on campus tour including stops in Oregon and Kansas, shows him workig with the gals, dining and taking part in Survival Research Laboratories' performance. Another great bite for die-hard Thompson's fans.