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Roger Corman Collection - (Bloody Mama / A Bucket of Blood / The Trip / Premature Burial / The Young Racers / Gas-s-s / The Wild Angels / X: The Man With X-Ray Eyes) (4DVD) [Import]

Ray Milland , Peter Fonda , Roger Corman    Unrated   DVD
4.5 out of 5 stars  See all reviews (4 customer reviews)
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2 of 2 people found the following review helpful
4.0 out of 5 stars Don't trust anyone over 30 Nov. 6 2006
By bernie TOP 100 REVIEWER
Format:DVD
I would have preferred "Logan's Run" for story number two but we get what we can.

---------------------------------------------------------------------------

Wilde in the Streets:

FOURTEEN OR FIGHT

Long before "never trust anyone over thirty" a final solution was proposed in this classic movie.

"Max Frost" (Christopher Jones) has figured out the fundamental flaw in the U.S. Government. "AGE", yep those old fogies are too stuck in their ways to run a government of the people. So with a little correction this can be amended. Be sure to see the unique solution for adjusting the government and helping people to retire a tad early.

Now the real question that "Max" must face is what is old? Be sure to listen to ""The Shape of Things to Come." And look for Bill Mummy of "Lost in Space"

---------------------------------------------------------------------------

Gas S S S:

Hold your nose

Gas is let loose upon the world that kills anyone over 25 years old.

How does it know?

Packed with actors that on one has heard of or seen since.
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1 of 1 people found the following review helpful
5.0 out of 5 stars FOURTEEN OR FIGHT Feb. 2 2004
By bernie TOP 100 REVIEWER
Format:VHS Tape
Long before "never trust anyone over thirty" a final solution was proposed in this classic movie.
"Max Frost" (Christopher Jones) has figured out the fundamental flaw in the U.S. Government. "AGE", yep those old fogies are too stuck in their ways to run a government of the people. So with a little correction this can be amended. Be sure to see the unique solution for adjusting the government and helping people to retire a tad early.
Now the real question that "Max" must face is what is old? Be sure to listen to ""The Shape of Things to Come." And look for Bill Mummy of "Lost in Space"
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1 of 1 people found the following review helpful
Format:DVD|Verified Purchase
An implausible movie about what could have been yet well done and with a humourous ending. A great look into the past which portrays a lot of what the youth movement of the late sixties was actually like. A very interesting take on politics as well.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Wild in the Streets/Gassss March 8 2013
By Jim
Format:DVD|Verified Purchase
I found Wild in the Streets of good quality and very entertaining.On the other hand Gassss I could not watch.An extermely poorly done movie.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.0 out of 5 stars  97 reviews
34 of 37 people found the following review helpful
5.0 out of 5 stars Available at last on DVD but difficult to find Jan. 30 2005
By Robert Amsel - Published on Amazon.com
During the 1960s, American International primarily introduced low-budgeted movies geared usually for drive-ins. By some mistake, "Wild in the Streets" turned out to be both a hit and a perennial cult favorite. Deservedly so. It is probably one of the most subversive satires ever produced for the American screen. In September of 2004, it was finally released as part of a double-sided MGM Midnight Movies selection on DVD. (The flip side is one of Roger Corman's worst movies, GAS-S-S-S-S, a sophomoric comedy doubtless inspired by "Wild in the Street"'s success. Skip it.)

What is particularly strange is that "Wild in the Streets" appears to have been unreleased as soon as it was released. If you check MGM's website, you will not find it listed in MGM's inventory. Nor will you find it listed as available on Amazon or most places. In fact, the only retail place online you can find it is at BestBuy. However, it does not appear to be available at most of BestBuy's actual stores. Did the idea of a fascistic dictatorship taking over America somehow offend the current Administration or offend executives at MGM? Just a question since I'm not privy to why it's being censored.

At any rate, I would suggest that the movie's admirers buy the DVD when or where they can, since they might not have a second chance. The movie itself was released in 1968 while the Vietnam War raged on -- and on and on and on. This is important to understanding the film in its historical context. "Wild in the Streets" has several premises. The first is that the old fogies in Washington are destroying the country. Although Vietnam is not mentioned (read Iraq, if you want to bring the premise up to date), the draft certainly is on the moviemakers's minds.

The second premise is that 52% of the population is aged 25 or younger, and that America as a nation idolizes youth and spends considerable time and money pursuing the fountain of youth. Young people in "Wild in the Streets" are represented by the tuned-out hippie generation, who, thanks to a charismatic leader, soon become tuned-in.

A popular young rock performer, Max Frost (played by Christopher Jones, who as an actor, always seemed to be channeling James Dean, which was perfect casting for this role), decides that young people are fighting and dying for the country but do not even have the right to vote. In a satirical progression, Max first manages to get the voting age dropped to 14. Next, he succeeds in getting an ex-childhood actress-current acid-freak, Sally LeRoy (brilliantly portrayed by Diane Varsi of "Peyton Place" fame) elected to Congress. Since Max wishes to run for President himself, he needs to get the requirement age dropped from 35, which he succeeds in doing with a little terroristic help involving the lacing with LSD of the Washington, D.C., water supply. Once Max becomes President, he manages to make 30 a mandatory retirement age and 35 an age for people to be incarcerated in concentration camps, where they can spend their remaining days forcibly tripping, thus no longer being a danger to themselves or others. Soon Max realizes that he may one day get his own comeuppance since what goes around comes around.

For a low-budget movie, "Wild in the Streets" managed to acquire a top-notch cast, including Hal Holbrook as a Kennedy-like senator, Millie Perkins ("The Diary of Anne Frank") as his wife, Shelley Winters as Max's monstrous mother (her screams of "I'm young! I'm young!" as she's carted off to a concentration camp are never to be forgotten), Ed Begley as one of the old fogey politicians, and a youthful Richard Pryor as one of Max's entourage, in his first screen performance. The period rock score is equally impressive.

As a major part of Max's political agenda, he intends to make the world safe -- from America: "America is now planning to withdraw from its international commitments to the relief of many, the despair of few. In addition, your armed forces are to be disbanded."

Folks who don't get the satire will most likely hate this movie with a vengeance (and probably hate this review as well). But those who get it, will also get it with a vengeance and will contrive to buy up all the copies they can to give as gifts for like-minded friends.
63 of 76 people found the following review helpful
4.0 out of 5 stars "Youth power that's where the whole thing's at now!" July 9 2005
By cookieman108 - Published on Amazon.com
Format:DVD|Verified Purchase
Ever conscious of cashing in on whatever trend might have been fashionable at the time, American International Pictures (AIP) focused their sights on the ever-growing youth movement of the mid to late 60s with this frightening (if you were over 60) tale of youthful revolution in Wild in the Streets (1968). Directed by Barry Shear, whose primary credits include TV shows like "The Man from U.N.C.L.E.", "Ironside", and "Hawaii Five-O", to name a few, the film stars Christopher Jones (The Looking Glass War), an actor once thought by many to be perhaps the next James Dean or Marlon Brando, but whose fortunes and star potential faded due to, what some speculate, the strain of having to live up to the expectations beyond his grasp...oh yeah, that and the all the drugs, as highlighted in `Christopher Jones: The E! True Hollywood Story'...also appearing is Oscar winner Shelley Winters (The Diary of Anne Frank, The Night of the Hunter, Lolita), Diane Varsi (I Never Promised You a Rose Garden), Hal Holbrook (Creepshow), Millie Perkins (The Diary of Anne Frank), Ed Begley (12 Angry Men), Bert Freed (Nevada Smith), and Richard Pryor (Silver Streak, Stir Crazy).

As the story begins, we witness an intelligent and precocious boy named Max Flatow (played by Barry Williams, better know as the character Greg Brady, from The Brady Bunch), Jr. grow into a disillusioned young adult who decides to leave home, severing his family ties, and make it own his own (given his mother, played by Winters, I didn't blame him). By the age of 22 we learn he's not only changed his name to Max Frost, but that he's also become a famous recording star, and with the help of his entourage (none over the age of 25), become the head of a multi-million dollar empire. Max is so popular he's courted by congressman Johnny Fergus (Halbrook) to assist him in his senatorial bid by playing at a rally and throwing a good word Fergus' way, hoping, I guess, to rock the vote, or some such thing...Max agrees, but the performance leads to pressure in the form of massive `sit ins' to force Fergus to introduce legislation that would lower the voting age to 15 (the `Establishment' balks but their power quickly fades). Fergus acquiesces (dreams of political power swirling in his mind), and the voting age lowered, and Fergus wins his senate seat, but he has unwittingly opened Pandora's box as soon the once disenfranchised youthful population, who can now vote, begin electing their own candidates (Max eventually takes the presidency) and pushing their own hedonistic agendas towards a groovy future where adults are forced to retire by 30 (hey, that doesn't sound so bad) and then shuffled off to `Mercy Camps' where they are plied with LSD treatments, or `therapy', to keep them on a permanent acid trip (okay, that doesn't sound too appealing). The revolution has begun...and the kids aren't all right...

I enjoyed this movie, although for the first 20 minutes or so I wasn't sure where it was going, but it seemed to find its footing and present an entertaining tale (unless you were among the older generation, to which this might have been a cautionary or every scary wake up call...yeah, right)...Christopher Jones seems to fit his role perfectly as the charismatic Max Frost, the millionaire rock star rallying the angry youth of America, and beginning a movement in California (figures) which ultimately spreads worldwide. Holbrook was also very good as the liberal politician thinking he could harness this untapped power towards advancing his career by schmoozing the youth, but quickly learning his folly once the beast was unleashed...and then there was the stodgy Ed Begley, playing the ultra conservative Senator Allbright..."Youth is not only wasted on the young, it's become a disease!"...'nuff said. I think my favorite sequences involved the scenes where Max and his cohorts, in an effort to get legislators to amend the constitution and lower the age requirements for holding political offices, spike Washington's water supply with acid...which resulted in all these politicians head tripping and unknowingly voting themselves out of existence (Ed Begley pretending to be on acid is quite the experience). This was actually a real-life fear at the time that prompted the mayor of Chicago at the time, Richard J. Daley, to call out some 5,000 national guardsmen to protect the cities water reservoirs, as the 1968 Democratic National Convention was taking place, and protesters were in abundance in the Windy City. There was a creepy, reverse Oedipal vibe coming off Shelley Winter's character towards her son, one that increased as Max's power grew...her desperate attempts to fit in with a generation she didn't belong, so in need their approval and attention, became very annoying, but viewers are rewarded as she couldn't escape her age or the animosity of youth. Ms. Winters is an accomplished and respected actress (I really liked her in Night of the Hunter), but most of the roles I've seen her in involved her playing often obnoxious, annoying, overbearing characters, and here is not different. There was a slightly dark, comic tone ever present throughout the story that later turns ominous as Max become president, using his administrative powers to effect some really radical changes (hey, if it means putting Shelley Winters behind bars, I'm all for it). There's some good music to be had here, if you dig on late 60s rock, with original music provided by Les Baxter and songs by legendary writer Barry Mann...check out Max Frost and the Troopers' performance of the song `The Shape of Things to Come', which would later covered by The Ramones. The ending, despite being completely predictable (and virtually telegraphed), still worked well.

______________________________________________________________

Seeing as how I was quite young at the time Gas-s-s-s (1971) aka Gas-s-s-s... or, It May Become Necessary to Destroy the World in Order to Save It came out (diapers, pacifiers, the whole bit), I'm curious to know if this whole `youth counterculture' film genre had just about run its course (run out of gas, you might say...oh man, I slay myself with my relevant comments)...and while watching the film, Roger Corman's last directorial effort for AIP, I'd say so...written by George Armitage, who would later direct Grosse Pointe Blank (1997), and directed by Roger Corman (The Masque of the Red Death, The Wild Angels), the film features a number of actors including Bob Corff, whom later found his calling as a voice teacher, known as `the authority on voice technique in Los Angeles', Elaine Giftos (The Student Nurses), Bud Cort (Harold and Maude), Talia Shire (The Godfather), along with Ben Vereen (All That Jazz) and Cindy Williams (American Graffiti) in their first, major on screen roles...oh yeah, watch for the writer himself, George Armitage, appearing as the character Billy the Kid...

As the movie begins, we learn the military/industrial complex has been brought down by its own hands due to the accidental release of a nerve gas that kills anyone over the age of 25...subsequently, the ne'er-do-wells have inherited the Earth through no effort on their part ...or so it would seem. The more things change, the more they stay the same as soon the conservative youth begins to rain on the free love parade trying to maintain the status quo, driving a couple to leave behind the bad scene that is Dallas in search of a hippy nirvana somewhere in the desert of New Mexico. Along the way they hook up some like-minded folk, and eventually get captured by a gang called the Warriors, a fascist group of dune buggy driving high school jocks (with their own marching band) who subsist by raiding nearby towns, looting and pillaging what they need. They manage to escape and keep on keeping on finding respite at a musical festival of sorts, the main performer being Country Joe and the Fish. Pressing forth they finally reach their destination in a New Mexican pueblo where everyone gets by doing their own thing, whatever that may be...until the Warriors show up...now comes the conundrum...how to resist the impending onslaught without resorting to violence? I'll tell you what, by this time I was looking forward to a little head bashing mayhem, but none was forthcoming...

Now the story I just described to you would probably fill up 30 minutes of celluloid, but know this film is about 79 minutes long...so what was used to pad out the rest of the running time? A whole lot of nonsense...seriously, this film is one big, long psuedo counterculture unpleasurable masturbatory flogging. There was some real potential, but it quickly devolved into an inconsistent exercise of unfettered, unstructured silliness taking potshots at the `evil' establishment via continually trying to illuminate the audience to the hypocrisies inherent within the system. The humor here is as about consistent with that of a bad Monkees episode, only there it was good natured ribbing of convention, while here it comes off as crude and sophomoric. I gotta tell you, this post adult world, even in a comical sense, sucks...here's a dose of the lame humor (vaudevillian, at best) I'm talking about...at the beginning of the film, we see the cops chasing a hippy, who eventually runs into a church, donning a priest outfit. A cop comes in, mistakes him for a man of the cloth, and ask if he's seen anyone run inside the church...the hippy/priest replies "Could you describe him my son?", "Long hair, weird clothes, looks like a real troublemaker to me.", to which the hippy/priest replies "No, there hasn't been anyone like that around the church in a long time." Which then the camera focuses on a statue of Jesus...get it? You see because Jesus had long hair and wore strange clothes...I guess...and I love how the film equates sports with fascism as we witness a group of high school jocks, dressed in football jerseys and shoulder pads, loot surrounding towns, participating in all sorts of training exercises to hone their skills, including barbarism, chasing and tackling women, throwing Molotov cocktails, etc. And the slyly witty social commentary doesn't stop there... check out the part where the group tries to retrieve their stolen car, and participate in a gunfight where no bullets are shot as the only ammunition is yelling out the names of macho actors like Gene Autry, Tom Mix, James Arness, John Wayne and so forth, the more macho the actor, the more likely the kill...see how clever the film is? As I said, I was disappointed with this feature as it just rambles around trying to be witty in a laid back kind of way, but just really has no heart, soul or redemptive value other than perhaps being a sort of hippy time capsule that even hippies probably wouldn't want to revisit. As far as the direction, it seems Corman, knowing it was his last directorial effort for AIP before moving on, phoned it in, especially after he got hold of the script, seeing what was in it, and I can't blame him. Oh, yeah, great way to end the film, by the way (I'm being facetious)...the movie basically paints itself into a corner (you know, the whole having to deal with the Warriors conundrum I mentioned earlier) and then proceeds to completely cop out because the writer couldn't come up with a better idea...I guess that's what happens when you only have about 20 or 30 minutes of actual story. I will say some of the music was pretty good, but other than that, the rest is a flop...

The picture, presented in 16X9 wide screen (1.85:1), for both these movies, looks really good and the English mono comes across clearly. The only special feature for both films is a theatrical trailer. I'm giving this release four stars primarily for Wild in the Streets, and the fact I really like and support this Midnight Movie double feature , and the price is nice...I heard in the not so distant past Sony has acquired the MGM catalog, so I'm hoping they will continue with this format...well, ideally the format would include two good films, but I'll take one good one along with one stinker...

Cookieman108
23 of 26 people found the following review helpful
5.0 out of 5 stars cult classic par excellence Feb. 6 2001
By Brett Wagner - Published on Amazon.com
Format:VHS Tape
leonard maltin needs a thicker pair of glasses to realize the cult classic we have on our hands here. no, it's not gone with the wind. nor is it apocalypse now. but in terms of capturing that cool attitude of the pre-hippie 60's, mixing fantastic garage rock/surf rock, and a crazy premise (rock star takes over the country by enlisting his fanbase - the youth of america), with an abundance of narcotics thrown in for good measure...you can't beat this one of a kind film. this is one of those movies that few people know about. those that know it though will concur that it's one of the coolest films of the late 60's, albeit somewhat kitsch. just wish i could find the soundtrack. another plus is that it's richard pryor's first movie ever, yet only in a cameo role. tarantino loved this film so much that he tried to track down christopher jones (who had apparently gone awol since the film's release) to play one of the leads in an as-yet-to-be-made pulp fiction. he managed to find him, but jones turned him down. travolta later was asked and he accepted the role that would jumpstart his career again. to put things in perspective, in '68, jones was billed as the next james dean. he unfortunately disappeared from hollywood never to make another film. he was one cool cat that couldn't dig the system...you dig?
9 of 9 people found the following review helpful
4.0 out of 5 stars "Youth power, that's where the whole thing's at now!" July 9 2005
By cookieman108 - Published on Amazon.com
Verified Purchase
Ever conscious of cashing in on whatever trend might have been fashionable at the time, American International Pictures (AIP) focused their sights on the ever-growing youth movement of the mid to late 60s with this frightening (if you were over 60) tale of youthful revolution in Wild in the Streets (1968). Directed by Barry Shear, whose primary credits include TV shows like "The Man from U.N.C.L.E.", "Ironside", and "Hawaii Five-O", to name a few, the film stars Christopher Jones (The Looking Glass War), an actor once thought by many to be perhaps the next James Dean or Marlon Brando, but whose fortunes and star potential faded due to, what some speculate, the strain of having to live up to the expectations beyond his grasp...oh yeah, that and the all the drugs, as highlighted in `Christopher Jones: The E! True Hollywood Story'...also appearing is Oscar winner Shelley Winters (The Diary of Anne Frank, The Night of the Hunter, Lolita), Diane Varsi (I Never Promised You a Rose Garden), Hal Holbrook (Creepshow), Millie Perkins (The Diary of Anne Frank), Ed Begley (12 Angry Men), Bert Freed (Nevada Smith), and Richard Pryor (Silver Streak, Stir Crazy).

As the story begins, we witness an intelligent and precocious boy named Max Flatow (played by Barry Williams, better know as the character Greg Brady, from The Brady Bunch), Jr. grow into a disillusioned young adult who decides to leave home, severing his family ties, and make it own his own (given his mother, played by Winters, I didn't blame him). By the age of 22 we learn he's not only changed his name to Max Frost, but that he's also become a famous recording star, and with the help of his entourage (none over the age of 25), become the head of a multi-million dollar empire. Max is so popular he's courted by congressman Johnny Fergus (Halbrook) to assist him in his senatorial bid by playing at a rally and throwing a good word Fergus' way, hoping, I guess, to rock the vote, or some such thing...Max agrees, but the performance leads to pressure in the form of massive `sit ins' to force Fergus to introduce legislation that would lower the voting age to 15 (the `Establishment' balks but their power quickly fades). Fergus acquiesces (dreams of political power swirling in his mind), and the voting age lowered, and Fergus wins his senate seat, but he has unwittingly opened Pandora's box as soon the once disenfranchised youthful population, who can now vote, begin electing their own candidates (Max eventually takes the presidency) and pushing their own hedonistic agendas towards a groovy future where adults are forced to retire by 30 (hey, that doesn't sound so bad) and then shuffled off to `Mercy Camps' where they are plied with LSD treatments, or `therapy', to keep them on a permanent acid trip (okay, that doesn't sound too appealing). The revolution has begun...and the kids aren't all right...

I enjoyed this movie, although for the first 20 minutes or so I wasn't sure where it was going, but it seemed to find its footing and present an entertaining tale (unless you were among the older generation, to which this might have been a cautionary or every scary wake up call...yeah, right)...Christopher Jones seems to fit his role perfectly as the charismatic Max Frost, the millionaire rock star rallying the angry youth of America, and beginning a movement in California (figures) which ultimately spreads worldwide. Holbrook was also very good as the liberal politician thinking he could harness this untapped power towards advancing his career by schmoozing the youth, but quickly learning his folly once the beast was unleashed...and then there was the stodgy Ed Begley, playing the ultra conservative Senator Allbright..."Youth is not only wasted on the young, it's become a disease!"...'nuff said. I think my favorite sequences involved the scenes where Max and his cohorts, in an effort to get legislators to amend the constitution and lower the age requirements for holding political offices, spike Washington's water supply with acid...which resulted in all these politicians head tripping and unknowingly voting themselves out of existence (Ed Begley pretending to be on acid is quite the experience). This was actually a real-life fear at the time that prompted the mayor of Chicago at the time, Richard J. Daley, to call out some 5,000 national guardsmen to protect the cities water reservoirs, as the 1968 Democratic National Convention was taking place, and protesters were in abundance in the Windy City. There was a creepy, reverse Oedipal vibe coming off Shelley Winter's character towards her son, one that increased as Max's power grew...her desperate attempts to fit in with a generation she didn't belong, so in need their approval and attention, became very annoying, but viewers are rewarded as she couldn't escape her age or the animosity of youth. Ms. Winters is an accomplished and respected actress (I really liked her in Night of the Hunter), but most of the roles I've seen her in involved her playing often obnoxious, annoying, overbearing characters, and here is not different. There was a slightly dark, comic tone ever present throughout the story that later turns ominous as Max become president, using his administrative powers to effect some really radical changes (hey, if it means putting Shelley Winters behind bars, I'm all for it). There's some good music to be had here, if you dig on late 60s rock, with original music provided by Les Baxter and songs by legendary writer Barry Mann...check out Max Frost and the Troopers' performance of the song `The Shape of Things to Come', which would later covered by The Ramones. The ending, despite being completely predictable (and virtually telegraphed), still worked well.

While this film is not available on its own on DVD, it is featured on a MGM Midnight Movies double feature DVD, available at Amazon, paired with the psuedo youth counterculture film Gas-s-s-s (1971), which is the lesser of the two, in my opinion.

Cookieman108

By the way, see if you can spot Bill Mumy ("Lost in Space") and Peter Tork ("The Monkees") in their bit parts...
15 of 17 people found the following review helpful
4.0 out of 5 stars Young Robert DeNiro gives great performance Feb. 21 2001
By A Customer - Published on Amazon.com
Format:VHS Tape
Not only is this movie highly entertaining and well acted, but it features a teenage Robert DeNiro as the glue sniffing son of Shelly Winters. Great performances from all the cast. The story is exciting and succeeds in portraying an engaging psychological profile of this very bizarre family.
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