The main goal of this production is to provide information to people, much of which is quite well hidden. It is our sincere hope that everyone views this material will be inspired to question things; and to search out the truth for themselves.
The arguments and conclusions contained within this work are the accumulated result of over 25 years of investigation and personal research. Many of the arguments presented here are not new, however in order to see the larger picture, it is necessary that the many smaller pieces of the puzzle first be put into order.
The information contained herein is as important to mankind as it is urgent, however in an almost unfathomable act of irresponsibility, it is still for the most part, being ignored by Governments, Academics, and media all over the world.
This film is designed to make it clear to the viewer that there is more to the workings this world, than how it appears on the surface, and that this fact can readily be proven.
It is the opinion of the makers of this film that the people of the world very much need to understand the true nature of the problems faced by the human family in order to find real and meaningful solutions to them, and that these problems do seriously need to be addressed in order to secure a peaceful and prosperous future.
We do not ask or expect anyone to believe what is presented within the chapters of this film, without first investigating all the evidence for themselves, and we very much urge you to do so.
Remember, the truth is always out there somewhere, and sometimes, right in front of our eyes, if we would only choose to notice.
An unprecedented look into the underworld of Vancouver's downtown eastside ghetto, this 65 minute documentary follows one man's 30 day experiment of joining the thousands of homeless, ill, and addicted, who survive the streets of Vancouver's cold, wet December. He starts off with nothing but a pair of underwear. Where he ends up is a place he never knew existed, even though its a place he passed by every day. This is the perfect film for anyone who wants to see first hand what life is like on Vancouver's streets, but doesn't want to risk murder from gang violence, contracting a fatal or chronic disease, or a life-long addiction to crack or heroin.
Nominated for Best Feature Doc, Best Direction in a Feature Doc, and Best Sound Design at the 2011 Leo Awards.
A story of greed, gluttony, and vanity. A mouse gets in trouble when he eats so much cheese that he can't move, then the cat comes and his troubles really begin...
Director: Derek Flood
Producer: Das Werk
A computer animated Short film written directed and animated by Derek Flood. Software used: Maya, Shake.
A little boy has been give a 'time out' in the corner, when he gets an idea to become a ''SuperHero''. He creates havoc around the house unaware the he will encounter his greatest weakness.
If you've ever felt as though you were a small part in a very large world, Zeitgeist, the original 2007 Movie will reaffirm your feeling. This compelling documentary explores manipulations of the American masses by those with wealth and power.
By employing three main themes (Christianity, September 11th, and the Federal Reserve) that seemingly have nothing to do with one another, this film may enlighten (or offend) Americans that are spellbound to change the balance of power in the world.
The massive conspiracy that's painted before our eyes is controversial, thought-provoking and gripping. Peter Joseph presents his powerful argument to people that are conditioned to accept the American government and the media as truth. However, he doesn't take a subtle approach that will be easy to swallow for every viewer.
Zeitgeist, the Movie isn't for everyone. If you're interested in exploring the depth of lies, corruption, secrets and manipulation that's spoon-fed to us, you'll most likely find that the two hours it will take you to watch this film will be spent constructively.
Nevertheless, people who are easily offended should probably skip this documentary. After all, films about mass-manipulation, religious manipulation, false flag operations, hidden agendas, economical manipulation and hidden truths aren't everyone's cup of tea.
Whether you're a critic or a fan, the documentary certainly packs a powerful punch. There are many legitimate questions presented and Peter Joseph offers the viewer his own interesting perspective.
Mary Henry is enjoying the day by riding around with two friends but everything goes wrong when challenged to a drag race and their car gets forced off of a bridge. The car sinks into the murky depths, and all three women are assumed drowned. Some time later Mary emerges unscathed from the river. She tries to start a new life by becoming a church organist but Mary finds herself haunted by a ghostly figure that instills fear and dread into her.
While Carnival of Souls will never make the mainstream lists of best "horror" movies, I think it is a masterpiece. You have to look at this film in context: it was purportedly made on a shoestring budget and with a small crew. Yet, the photography and music is superb. Note the parallel imagery of the bridge arches and the church arches, for one example and, as another example, the intrusion of the decadent carnival waltz on the spiritual organ piece, juxtaposing the competing dynamics of the new and frightening dimension Mary finds herself thrust into.
This film is notable in its capacity to create an eerie, otherworldy atmosphere with limited resources. It also features some subtle humour, even though I don't think it was meant to be funny overall. The first element of humour is introduced when Mary tries to clear the theme music from her car radio- quite funny.
What is very effective also is the contrast between the rusticity of the setting, in an ordinary town of ordinary people, and the developing strangeness of Mary's personal world.
The horror itself is developed through the medium of dread; dread that a person can be caught somewhere between life and death, in a perverse reality. No gory or blood-drenched horror film can match the mood of sheer desolation in Carnival of Souls. This is a psychological rather than physical expression of horror, describing the experience of something like purgatory; of a person having her emotional and physical attachment to the world inexorably stripped away.
Mary is emotionally and spiritually dead and only the memory of shopping can bring her to something like human feeling: a woman's ultimate refuge! Yes, there is sardonic humour in this scenario. Sadly, though, for our Mary, there is no refuge, not even in shopping.
Mary Henry is faced with an excrutiating dilemma: go with the (apparently) normal living people, whom she can no longer relate to emotionally or even physically, or go with the dead, whom she is repulsed by. Deciding at last to join the dead is a decision she makes out of a sense of inevitability, having seen her unwanted suitor, Mr Linden, transform into the dead man who had been following her everywhere. Yet this choice is truly horrifying, and, realising that, she attempts to flee the dancing dead - in vain, as it turns out.
There is the element of dark humour again, in that both a living man and a dead man want the same thing: to dance with her and have sex with her. Mary no longer shares the sexual tensions of the living but is strangely attracted to the derelict carnival site where the dead man hangs out. Macabre but brilliant!
In the final analysis, any path our doomed heroine chooses leads to an unwanted outcome - and this is surely the ultimate horror any of us could face.
Or, to put it another way, no matter how solid you think your world is, the last joke is always on you.
As the skies turn gray and the days grow cold many people are reluctantly putting their bicycleslist of documentaries from snag films. up in winter storage. None of us here at the Anti-Society are one of "those people". We ride our bikes as a daily lifestyle for our own various different reasons. As a show of solidarity for our fellow bicyclist we bring you this excellent list of documentaries from SnagFilms.com.
I have a confession to make – I love cheesy old movies. I’m not talking the coming attractions for old Universal or Hammer movies here. I mean the real stuff, authentic schlock: ‘50s Sci-Fi, ‘60s Horror and Spaghetti Westerns, ‘70s Blaxploitation and Kung Fu pictures. Still, watching these delightful cinematic artifacts is a bittersweet experience. It compels one to dwell on how boring movies have become in the last couple of decades.
The powers-that-be that allowed such films to flourish developed an amusing, but effective system. First of all, the producers would first come up with a marketable title. Then the poster art would be created around said title. Next the poster art would be run by film distributors. Only if they showed interest in booking such a film would the actual movie be written and produced, resulting in films like The Beast With A Million Eyes (1955) and I Married A Monster From Outer Space (1958). Of course, such titles are still being produced, but now it’s for camp value, like Snakes On A Plane (2006), Kids Go Into The Woods, Kids Get Dead (2009), or The Lights Have Gone Out, Let’s Split Up. In our enlightened era such titles are uttered with tongue firmly implanted in-cheek. Not so in the golden era, back when the films tended to be a straightforward presentation of what the title promised.
Arguably, one of the greatest of such titles was Werewolf in a Girl’s Dormitory. It’s all there, isn’t it? In terms of boiling down the traditional lures of violence and sex into one short formulation, it’s perfect. The movie itself is one of those monster/cheesecake flicks ground out in early ‘60s Europe. Such films as Playgirls and the Vampire or Horrors of Spider Island would mix scantily clad hotties and mayhem. Served up, it should be noted, with somewhat greater explicitness than their contemporary American counterparts. Soon after this European films would become more unabashed, presenting nudity, sex and gore so perverse as to cross over into misogyny and misanthropy. (Although more of the former than of the latter.) In the brief period that we will now examine, though, the films remained oddly innocent. Buxom gals meandering around in elaborate, none-too-revealing lingerie and being rather chastely mauled by goofy monsters was the order of the day.
Other common elements of these flicks are on display here as well. For instance, there’s the mystery element to be found in all those German Edgar Wallace adaptations. You know, the ones starring Klaus Kinski and featuring hunchbacked, hooded killers decapitating hordes of victims and that sort of thing. (When did they stop showing those on TV?) So pretty much every character in our movie is constantly acting in a suspicious manner. This is so as to keep us guessing at the werewolf’s identity. It also means that the werewolf could be pretty much anybody with equal validity. Therefore, the only practical way to figure out who it is to wait until everyone but the hero, the heroine and the villain have been killed off.
Next, of course, there’s the stilted, poorly dubbed-in dialog. For the connoisseur, each region of the world’s dubbing has its own charms. The most famous here in the States is the Americanized dubbing as seen in old Godzilla movies. The Japanese language doesn’t really match up well with English in terms of meter. Hence the much-remarked upon and obvious mis-syncing of dialog to lip movement. Japanese speech also tends to be much more terse than its American counterpart. This is what causes so many affirmative ‘hmm’s and stuff to be looped in, replacing the original ‘hei’s.
On the other extreme are films from Mexico, like those translated by our old friend K. Gordon Murray. Unlike the Japanese, Mexican films tend to be extraordinarily dialog heavy. This is at least in part because nothing’s cheaper than having actors stand around and talk. Mexican Spanish also tends to be spoken at a quicker cadence than English. Even better, the dubbed dialog in films like The Brainiac or Santa Claus often sounds like it was translated directly from the original Spanish. This results in long, wordy exchanges in which the grammar is humorously askew.
The rhythm of language in German and Italian films, with this being the latter, tends to be closer to American English. Yet while all the typical dubbing quirks in this picture might be (wait for it) less pronounced (ha, I’m so funny), they are still identifiable. Spoken dialog regularly mismatches lip movements. The volume of speech seems just a shade too loud, as if everyone thought everybody else a bit hard of hearing. Long, inexplicable pauses abound, often in mid-sentence. And the dialog tends to sound overly stiff and formalistic.
I have a some affection for this film, and consider to be a bit of a minor gem. For instance, the film runs a scant 83 minutes (although the missing song indicates a greater length), so there’s little time to get boring. Also, the filmmakers do put in some work. The picture supplies a comically large assemblage of werewolf suspects and makes sure that everybody’s acting suspiciously at all times. This is augmented by the nearly continuous playing of the ‘menacing’ score throughout the first half of the movie. The stilted dubbed dialog helps. As does the pacing. The film keeps getting progressively sillier with admirable momentum, climaxing in the hilarious lab scene where Leonor keeps getting mauled like a character out of a Monty Python sketch.
There’s a couple of obvious and amusing plot holes, too. For instance, how did Swift become a werewolf? When? Was he killing folks before the events shown here and nobody noticed? Actually, considering the quality of the local police, this seems possible. Again, what possible motive could Sheena have had not to blow Swift’s cover? And why didn’t the police ever search Mary’s effects? And why were they so sure Priscilla was lying about the letter? Was Swift supposed to know he was a werewolf? Isn’t it a little weird that of the bountiful six corpses the film provides, only one was the work of the werewolf?
Footage of commercial shoot, text about the anonymity of most admen and about how this program intends to give them a voice, The Pontiac Choir Boys do a commercial, George Lois, chairman, Lois, Holland, Callaway, New York, explains the power that comes from commercial production - "Poom! It's like poison gas..Poom! That's sensational. Oh yeah, that's great!"
Opening of the film Adland, featuring singing McDonalds hamburger puppets (you know how I feel about singing and dancing food, folks), a Pontiac mens choir, and commercial director George Lois, talking about what its all about for him. This makes me wish they had put up the whole film, rather than just excerpts from it.
"The mile high city is rocked when an ancient Egyptian menace comes to town, and the Denver Ghostbusters must return to save the universe once more. In this sequel to the internet cult hit Freddy VS Ghostbusters, the boys in gray find themselves up to their eyeballs in spooks, as a greater threat looms on the horizon..."
"A talented cast and crew made up entirely of volunteers (see also: fanatics) worked over the internet and across borders for over two years. Featuring dazzling special effects, an original score, and an engaging story inhabited by quirky characters, this feature length film is a truly one of a kind fan made experience."
Fan films are supposed to be just that, films for the fans. Braxton Film definitely took this in to play. This movie can't be used for commercial use, for copyright laws and whatnot. The fact that they knew this, and still took the time and money to make a very good fan film is an amazing feat. I have watched many, many fan films, honestly haven't seen to many good ones, most of them, it is a swing and a miss. But with Return of the Ghostbusters, I was beyond impressed. Braxton Film put together a great movie, with great actors, a good script, great special effects, for in-house effects. It's not your Hollywood glorified CGI, but it does a damn good job. It related great with the old Ghostbuster movies, definitely made for the fans, they kept all the same Ghostbuster language, same types of equipment, etc. Definitely a great storyline, it seems like one that could've been used in a real ghostbusters sequel. Bottom line, I was impressed. Damn good job Braxton Film, I will always trust you in the future, because you make true fan films, not pathetic attempts, like most fan films out there. I enjoyed watching this movie a lot more that a lot of the crap Hollywood is putting out these days. It is nice to see someone who truly cares, and isn't just sucked in by the money. 10 stars, best Fan Film out there, hands down. Also, reference Freddy vs. The Ghostbusters, it is somewhat of a prequel. Keep up the good work, Braxton.
Here is a version of Orwell's 1984 that was broadcast live in 1954, starring the incomparable Peter Cushing. It also features Donald Pleasence, Andre Morell, and was adapted by Nigel Kneale.
Nineteen Eighty-Four is a British television adaptation of the novel of the same name by George Orwell, originally broadcast on BBC Television in December 1954. The production proved to be hugely controversial, with questions asked in Parliament and many viewer complaints over its supposed subversive nature and horrific content. In a 2000 poll of industry experts conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, Nineteen Eighty-Four was ranked in seventy-third position.
The production provoked something of an upset. There were complaints about the "horrific" content (particularly the infamous Room 101 scene where Smith is threatened with torture by rats) and the "subversive" nature of the production. Most were worried by the depiction of a totalitarian regime controlling the population's freedom of thought. There was also a report in the Daily Express newspaper of 42-year-old Beryl Merfin of Herne Bay collapsing and dying as she watched the production, under the headline "Wife dies as she watches", allegedly from the shock of what she had seen.
Amidst objections the BBC went ahead with a live repeat on Thursday 16 December, although the decision went to the Board of Governors, which narrowly voted in favour of the second performance. This was introduced live on camera by Head of Drama Michael Barry, who had already appeared on the Monday's edition of the topical news programme Panorama to defend the production. The seven million viewers who watched the Thursday performance was the largest television audience in the UK since the Coronation the previous year, even the Queen and Prince Philip made it known that they had watched and enjoyed the play.
When the importance of this production of Nineteen Eighty-Four was realised, it was arranged for the second performance to be telerecorded onto 35mm film, as the first was shown live, seen only by those who were watching. Videotape recording was still in development and television images could only be preserved on film by using a special recording apparatus (known as "telerecording" in the UK and "kinescoping" in the USA) but was used sparingly in Britain for preservation and not for pre-recording. It is thus the second performance that survives in the archives, one of the earliest surviving British television dramas.
The Phantom Planet is a classic sci-fi movie from 1961. The mysterious appearance of an unknown planet brings miniature people, giant monsters, beautiful women and undaunted heroes to the screen. The self-contained planet "Rheton" has the ability to move in and out of galaxies to escape their enemies. Earth sends an astronaut team to investigate, which discovers miniature people. One astronaut survives to help them fight off monsters and Solorite attacks. The low budget belies the fact films like this were thematically the precursor to modern sci-fi.
I actually like this cheesy drive-in second feature B-movie classic.
The story goes from chapter to chapter with innocent exuberance. It's a typical "meeting aliens in outer space" story. An astronaut meets barefooted Lilliputian aliens (who all wear Star Trek type mini-skirts) hiding inside an asteroid, and promptly shrinks to their size. They're hiding not from Earthlings, but Solarites, creatures that use fire to attack the asteroid.
This is the luckiest dude in the cosmos; he meets raven haired beauty Delores Faith and if I were him, I'd stay on the asteroid with her. Meanwhile, there's some interesting sub-plot action going on--jealous rivals, invaders closing in, court trials and what not. A captured Solarite breaks loose, attacks Delores, but then can't decide if he'll kill her or not, and wanders around carrying her for a while.
The special effects are cheap, but amusing, even interesting to watch. Rays, fireballs, a large-nosed creature with a big head, an asteroid that looks like popcorn chicken chunks; it's just a lot of fun. The story is too abbreviated in several places (like the climactic battle with the enemy creatures), but I was actually involved with the characters, even the hastily developed astronaut/barefoot alien girl romance was somehow believable.
I don't know exactly what it is about this film, it's silly and absurd, but it really is an OK thing to watch. It's turn-off-the-brain stuff all the way, but it's fun.
