In a Hollywood career spanning more than 50 years and with 60 movie credits to his name, Jack Nicholson has conquered everyone, becoming the archetypal star who lives according to his own rules. Unmoved by critical approval and conventions he remains the most elusive of American actors.

The U.S. Navy's special group "Blue Water" builds a half-shark, half-octopus for combat. But the sharktopus escapes and terrorizes the beaches of Puerto Vallarta.

Julie, an American on vacation in Mexico, spots a giant, one-eyed amoeba rising from the ocean, but when she tries to tell the authorities, no one believes her. She finally teams up with a marine biologist in an attempt to destroy it.

A 60-minute salute to American International Pictures. Entertainment lawyer Samuel Z. Arkoff founded AIP (then called American Releasing Corporation) on a $3000 loan in 1954 with his partner, James H. Nicholson, a former West Coast exhibitor and distributor. The company made its mark by targeting teenagers with quickly produced films that exploited subjects mainstream films were reluctant to tackle. From monsters to beach parties to cycle gangs to the psychedelic youth, many film clips are shown, highlighting the company's successful twenty-five year run in Hollywood. Interviewees include Arkoff, Nicholson (archive footage), Peter Bogdanovich, Bob Burns, Herman Cohen, Roger Corman, Dick Dale, Joe Dante, David Del Valle, Bruce Dern, Roger Ebert, Beverly Garland, Pam Grier, Susan Hart, James L. Honore, Al Kallis, Aron Kincaid, Mark Thomas McGee, Dick Miller, and Burt Topper.

An exploration of the appeal of horror films, with interviews of many legendary directors in the genre.

A fast moving odyssey into the subterranean world of the rarely explored province of Filipino genre filmmaking.
Karate-kicking midgets! Paper-mache monsters! Busty babes with blades! Filipino genre films of the '70s and '80s had it all. Boasting cheap labour, exotic scenery and non-existent health and safety regulations, the Philippines was a dreamland for exploitation filmmakers whose renegade productions were soon engulfing drive-in screens around the globe like a tidal schlock-wave! At last, the all-too-often overlooked world of drive-in filler from Manilla gets the Mark Hartley (NOT QUITE HOLLYWOOD) treatment in Machete Maidens Unleashed! This is the ultimate insiders' account of a faraway backlot where stunt men came cheap, plot was obsolete and the make-up guy was packing heat! Machete Maidens Unleashed! features interviews with cult movie icons Roger Corman, Joe Dante, John Landis, Sid Haig, Eddie Romero and a large assembly of cast, crew and critics, each with a jaw-dropping story to tell about filmmaking with no budget...
To the exploitation filmmakers of the 1970s and 1980s there was no stunt too risky, no story too ridiculous, and no clothing that could not be removed in the name of mass entertainment. The name of the game was to move fast and cheap and to producers big and small the Philippines was the Promised Land, the Wild East of filmmaking where American producers were welcomed with open arms by an otherwise oppressive government and safety regulations were but a distant rumor from far off lands.
With Machete Maidens Unleashed acclaimed filmmaker Mark Hartley (Not Quite Hollywood) dives head first into the hidden history of the American backed Filipino production boom. Filled with outrageous footage from this lost era and firsthand accounts from Roger Corman, Joe Dante, John Landis, Jack Hill and a host of others who experienced the madness live and in person Machete Maidens Unleashed is a delirious ride through one of the most exhilarating periods of film history.

The U.S. Navy's special group "Blue Water" builds a half-shark, half-octopus for combat. But the sharktopus escapes and terrorizes the beaches of Puerto Vallarta.

The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.

Five tales by Edgar Allan Poe come to life thanks to a pictorical style animation, five tales that exude madness, pestilence, murder and torture.

Two competing lawyers join forces to sue a prestigious law firm for AIDS discrimination. As their unlikely friendship develops their courage overcomes the prejudice and corruption of their powerful adversaries.

A woman working the late shift at a gas station while a killer is on the loose; a man who can't stand the thought of losing his hair; a baseball player that submits to an eye transplant. An anthology of terror.

Years after his squad was ambushed during the Gulf War, Major Ben Marco finds himself having terrible nightmares. He begins to doubt that his fellow squad-mate Sergeant Raymond Shaw, now a vice-presidential candidate, is the hero he remembers him being. As Marco's doubts deepen, Shaw's political power grows, and, when Marco finds a mysterious implant embedded in his back, the memory of what really happened begins to return.

The untold origin story behind Ridley Scott's Alien - rooted in Greek and Egyptian mythologies, underground comics, the art of Francis Bacon, and the dark visions of Dan O'Bannon and H.R. Giger. A contemplation on the symbiotic collaborative process of movie-making, the power of myth, and our collective unconscious.

On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's The Day the World Ended (1956). The producer is nowhere to be found and director Munro attempts to find him in hopes of being able to finish the film.

In the continuing saga of the Corleone crime family, a young Vito Corleone grows up in Sicily and in 1910s New York. In the 1950s, Michael Corleone attempts to expand the family business into Las Vegas, Hollywood and Cuba.