My good friends over at The Movie & Music Network and the 99 Cent Network have teamed up with the Japanese erotica company Pink Eiga and now Pink Eiga’s could be yours streaming to you for only 99 cents! In fact, three titles could be yours for less than a dollar! Say What!?!
No joke. No jazz. No flim-flam. No malarky. 99 Cent Network is your one stop shop for the best in Japanese pinkusploitation films and other highly popular retro comedies, action, and horror. Plus a ton more.
If more than three titles strike your fancy, you can choose 10 titles for only a dollar more. Stream as much as you like and you can even share your awesome collection with your friends and family! You can even view some of the film’s you’ve read reviews from here! Scream Park and Mold!
What are you waiting for!?! Check out and start your collection today! Check out the Pink Eiga promo trailer for the 99 Cent Network.
Three documentary filmmakers and gold hunters hitchhike to the remote Superstition Mountains of Arizona. The Lost Dutchman mine is their destination goal and all the long the way they film their experience until they disappeared and only the footage remained. The mountain have claimed many before them, will the mountain claim more unsuspecting treasure seekers?
“Dark Mountain” claims to be a found footage experience that displays paranormal activities based on true events. Alien green lights, cave ghosts, and internal madness are all attributed to the Superstition Mountains. This is also the film’s downfall as too much is attributed to make Superstition Mountain a mystery all the way to the credits. The backstory about the Apache being the root cause of the disappearances would have been a more likely and just that more interesting because, really, when is the last time you’ve seen killer Apaches in modern times? Claustrophobia seems to be the new fad in the horror genre with films like “So Above, As Below,” “Day of the Mummy” (), and the upcoming Alexandre Aja produced film The Pyramid where a group of explorers become trapped, entombed and doomed by a supernatural force. These films are no cult hits like “The Descent” but the fear of the walls closing in and a force looming closer to you has taken charge and is on the rise of terror. “Dark Mountain” dabbles in that a little with the cave exploration sharing the terror that a night vision should ensue into the audience.
First time director Tara Anaise’s style is purely audible and that’s not a bad thing. The film progresses through sounds: locusts, thrash metal, and the sounds of the desert. The three hitchhikers played by Sage Howard, Andrew Simpson, and Shelby Stehlin do a fairly convincible job being lost, confused, and afraid tourists. However, the characters carry unrealistic characteristics which could also be contributed to the film crew’s inexperience. For one, if weird shit happens around one in the first instance, you get the hell out of dodge. Secondly, nobody’s cell phone and handheld camera has a battery life of five days and that is what happens here. Lastly, and this one is more bittersweet than the rest, Sage Howard scopes the land in her booty jorts amongst deadly rattle snakes and prickly surrounding cacti.
“Dark Mountain” from, uh, Dark Mountain Studios, Superstitious Films, and released by MVD can certainly be engaging and entertaining, but this story ends too abruptly leaving a sour taste. The accounts stay mysterious and the real knowledge of what malevolence goes untold. I’m sure that’s the film’s supposed charm, but even “Paranormal Activity” had a revelation, even “Blair Witch Project” had solid back story and so comes “Dark Mountain” whose heights has no limits.
Cult actor Bill Oberst Jr. plays a deranged struggling writer with insomniac. Bill’s lack of sleep drives him to extremely hallucinate to the point of being dangerous to not only himself but to others. His derangement wields a bowie knife, a rust colored hammer, and a sporting bow and arrow as the hallucinations get weirder, stranger, and more violent and everyone that Bill comes into contact with becomes a target of his severe breakdown into insanity.
Who doesn’t love Bill Oberst Jr? The veteran actor has a unique look about him and his acting method brings stage and screen acting together into one great performance in Trevor Juenger’s “Coyote.” Without saying much through the entirety of the film, Oberst interpretation of one man’s sleepless delusions sports no talking head explanation. Rigorously and physically involved in the role, “Coyote” could not have been possible if it wasn’t for Oberst serious role indulgence.
The film is described as a blend between “Taxi Driver” and “Videodrome.” That description is entirely accurate. Full of body horror and plenty of schizo to go around, the surrealism in the editing by Juenger is remarkable pitted against budgetary restraints. Hard to follow, lost in translation, yet somehow by the end of the movie you get it, you just get it. You might even feel lost for the first hour and by the time the last half hour comes around, you’re just as angry, confused, and disturbed as Bill. You might even want to take out a person or two with a bowie knife.
“Coyote” won’t break much cinematic ground like “Taxi Driver” or “Videodrome,” but “Coyote” will be a great embarkment to a honorable homage and a surreal look into fresh art-house horror. If you like this type of material full of masochistic mutilation, visceral carnage, and a visual look into the mind of lunacy, then Wild Eye Releasing’s “Coyote” is for you.
The Japanese exploitation distributor Pink Eiga is back in the DVD home entertainment and they’re hitting their audiences hard in the face with the overly raunchy, sensationally sleazy exploitive women in prison film “Prison Girl” starring the beautiful Asami of “The Machine Girl” and “Rape Zombie: Lust of the Dead.” Pink Eiga over the last couple of years had their focus more on the Video on Demand market to satisfy the upcoming thirst for instant video pleasure and the company provided an excellent service. However, the demand sky rocketed for the distributor to release DVDs again and Prison Girl made the first cut after numerous years of DVD celibacy.
Asami plays a bored housewife named Ayaka. Her lifeless, sexless marriage leaves more guilt than anger when dreams of being an inmate at an all women prison plague her nightmares and she becomes the toy of the warden and his guards’ sexual perversions. When Ayaka reaches for outside help from a shrink, her world fantasy world and real world become intertwine. Is she really a bored housewife fantasizing about being sexually taken advantage of or is she an constantly raped inmate dreaming of being a bored housewife? This surreal look into a conflicted mind of escape is certainly interesting as well as being highly erotic.
I’ve seen my fair share of pinku eiga films and “Prison Girl” has taken a top spot as one of my favorites to date. This gem for 2008 not only stars a young and upcoming Asami, but “Prison Girl” does more than just shrink your pants. The Osaka born director Naoyuki Tomomatsu has a slew of trashy-horror that are much more weird and wacky in a cultural-sensitive Japanese style than as truly frightening art as we may see here in the States (or anywhere else for that matter). “Prison Girl” is different. Its disturbing and surely mental with Ayaka unable to differentiate between her worlds because before she can figure out what’s going on inside her head, her worlds start to collide.
the sleazy portion of the film is too great for typed words. Asami is degraded in every possible way, her holes are filled tightly accompanied by over-the-top foley effects like squishing, popping, and tearing. She’s probed, she’s double-penetrated, she’s golden showered, she’s tortured, and the list could go on and on. Asami is superfine as always and their is a natural look about her that fits her roll her as Ayaka; being a bored housewife doens’t make you a dolled up Barbie looking flawless. I want to see the dimples in Asami’s ass as those dimples, the very little imperfections in her round, kind of flat rear-end make “Prison Girl” just that more real for me.
With “Prison Girl” being a must have as Pink Eiga’s first release in 3 years, the company spares no expense in also giving out more features such as an interview with Asami herself. Catch the film in it’s entire glory now on DVD. You’ll be turned on and psychologically disturbed at the same time and you’ll like every minute of it.
The thing about the recent DC Universe or Marvel super hero movies is that they’re full of action. Bombarded with punches to the face, super human powers, and loads of soaring, gliding, and cloaking, super hero movies can get the blood pumping and sear entertainment into your soul and off the charts. The makings of an unlimited budget, mega-Hollywood superhero action movie hit relies on these qualities. So what about the independent forum? Sure, some fair well with “Super” with Rainn Wilson comes to mind. Then their is ultra-low budget and this is where the super hero movie flounders without mercy on it’s audience.
“Rise of the Black Bat” follows the fallen district attorney Tony Quinn after being blinded by acid from a notorious city gangster Oliver Snate. When numerous surgeries fail to restore Tony’s sight, he turns to more radical procedures. One of those procedures turns his sight into fully functional night vision and thus his vigilantism begins against his nemesis Snate.
I had great hopes for “The Rise of the Black Bat” from director Scott Patrick. The expectation was high for action and violence in what was hoped to be a “Punisher” type movie. However, the Black Bat isn’t that black. My first sign that my grand hopes have been let down was the amount of talking. The power of speech, not the great and grand speech, but the vast diarrhea of the mouth can ruin any action film that involves more talking with your feet, legs, and fists.
Secondly, the editing is painstakingly dreadful. Why use slow motion on almost every pointless scene? That’s not how slow motion works. Use slow motion to specially focus on the action and not the D.A. conversing with the D.A.’s secretary. The scenes are also repeated to create some sort of dramatic effect which creates more of a dull waste of film.
Lastly, the gun fights are a joke. Both the villains and the Black Bat are horrible shots. The fights last about 10 minutes a peace and the characters stay in the same place the entire scene. Pow-Pow. Bang-Bang. Miss, miss, miss, miss, miss, miss, and miss with no real movement. The amount of intensity the audience is suppose to feel in these particular scenes are nullified and depressing.
Overall, The Rise of the Black Bat is not a great action, super-vigilante movie and is no where near even being a so-so action, super-vigilante movie. What it comes down to is that the bare bones of basic hero movie necessities are not displayed. Instead, they are rather hidden behind a great looking DVD cover. I’d suggest not picking this one up and don’t give up your time to get let down.
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