The Terror Room

A former Spanish Civil War prisoner, John McKittrick arrives in New York to find the truth behind the death of his friend Louie Lepetino. He finds himself being chased by Nazi agents who want an item he has brought back from Spain and cannot give up. When another of his friends is murdered, McKittrick realizes that he cannot trust anyone around him - not anyone.

Wazed Ali Shah is the ruler of one of the last independent kingdoms of India. The British, intent on controlling this rich country, have sent general Outram on a secret mission to clear the way for an annexation. While pressure is mounting amidst intrigue and political manoeuvres, Ali Shah composes poems and listens to music, secluded in his palace. The court is of no help, as exemplified by nobles Mir and Mirza, who, ignoring the situation of their country and all their duties towards their families, spend their days playing endless parties of chess.

Apocalypse Now is one of the great films. Photography, score, acting and direction are without flaw. Coppola never scaled such heights subsequently. It seems the sheer effort to produce such a work extinguished much of his creative spark. Stravinsky frightened himself with the awesome force of his Sacre Du Printemps, and changed directions after, never to match this achievement; Richard Strauss fled into Neo-romanticism after writing the disturbing Elektra and Salome, unable to equal their innovation and power. But these seminal works (Le Sacre, Salome, Elektra, Apocalypse Now) remain as peaks of Art. Like the great classics of literature, each viewing of this film reveals deeper levels of meaning. It's stupid to even apply an arbitrary rating to this work. It would be like writing, "Brothers Karamazov gets 5 out of 5." It cannot be rated.

Lars von Trier shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and woman - a searing Willem Dafoe and Cannes best actress winner Charlotte Gainsbourg - retreat to their cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against age-old superstition; and a profoundly effective horror film.

While Italian director Emilio Miraglia never rose to the heights of some of his fellow directors like Dario Argento or even Umberto Lenzi, he holds a special place in a many a genre fan's withered heart for a few of the six films he did direct: a crime film entitled Assassination starring the one and only Henry Silva, a Spaghetti Western starring Richard Harrison entitled Shoot, Joe, Shoot! and the two giallos that are in this set from No Shame Films, the infamous The Night Evelyn Came Out Of The Grave and the, until now, elusive The Red Queen Kills Seven Times. Both films prove to be solid thrillers with some great casts, plenty of style, and some cool murder set pieces as well.

Beneath the splendid riches of the Paris Opera House lie ancient catacombs with a dark and forbidden secret. Once used as torture chambers, these passages now house the Opera Ghost (Lon Chaney), vowing vengeance on the human race and obsessed with young opera ingenue Christine (Mary Philbin). Featuring terrifying make-up and gothic setpieces which remain thrilling today, this spine-tingling, macabre masterpiece can now be viewed in all its grand guignol glory.

For the first time the Imperial War Museum allows cameras behind the scenes. Revealing the pressures faced and satisfaction felt by experts and volunteers as they work to preserve objects and stories from our wartime past.