The Girls we Want

When free-spirited Carmen enters Yasmine's seemingly perfect world of friendship and romance, long-held beliefs about love and identity begin to unravel, challenging everything she once took for granted.

After nearly being rundown by a gang known as the Scars, Brenda (Linda Blair) and friends trash the leader's car. Gang leader, Jake, exacts his revenge by getting his cohorts to gang-rape her mute-deaf sister, Heather (in a gloriously nuanced role by Linnea Quigley). Armed with a crossbow and a bad attitude, Linda Blair sets out to avenge her mute-deaf sister while blazing a bloody, Bronson-inspired trail through 80's Los Angeles.

One of the first "underground" films of the 1960's to achieve a degree of mainstream acceptance (it was an actual hit in New York City, was well-received in Los Angeles and San Francisco, and was banned in Chicago and Boston), Andy Warhol's The Chelsea Girls offered a long, unblinking look into the lives of Warhol's retinue of "superstars" as they showed off for the camera in their various rooms in the notorious Chelsea Hotel, long a favored New York hangout for writers, artists and bohemians. Along with such notables of the moment as Eric Emerson, Brigid Polk, Ondine, and Mario Montez, one of the "girls" was Mary Woronov, years before she gained a cult following for her work in Rock 'n' Roll High School and Eating Raoul. The three-and-a-half hour film consisted of two series of images shown simultaneously, though only one soundtrack was audible…..

Kristen Stewart and Dakota Fanning star as Joan Jett and Cherie Currie in the music-fueled coming of age story of the groundbreaking, all-girl rock band, The Runaways. They fall under the Svengali-like influence of rock impresario Kim Fowley (Michael Shannon, Pearl Harbor), who turns the rebellious Southern California kids into a rock group with outrageous success. With its tough-chick image and raw talent, the band quickly earns a name for itself and so do its two leads: Joan is the band's pure rock n' roll heart, while Cherie, with her Bowie-Bardot looks, is the sex kitten.

Two classics of erotic horror get a fabulous DVD, though no power on earth could have made them look and sound good…

Friends is an American sitcom created by David Crane and Marta Kauffman, which ran on NBC from September 22, 1994 to May 6, 2004. The series revolves around a group of friends in the borough of Manhattan, New York City. The series was produced by Bright/Kauffman/Crane Productions, in association with Warner Bros. Television. The original executive producers were Crane, Kauffman and Kevin S. Bright, with numerous others being promoted in later seasons.

Carlos, directed by Olivier Assayas, is an epic, intensely detailed account of the life of the infamous international terrorist Ilich Ramírez Sánchez—also known as Carlos the Jackal. One of the twentieth century’s most wanted fugitives, Carlos was committed to violent left-wing activism throughout the seventies and eighties, orchestrating bombings, kidnappings, and hijackings in Europe and the Middle East.

A trio of truly awful, softcore, psuedo-bondage/action films starring the overly blonde Cheri Caffaro (who once won a Bardot look-alike contest). For those of you who thought to yourselves, "Hey, there just aren't enough tits or handcuffs in those Bond films", then these are the movies for you.

Wes Craven's first film was a crude but shocking horror opus that, like George A. Romero's Night of the Living Dead (1968), became a grind house hit largely because it went much further than terror films before it had been willing to go. Often compared to Ingmar Bergman's stark medieval rape drama The Virgin Spring (1960) (though one wonders whether this was influence or just coincidence), Last House on the Left follows a group of teenage girls heading into the city when they hook up with a gang of drug-addled ne'er-do-wells and are brutally murdered. The killers find their way to the home of one of their victim's parents, where both father and mother exact a horrible revenge. Like Tobe Hooper's The Texas Chainsaw Massacre two years later, Last House on the Left was an unrelievedly dark vision of contemporary horror that inspired many future films which copied its effects without achieving its visceral impact.