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Trailers from Hell

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    Trailers From Hell Says 'Let's Kill Uncle'

    John Badham introduces this 1966 Universal film on Trailers From Hell.

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    Trailers From Hell on 'The Changeling'

    Today on Trailers From Hell, Ti West talks the 1980 chiller "The Changeling."

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    Trailers From Hell Enters 'The Tomb of Ligeia'

    Roger Corman bids farewell to his Edgar Allan Poe series with a beautifully mounted departure from the heavy stylization of previous entries, played more like a gothic romance.

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    Trailers From Hell on Roger Corman's 'The Intruder'

    In 1961 Roger Corman took a flyer from his exploitation roots and made one from the heart, from Charles Beaumont’s angry novel inspired by the rabble-rousing exploits of Southern racist John Kasper.

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    Watch: Roger Corman Talks Edgar Allen Poe on Trailers From Hell

    Roger Corman explains why Ray Milland is filling Vincent Price’s shoes in his third Edgar Allan Poe adaptation, from 1962.

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    Trailers From Hell on 'Ride Lonesome'

    James Coburn made his 1959 film debut as a naive gunslinger in one the finest of Budd Boetticher’s laconic series of sparsely stylish low-budget Randolph Scott Westerns, shot mostly in and around Lone Pine, California.

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    Trailers From Hell on '7 Men From Now'

    From 1956, this first in a series of unique Randolph Scott/Budd Boetticher collaborations defines the phrase “adult western” which was primarily used to describe TV shows of the late 50s.

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    Trailers From Hell Stops at 'Comanche Station'

    From 1960, the last of seven collaborations between director Budd Boetticher and star Randolph Scott is one of their best.

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    Trailers From Hell on Vincent Price Classic 'The Tingler'

    William Castle’s craziest and most famous ballyhoo extravaganza unfolded in 1959 in “PERCEPTO – Newest and most startling gimmick on the screen!”

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    Trailers from Hell on 'The Conqueror Worm' with Vincent Price

    Although it stirred little notice on its US release in 1968, the late Michael Reeves’ final film (of three and a half) has attained deservedly classic status as one of the darkest, most bleak historical treatments of human ignorance and misery on film.

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