Tech Toys for AllSave on tech gifts for everyone on your list.Shop now ›

15-Film Horror Cult Classics Collection [3 Discs] [DVD]

Price Match Guarantee

Best Buy is dedicated to always offering the best value to our customers. We will match the price, at the time of purchase, on a Price Match Guarantee product if you find the same item at a lower price at a Designated Major Online Retailer or at a local retail competitor's store.

Here's how:
  • If you find a qualifying lower price online, call 1-888-BEST BUY and direct a customer service agent to the web site with the lower price, or when visiting a Best Buy store, one of our employees will assist you.
  • On qualifying products, Best Buy will then verify the current price to complete the price match.

Exclusions apply including, but not limited to, Competitors' service prices, special daily or hourly sales, and items for sale Thanksgiving Day through the Monday after Thanksgiving. See the list of Designated Major Online Retailers and full details.

$11.99
Cardholder Offers

Overview

Synopsis

Count Dracula and His Vampire Bride
The final installment in Hammer Studios' Dracula series is also the least interesting of the lot. A fairly direct follow-up to Dracula A.D. 1972, this sequel finds the Count (Christopher Lee) developing a potent strain of bubonic plague which he and his devil-worshipping disciples plan to release from 1970's London to wipe out nearly all life on earth. His efforts are challenged once again by the dedicated Dr. Van Helsing (Peter Cushing), leading to a rather uninvolving climax. Despite the always-welcome presence of Lee and Cushing, this installment plays too flagrantly with the time-honored Hammer Gothic formula, giving Dracula actual dialogue and surrounding the leads with a dull, amateurish supporting cast -- with the possible exception of Joanna Lumley (later of BBC-TV's Absolutely Fabulous). This also marked Lee's final performance as the Count and signaled the beginning of the end for Hammer's horror heyday. Also known as Satanic Rites of Dracula and Dracula is Dead and Well and Living in London. ~ Cavett Binion, Rovi

Piranha, Piranha
Peter Brown and Ahna Capri star as wildlife photographers, exploring the Amazon jungle. The two shutterbugs run afoul of homicidal hunter William Smith. In Most Dangerous Game fashion, the villain gives Brown and Capri a head start, then begins hunting them down like wild animals. The title is something of a giveaway: it's a safe bet that somebody's body will be picked clean by those omniverous Amazon piranhas. Filmed on location, Piranha Piranha received plenty of TV play after Jaws opened the floodgates of "death from the deep" flicks. ~ Hal Erickson, Rovi

Dead Men Walk
This painfully cheap but wildly entertaining PRC production stars a hammy George Zucco in a dual role as the Clayton Twins -- both doctors, one good, one evil. Elwyn Clayton, a practitioner of the black arts, is murdered by his brother Lloyd and returns from the dead as a vampire to seek revenge with the aid of his leering, hunchbacked assistant (Dwight Frye -- who else?). He exacts his vengeance by brutally murdering Elwyn's associates, with all evidence pointing to the only living twin. Jungle Siren director Sam Newfield makes the most of the paltry budget, helped greatly by Zucco's typically flamboyant performance -- which threatens to out-camp even that of legendary eye-roller Frye (who would die of a heart attack some months after this film's completion). ~ Cavett Binion, Rovi

Lady Frankenstein
This lurid but entertaining Italian/Spanish twist on the Frankenstein legend begins with Baron Frankenstein (Joseph Cotten) being assisted in his research by his sultry daughter Tania (Sara Bay). The doctor's first attempt at a stitched-together creation results in a lumpy, pop-eyed monstrosity with little of the expected respect for its creator. In fact, the monster begins its rampage by murdering the Baron and escaping into the surrounding village. The younger Frankenstein returns from medical school with newly-acquired surgical expertise and a desire to follow in her late father's footsteps. She soon begins work on a creation of her own by transplanting the brain of her brilliant but deformed assistant Charles (Paul Müller) into the body of a brawny handyman. The result is a handsome and powerful male creature not only capable of destroying the original monster, but virile enough to satisfy his creator's overwhelming sexual appetites. Tania is apparently quite eager to test the latter, and she does quite frequently, as indicated in the film's numerous softcore sex scenes. This lengthy romantic interlude is cut short when the first monster returns to finish what he started. Directed by Mel Welles (who B-movie fans will remember as Gravis Mushnik from Roger Corman's cult classic Little Shop of Horrors), this film plays like a sexually-obsessed version of an early Hammer production. ~ Cavett Binion, Rovi

The Bat
This fourth film version of the Mary Roberts Rinehart-Avery Hopwood stage chestnut The Bat is so old-fashioned in its execution that one might suspect it was intended as "camp" (though that phrase wasn't in common usage in 1959). Agnes Moorehead plays mystery novelist Cornelia Van Gorder, whose remote mansion is the scene for all sorts of diabolical goings-on. The "maguffin" is a million dollars' worth of securities, hidden away somewhere in the huge and foreboding estate. Vincent Price is seen committing a murder early on-but he's not the film's principal villain. Others in the cast include Gavin Gordon as an overly diligent detective, and former Our Gang star Darla Hood as a murder victim. The Bat was adapted for the screen by its director Crane Wilbur, himself a prolific "old dark house" scenarist and playright. ~ Hal Erickson, Rovi

Silent Night, Bloody Night
The secrets of a small New England town are violently exposed on Christmas Eve in this proto-slasher shocker. The owner of the long-abandoned Butler estate is desperate to sell, and dispatches his lawyer from New York to negotiate its purchase by the town council. Meanwhile, an inmate from a nearby insane asylum breaks loose and makes his way to the old mansion to take bloody revenge for a crime kept hidden for 35 years. The maniac makes mysterious phone calls to various prominent citizens, telling them that "Marianne" has returned, and lures each to the Butler house to meet their doom. The mayor's daughter, Diane, receives a visit from a man who claims to be Jeremy Butler, the mansion's owner, in town to investigate his lawyer's disappearance. Together they attempt to unravel the sinister mystery of the Butler house, which turns out to be a harrowing tale of incest, insanity and mass murder. Cult favorites Mary Woronov and John Carradine are featured in the cast of this eerie thriller, which also includes cameos from Warhol Factory legends Candy Darling and Ondine. ~ Fred Beldin, Rovi

Carnival of Souls
A drag race turns to tragedy when one car, with three young women inside, topples over a bridge and into the muddy river below. The authorities drag the river, but the search is fruitless and the girls are presumed dead until a single survivor stumbles out of the water with no recollection of how she escaped. Mary Henry (Candace Hilligoss) decides to forget her strange experience and carry on with her plan to move to Utah to accept a job as a church organist. She rejects the notion that because her profession leads her to work in the church, she is obligated to worship as part of the congregation, and this cold approach to her work unnerves many around her. While driving to the new city, she experiences weird visions of a ghoulish man who stares at her through the windshield, and passes an abandonded carnival on a desolate stretch of highway outside of town to which she feels strangely drawn. Mary tries to live her life in private, ignoring invitations to worship by the minister of her church and the leering propositions of a neighbor in her rooming house. Soon the ghostly apparition from the highway is appearing more often, and she experiences eerie spells in which she becomes invisible to people on the street. A doctor tries to help, but he too is rejected, and eventually Mary realizes that the deserted carnival holds the secret to her destiny. ~ Fred Beldin, Rovi

The Terror
In this horror chiller, an intriguing, beautiful woman (Sandra Knight) keeps re-appearing to early 19th-century Lt. Duvalier (Jack Nicholson), and he is led to a castle where he finds an imposter of Baron Von Leppe (Boris Karloff). He becomes trapped in the ancient castle and tries to make sense of the eerie situation. Director Roger Corman (with the help of a few other directors, including Francis Ford Coppola) shot most of this within a few days after finishing The Raven--utilizing the same set. ~ Kristie Hassen, Rovi

The Devil Bat
This campy, entertaining cheapie from PRC Pictures features Bela Lugosi as a chemist who plots an elaborate revenge scheme on his business partners, whom he feels have cheated him out of his share. To this end he develops a mutant breed of vicious, oversized bats and trains several of this breed to home in on a special chemical which he then blends with shaving lotion. Presenting gifts of the lotion to his partners as a peace offering (and browbeating them into splashing it on themselves while in his presence), he subsequently unleashes his monstrous pets to tear them to pieces. Believe it or not, this was one of PRC's more successful horror programmers, spawning a the sequel Devil Bat's Daughter. ~ Cavett Binion, Rovi

Little Shop of Horrors
Perhaps the greatest movie ever shot in two days, Little Shop of Horrors was originally conceived as a followup to Roger Corman's black comedy A Bucket of Blood (1959). Jonathan Haze plays Seymour Krelboin, a schlemiel's schlemiel who works at the Skid Row flower shop of Mr. Mushnick (Mel Welles). Experimenting in his spare time, Seymour develops a new plant species that he hopes will lead him to fame and fortune. Unfortunately, the mutated plant -- named Audrey Junior, in honor of Seymour's girlfriend Audrey (Jackie Joseph) -- subsists on blood and human flesh. It also talks, or rather, commands: "Feed Me! FEEEEED ME!" Before long, the luckless Seymour has fed his plant the bodies of a railroad detective, a sadistic dentist, and a flashy trollop. Meanwhile, Mr. Mushnik, who has stumbled onto Seymour's secret, has inadvertently offered up a burglar (played by Charles Griffith, who also wrote the script and supplied the plant's voice) as a midnight snack for the voracious, ever-growing Audrey Junior. (When the plant blooms, the faces of its various victims are reproduced in its flowers.) Ignored on its initial release, Little Shop of Horrors began building up a cult following via repeated TV exposure in the 1960s. By the mid-1970s, it had attained classic status, spawning a big-budget Broadway musical (and followup feature film) in the 1980s and a Saturday morning cartoon series in the 1990s. Enhancing the original Little Shop's reputation was the brief appearance by star-in-the-making Jack Nicholson as a masochistic dental patient (Nicholson is often incorrectly referred to as the star of the film, though in fact he barely receives billing). Much as we love Nicholson, our vote for the most memorable Little Shop cast member goes to the ubiquitous Dick Miller ("No thanks, I'll eat it here"). ~ Hal Erickson, Rovi

Night of the Living Dead
When unexpected radiation raises the dead, a microcosm of Average America has to battle flesh-eating zombies in George A. Romero's landmark cheapie horror film. Siblings Johnny (Russ Streiner) and Barbara (Judith O'Dea) whine and pout their way through a graveside visit in a small Pennsylvania town, but it all takes a turn for the worse when a zombie kills Johnny. Barbara flees to an isolated farmhouse where a group of people are already holed up. Bickering and panic ensue as the group tries to figure out how best to escape, while hoards of undead converge on the house; news reports reveal that fire wards them off, while a local sheriff-led posse discovers that if you "kill the brain, you kill the ghoul." After a night of immolation and parricide, one survivor is left in the house.... Romero's grainy black-and-white cinematography and casting of locals emphasize the terror lurking in ordinary life; as in Alfred Hitchcock's The Birds (1963), Romero's victims are not attacked because they did anything wrong, and the randomness makes the attacks all the more horrifying. Nothing holds the key to salvation, either, whether it's family, love, or law. Topping off the existential dread is Romero's then-extreme use of gore, as zombies nibble on limbs and viscera. Initially distributed by a Manhattan theater chain owner, Night, made for about 100,000 dollars, was dismissed as exploitation, but after a 1969 re-release, it began to attract favorable attention for scarily tapping into Vietnam-era uncertainty and nihilistic anxiety. By 1979, it had grossed over 12 million, inspired a cycle of apocalyptic splatter films like The Texas Chainsaw Massacre (1974), and set the standard for finding horror in the mundane. However cheesy the film may look, few horror movies reach a conclusion as desolately unsettling. ~ Lucia Bozzola, Rovi

Maniac
White Zombie
In this haunting low-budgeter, Bela Lugosi stars as Murder Legendre, a shadowy character who exercises supernatural powers over the natives in his Haitian domain. Coveting Madge Bellamy as his bride, wealthy Robert Frazier enters into an unholy agreement with Lugosi, whereby Madge will die, then be resurrected as a zombie. ~ Iotis Erlewine, Rovi

House on Haunted Hill
A perennial favorite of the "Shock Theatre" TV circuit, House on Haunted Hill stars Vincent Price as sinister gent (you're surprised?) Frederick Loren, who resides in a sinister mansion on a sinister hill, where seven murders have occurred. He makes a proposal to several strangers, offtering $10,000 to anyone who can last the entire night. Loren festively gives each of his guests a tiny coffin containing a loaded handgun, designed to protect them from the spooks that emerge in the house over the course of the night. The picture hinges on its surprise ending, which packs in several by-now-familiar twists. When originally released to theaters, House on Haunted Hill was accompanied by one of those gimmicks so beloved of producer/director William Castle: the gimmick was "Emergo," and it involved a prop skeleton that "emerged" from the side of the screen at a crucial moment to frighten the audience. Like most of Castle's best films, House didn't really need the gimmick, but its presence added to the fun -- especially when second- and third-time viewers responded to "Emergo" by bombarding the skeleton with popcorn and empty soda bottles. ~ Hal Erickson, Rovi

The Last Man on Earth
In a post-epidemic nightmare world, scientist Robert Morgan (Vincent Price) is the only man immune to the plague which has transformed the entire population of the Earth into vampire-like creatures. He becomes the monster slayer that vampire-society fears. Curing one of them, Ruth (Franca Bettoja), with a transfusion of his blood gives him hope for the future. It is a short future, however, since the other vampires quickly find and kill him. This dark tale, based on Richard Matheson's even darker novel "I Am Legend," was later remade as The Omega Man with Charlton Heston in the Vincent Price role. ~ Lucinda Ramsey, Rovi

Product images, including color, may differ from actual product appearance.