Kino Cult, the new free ad-supported streaming destination for genre lovers of horror and cult films, have added 20 new genre films that available to stream now. These films join a growing list of hundreds of new and rare, theatrically released cult hits, all presented in beautiful high definition. Additionally, Kino Cult is now offering an ad-free subscription plan for $4.99 per month. Get the complete lineup below!

From the art house to the haunted house, the channel dives deep into unapologetically weird genre cinema, blending recent art house discoveries fresh from cinemas with high quality restorations of notorious grindhouse gems. Download the Kino Cult app in the U.S. and Canada and watch free on Roku, Amazon Fire, Apple TV, Google TV, iOS, Android and at kinocult.com.
COMPLETE LIST OF PROGRAMMING
CUB
dir. Jonas Govaerts, 85m, 2014, Horror/Thriller
Young Boy Scout Sam (Maurice Luijten) is the victim of bullying at the hands of the rest of his troupe and one of his pack leaders. On a camping trip Sam runs into a feral boy in the woods who suspiciously fits the description of an old folk legend called Kai. Sam tries to warn the others but is unaware the real danger comes from a crazed poacher instead.
THE DEAD ONES
dir. Jeremy Kasten, 72m, 2019, Horror/Thriller
For four outcast teens, summer detention means being assigned to clean their high school after a horrific incident. But they are not alone; a macabre gang wearing guises of The Four Horsemen Of The Apocalypse – Famine, Pestilence, War and Death – has locked them inside and is hunting them through the school’s ravaged hallways. As the four students battle to survive, each must confront the supernatural echoes of past traumas they have struggled to forget – and may be condemned to relive.
DEMONIACS
dir. Jean Rollin, 100m, 1974, Horror/Erotica
A Poe-like study of guilt and revenge, Demoniacs (Les Démoniaques) concerns a band of “wreckers” who rape and murder two young sisters, the survivors (Lieva Lone, Patricia Hermenier) of a ship they have lured into coastal rocks and plundered. The ghostly sisters haunt the Captain and obtain help from a mysterious clown (Mirielle d’Argent) who leads them to an impressive disused cathedral. There they meet a gnostic priest (Ben Zimet) standing guard over a cell that harbors the Devil himself (Miletic Zivomir), who empowers the angelic girls sexually with the evil necessary to exact their revenge.
DRACULA’S FIANCEE
dir. Jean Rollin, 95m, 2002, Horror/Erotica
As Euro-horror pioneer Jean Rollin (Requiem for a Vampire, The Iron Rose) approached the sunset of his career, he distilled the dreamlike images and themes of his work into films that were deeply personal and unapologetically cryptic. Dracula’s Fiancee stars Jacques Regis as a vampire hunter whose pursuit of the descendants of Count Dracula leads him to a convent (The Order of the White Virgins), where supernatural beings of a parallel world are unleashed, including a bloodthirsty ogress (Magalie Aguado), a wolf-woman (Brigitte Lahaie, Fascination), and a young woman who is being prepared as Dracula’s bride (Cyrille Iste).
THE FLESH AND BLOOD SHOW
dir. Pete Walker, 96m, 1972, Horror/Thriller
Billed as “An Appalling Amalgam of Carnage and Carnality,” Pete Walker’s The Flesh and Blood Show is an homage to the blood-splattered, sex-smeared theatre known as the Grand Guignol. Still haunted by an especially tragic production of Othello, a seaside theatre reopens its doors as a groovy musical revue, only to have several of its performers fall victim to the deadly curse.
FOR MEN ONLY
dir. Pete Walker, 40m, 1967, Comedy/Erotica
A sophisticated London fashion columnist takes a job with a small-town publisher and “moral crusader,” much to the dismay of her rich, jealous boyfriend. The “crusader,” however, turns out to be not quite what he says he is…
MARQUIS DE SADE’S JUSTINE
dir. Chris Boger, 99m, 1977, Drama/Erotica
Without a family, penniless and separated from her sister, a beautiful chaste woman will have to cope with an endless parade of villains, perverts and degenerates who will claim not only her treasured virtue but also her life.
MERCY, THE MUMMY MUMBLED
dir. R.W. Phillips, 14m, 1918, Silent/Comedy
A professor of Egyptology seeks a mummy for experimentation. A young man devises a scheme to give the professor his desire in hopes of winning the hand in marriage of the teacher’s daughter.
PEEK-A-BOO
dir. Lillian Hunt, 69m, 1953, Comedy/Erotica
Mastered from an original 35mm print and presented in cooperation with Something Weird, PEEK-A-BOO is a filmed record of a 1953 burlesque show, shot on location at the New Follies Theater in Los Angeles. A time capsule of live adult entertainment in the era of pasties-and-a-G-string, PEEK-A-BOO showcases performances by Venus, Patti Wagggin, the Duponts, and baggy-pants comedians Leon DeVoe and Billy Foster.
PERMISSIVE
dir. Lindsay Shonteff, 90m, 1970, Drama/Erotica
Suzy arrives in London with nowhere to stay and meets Fiona, a groovy bird who has settled into a relationship with Lee, a singer/bassist in a rock band. Fiona is, in the parlance of the Swinging Sixties, a “groupie,” and she turns Suzy on to a secret world of pleasure, vice, and psychedelic music.
RECKLESS
dir. Joram Larsen, 92m, 2014, Thriller/Drama
Two ex-cons kidnap a millionaire’s daughter and hold her for ransom, only to see their scheme go awry when she proves herself to be more cunning than expected.
SCARLET STREET
dir. Fritz Lang, 102m, 1945, Thriller/Drama
A box-office hit (despite being banned in three states), Scarlet Street is one of legendary director Fritz Lang’s (M, Metropolis) finest American films. When middle-aged milquetoast Chris Cross (Edward G. Robinson, Double Indemnity) rescues street-walking bad girl Kitty (Joan Bennett) from the rain-slicked gutters of an eerily artificial back-lot Greenwich Village, he plunges into a whirlpool of lust, larceny and revenge. As Chris’ obsession with the irresistibly vulgar Kitty grows, the meek cashier is seduced, corrupted, humiliated and transformed into an avenging monster before implacable fate and perverse justice triumph in the most satisfyingly downbeat denouement in the history of American film.
SCAVENGER HUNT
dir. Michael Schultz, 116m, 1979, Comedy/Drama
It’s a Mad Mad Mad Mad World meets The Cannonball Run, populated with 1970s TV stars whose popularity is on the wane. With a star-studded cast, bizarre cameos, and an absurd premise, Scavenger Hunt is an underrated camp comedy classic. After the sudden death of Milton Parker (Vincent Price) his large cast of quirky extended family members and houseworkers are sent on a wild goose chase of a scavenger hunt with the goal of inheriting his $200 million estate.
SCHOOL FOR SEX
dir. Pete Walker, 81m, 1969, Comedy/Erotica
British Sexploitation/Sex Comedy. Lord Wingate, acquitted after appearing in court for fraud, starts up a ‘finishing school’ to teach girls how to extract money from rich men, in return for a percentage of their gains. He enlists the help of the Duchess of Burwood (Alcoholic Aristocrat played by Rose Alba) as a teacher and Hector (Cockney Geezer played by Nosher Powell) as fitness instructor. A probation officer friend supplies the first batch of pupils fresh from Holloway prison via a clapped-out old minibus. Suspicious neighbors and police together with newspaper reports naming the prison girls now hobnobbing in high society results in a raid and a new court appearance for Lord Wingate. The Judge sentences him but plots to start up his own ‘school for sex.’
THE STEWARDESSES
dir. Al Silliman Jr., 93m, 1969, Drama/Erotica
A single eventful night in the lives of a crew of Los Angeles-based, trans-Pacific stewardesses, as they experiment with drugs and engage in various sexual encounters.
SUSPENSE
dir. Lois Weber, 12m, 1913, Silent/Crime/Drama
Filmmaker Lois Weber mimicked the techniques of D.W. Griffith (and upped the ante with several visual innovations) in what is possibly the finest example of the race-to-the-rescue melodrama. When a hobo invades a secluded home occupied by mother and child, a frantic phone call summons the police to their aid.
TWO ORPHAN VAMPIRES
dir. Jean Rollin, 107m, 1997, Horror/Thriller
Two Orphan Vampires (Les Deux Orphelines Vampires) follows Henriette and Louise (Isabelle Teboul and Alexandra Pic), two blind girls of unknown origin, raised in an orphanage by two adoring nuns. Little do the nuns know, each night as the sun goes down, their “little angels” acquire night vision (they “see blue”), as well as an appetite for blood and teenage mischief.
WITHER
dirs. Sonny Laguna & Tommy Wiklund, 96m, 2012, Horror/Thriller
A group of naive young people has their carefree weekend in an isolated country house thrown into turmoil when one of them accidentally unleashes a mysterious and murderous creature trapped in the basement. As the demon begins to attack the couples, the blood-drenched body count mounts and, with it, more creatures with a taste for human flesh. The dazed young men and women soon mount their own desperate counter-attack, an attack that includes decapitations, dismemberment, spurting blood, flailing axes, and the kind of gore not normally associated with Swedish cinema!
ZOMBIE LAKE
dir. Jean Rollin, 87m, 1981, Horror/Thriller
Conceived by one master of erotic horror (Jess Franco) and pseudonymously directed by another (Jean Rollin), Zombie Lake weaves the tale of a contemporary French village haunted by water-logged Nazis slain by the Resistance. With little regard for narrative subtlety, the film veers from the shamelessly exploitive (as when a women’s volleyball team skinny-dips in zombie-infested waters) to the tearfully sentimental (depicting a young orphan girl’s psychic connection to one of the walking dead). Beneath its garish surface, however, Zombie Lake embraces several themes that run throughout Rollin’s body of work, showing that this eclectic artist could not help investing even a playful film such as this with his personal sensibilities.
What are you most excited to check out? Let us know over on Twitter!
%d bloggers like this: