Overview: Often described as the “Godfather of Hong Kong Cinema,” Chang Cheh made nearly a hundred films during a long and storied career spent at the Shaw Brothers Studio, where he directed such landmark films as The One-Armed Swordsman, Five Deadly Venoms and The Heroic Ones.

Many of his films drew upon Chinese history for inspiration – and many of them were based on real people and events. Eureka Classics presents four of his best historical epics in this limited-edition set: Marco Polo, The Pirate, Boxer Rebellion and Four Riders.

In Marco Polo, the eponymous Venetian explorer (Richard Harrison) becomes embroiled in a battle between the Mongol Empire and Chinese rebels in the thirteenth century. In The Pirate, the infamous nineteenth-century raider Cheung Po Tsai (Ti Lung) must evade agents of the Imperial Court while attempting to aid the downtrodden residents of a coastal village.

In Boxer Rebellion, a group of Chinese patriots use kung fu to protect their nation against invading forces at the turn of the twentieth century. Finally, in Four Riders, a Chinese veteran of the Korean War enlists three comrades to help him escape the South Korean Military Police Command after he is falsely accused of murdering an American soldier.

Marco Polo, The Pirate, Boxer Rebellion and Four Riders are all fascinating examples of the rewriting of history common in popular genre cinema, directed with aplomb by a veteran of Shaw Brothers in Chang Cheh – one of the most celebrated and prolific filmmakers in Hong Kong.

All four films are presented on Blu-ray from HD masters supplied by Celestial Pictures.

Blu-ray Verdict: Known as The Four Assassins, but retitled Marco Polo [1975] on the Eureka release of Chang Cheh’s 1975 thunderous actioner, this sees the titular Venetian explorer caught in a battle between the Mongol Empire and a band of Chinese rebels that of course has absolutely nothing to do with any form of historical accuracy whatsoever.

In fact, Polo (Richard Harrison) is barely involved, Cheh delivering a fairly traditional tale of young warriors training to overcome their insurmountable odds – in this case, the Mongol Khan’s army and his three most feared guards.

After the Khan survives an assassination attempt (by Carter Wong of all people), the four brothers of the now dead assassin attempt an ambush in retaliation. However, their skills are no match for Polo and the Khan’s guards, so they retreat to the home of Wong’s wife, where they are trained in secret to be able to finally gain their revenge.

The narrative is threadbare, with Polo cropping up only really to shift allegiances whilst admiring everyone else getting stuck into each other. But the superb action scenes drive most of the film, from start (the Khan’s guards are chosen following a series of brutal fights to the death) to epic finish (the four brothers taken on the entire Mongol army), and whilst the pace sags in the mid-section – the Mr. Miyagi-esque training via chores goes on way too long – it’s frenetically fun from start to finish.

Up next is The Pirate [1973], where there is a really rather excellent opening action scene involving two ships firing at each other with cannons and then a boarding party fights with those on the opposing ship in fine style, but outside of that there isn’t much else that could be considered to be pirate orientated; as the rest of this is a solid martial arts film albeit one with a slightly convoluted plot the more it progresses.

That said the fight scenes are overall superb, it is well-paced, the production is solid especially when it comes to that opening scene, the score is good and it is on the whole engrossing to watch throughout!

Then we get Boxer Rebellion [1976], which to my mind is one of the studio’s most illustrious and extravagant retellings of one of the most notorious periods in modern Chinese history. Beautiful production design, an all-star cast (including Sheng Fu, Liang Chia-jen and Jenny Tsang) and a budget most other Shaw Brothers films could only dream of deliver a handsome but oddly drawn-out and at times horribly ponderous affair; extended scenes of the Empress Dowager entertaining bafflingly nestling alongside huge scale action scenes, such as the storming of the Japanese camp, that are stunningly staged.

The story hints at interesting notions of the importance of belief and how it can be weaponized (an example of one man being able to withstand impalement from some bamboo is spun horribly into a rhetoric of tribal invincibility against the mechanized weapons of the European invaders), but between the superb action set pieces and the dreary internal politicking it just gets lost.

Trying to balance the macro with the micro in honing its third act in on a handful of the remaining Boxer brothers and their loves feels the sensible move to humanize the conflict, but it loses the vibe of the entire film, ending on a strange sense of ambiguity as to the outcomes for all its characters.

Worthy for those epic scenes of huge scale skirmishes, but at nearly two and a half hours, there’s simply too much unnecessary padding to detract from its more overt merits; and yet the film most definitely stays with you long after the final credits have rolled.

Lastly, we are brought forth Four Riders [1972], and which is a definitive must-see for fans of the Shaw Brothers. It’s essentially a proto-heroic bloodshed offering about four Korean War GI’s who find themselves without much direction or purpose now that the war is over; no sooner than Ti Lung steals a jeep to drive to Seoul do most of them become embroiled in a drug smuggler’s schemes.

On a personal note, the film also has a little bit of a late 60’s/early 70’s Bond vibe here too, with all the martial arts action and a big bad drug boss who has a secret room to his nightclub front. Which is never a bad thing.

An early scene where a bunch of bouncers try to kick David Chiang out of a bar and he immediately turns into the Tazmanian Devil, tearing through their ranks like sheet paper, sets the tone for the entire film: an almost placid surface that is disrupted by bouts of frenetic violence at unexpected moments — Cheh will even sometimes harshly cut to a fight that’s already in progress, jolting the viewer with the sudden sight of a goon being smashed by a barbell.

Limited Edition Special Features:
1080p HD presentations on Blu-ray from masters supplied by Celestial Pictures
Original mono audio tracks
Optional English subtitles, newly translated for this release
Two new commentaries by East Asian film expert Frank Djeng (NY Asian Film Festival) and martial artist and filmmaker Michael Worth
Two new commentaries by action cinema experts Mike Leeder and Arne Venema
National Defence – A new interview with Hong Kong cinema scholar Wayne Wong on Boxer Rebellion
Rewriting History – A new video essay on Chang Cheh’s historical films by Jonathan Clements, author of A Brief History of China
Limited edition O-Card slipcase featuring new artwork by Grégory Sacré (Gokaiju)
PLUS: A Limited edition collector’s booklet featuring new writing on all four films in this set by writer and critic James Oliver
Limited edition of 2000 copies only

www.eurekavideo.co.uk

Overview: In his film An Inconvenient Truth, former Vice President Al Gore proclaimed a climate emergency, and became the godfather of today’s worldwide climate change movement. Al Gore, who was no scientist, repeatedly claimed his Harvard professor Roger Revelle was the source of his climate science.

Director Joel Gilbert, who worked for then US Senator Al Gore, digs deep and discovers that Revelle had in fact rejected Gore’s climate alarmism, in spite of his claims. Through his investigation, Gilbert finds that the real origin of Al Gore’s climate apocalypse came from his time at Vanderbilt Divinity School. Gilbert also demonstrates that Gore plagiarized a radical environmental book from the 1940s to produce his 1992 manifesto, Earth in the Balance.

DVD Verdict: In The Climate According to AI Al Gore, Gilbert confronts an AI generated Al Gore about his entire life history, his struggle to fulfill the political ambitions laid out for him by his parents, and his exploitation of climate politics to offset his personal insecurity.

This film exposes the climate scare as nothing more than a political tool used by groups who wish to undermine free-market capitalism and impose big government socialist ideals upon unsuspecting voters.

For my money, Filmmaker Joel Gilbert’s fascinatingly engrossing, and visually pleasing new exposé of the origins of the global warming hoax in this brilliantly-titled “The Climate According to AI Al Gore” is a documentary for the ages.

Never letting a good emergency go to waste, once again Joel shows us that he is one of America’s most talented and diligent investigative reporters, this time using AI technology to “interview” Al Gore. And so in what is both a highly ingenious method and a mass media-motivated way, he brings forth this exposé that, once again, brings us all back into the room, so to speak.

I mean, the way that Joel sets everything up, explains why he was forced to make this documentary (aside from the fact that Al Gore would not take his calls or talk to him, of course) and goes on to show the modern green movement has the characteristics of a fanatical cult or religion (and so much more), means what we are delivered here is a quite excellent job in exposing the man, the myth, whilst all tightly confined with a highly entertaining manner.

The Climate According to AI Al Gore - Official Film Trailer

Overview: It is often said that films about the Devil are cursed with bad luck, but Leslie Stevens’ Incubus might be the most cursed of them all. By the time it premiered in 1966, two of its stars had tragically taken their own lives; the eccentric director’s insistence on filming in the obscure Esperanto language ensured it failed to receive any distribution; and it was nearly lost forever when the original elements were believed lost in a fire. Decades passed until it was finally saved and unveiled to the public in all its unholy glory!

Wounded in battle, soldier Marc (William Shatner, just prior to being cast in Star Trek) ventures to the remote village of Nomen Tuum to find a well where the waters are said to be blessed with healing powers. Little does he suspect that the inhabitants of Nomen Tuum are demonic seductresses who entice interlopers and lead them to damnation, and one such succubus, Kia (Allyson Ames) has her sights on Marc. As an eclipse shrouds the sun and darkness falls over the village, Marc and Kia’s relationship becomes more passionate... will his soul survive?

Now restored in 4K from the last known surviving 35mm print, this eerie and unforgettable American folk horror from the creator of The Outer Limits survives to chill a new generation as never seen before. Stylishly filmed in Big Sur and other California locations by cinematographer (and future Academy Award winner) Conrad L. Hall, Incubus is a film unlike any other, now accompanied by hours of bonus features delving into the mysteries of this once-thought-lost cult classic.

4K UHD Blu-ray Verdict: In Incubus, a seductive female demon - a succubus - named Kia becomes bored with luring morally corrupt men to their eternal doom and sets her sights on a virtuous soldier named Marc, played by a pre-Star Trek Shatner (who guest-starred in an Outer Limits episode titled Cold Hands, Warm Heart).

The bucolic out-of-time setting reminds me of the medieval Sweden of Bergman’s The Seventh Seal, and Hall’s black & white cinematography is starkly beautiful. The Esperanto dialogue lends an exotic flavor with its vaguely recognizable European word roots. It also dresses up dialogue that might have been too over-the-top in English (in his archival commentary, Shatner can’t help chuckling when Kia declares, There are no heroes burning in the fires of Hell!).

Indeed, I’m reminded of the old joke that a movie seems more artistic if it’s in a foreign language with subtitles - I guess Esperanto, originally intended to be a universal language, effectively makes Incubus a foreign film to just about everyone.

Shatner, as the young, handsome, dashing hero, is unmistakably Shatner, even in Esperanto. Allyson Ames is frostily beautiful as the evil Kia, while Ann Atmar is sweetly vulnerable as Marc’s sister, Arndis.

That most of the actors in this film met with personal tragedy or death, themselves, is a well-known curse of this movie, as William Shatner is the last surviving member of the cast, and that would also include just about everyone, that had anything to do with Daystar Productions.

In closing, I don’t mean to over-praise Incubus. It’s a very well done little film, comparable to the original Carnival of Souls - if you don’t expect too much, you may be pleasantly surprised at how much there is. It’s definitely worth a look.

4K Ultra HD Limited Edition Special Features:
4K restoration from the last surviving 35mm print by Le Chat Qui Fume
4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible)
Original lossless Esperanto mono audio
Optional English subtitles
Optional Esperanto subtitles for the deaf and hard-of-hearing
New audio commentary by writer and genre historian David J. Schow, author of The Outer Limits: The Official Companion
Archive audio commentary by star William Shatner
Archive audio commentary by producer Anthony Taylor, cinematographer Conrad L. Hall and camera operator William Fraker
Alternate 1.37:1 presentation of the film (1080p only)
Words and Worlds: Incubus and Esperanto in Cinema, a newly filmed interview with genre historian Stephen Bissette
Internacia Lingvo: A History of Esperanto, a newly filmed interview with Esther Schor, author of Bridge of Words: Esperanto and the Dream of a Universal Language
An Interview with the Makers of Incubus, an archive interview by Schow with Taylor, Hall and Fraker
Video trailer
Reversible sleeve featuring newly commissioned artwork by Richard Wells
Illustrated collector’s booklet featuring new writing on the film by Frank Collins and Jason Kruppa

www.arrowvideo.com

Overview: Four filmmakers from completely different backgrounds bring their radically personal takes to the stories of Japan’s celebrated master of the macabre, Edogawa Rampo (Horrors of Malformed Men, Blind Beast).

In Mars’s Canal, by music video director and visual artist Suguru Takeuchi, a lone man encounters the other side of his psyche beyond the reflective surface of a circular pond set in a desolate landscape.

Japanese New Wave auteur and longtime director of the Ultraman series Akio Jissoji (This Transient Life, Mandala) harnesses his distinctive stylistic sheen in his story of a mad mirror maker, Mirror Hell.

Caterpillar sees the singular vision of cult director Hisayasu Sato (The Bedroom, Naked Blood) at its most grotesque, in his portrait of a wounded war veteran who returns from the frontline as little more than a bloody torso, helpless to defend himself against the increasingly perverted caprices of an embittered wife.

Finally, a famous actor is subjected to the obsessive attentions of her limo driver in Crawling Bugs, the directorial debut of internationally acclaimed manga artist Atsushi Kaneko (Bambi and Her Pink Gun).

Produced by the same team behind Ichi the Killer and Uzumaki, and with a cast featuring some of Japan’s top stars, including Tadanobu Asano (Maboroshi, Silence) and Ryuhei Matsuda (Blue Spring, Gohatto), Rampo Noir is a stylistic tour-de-force that vividly evokes the erotic grotesque worlds created by Japan’s pioneering proponent of horror and mystery fiction.

Blu-ray Verdict: In short, what we have here is a four-part anthology based on the writing of Edogawa Rampo, with each short connected by actor Tadanobu Asano in different roles, and an eclectic soundtrack varying between harsh noise, jazz, opera and traditional Japanese music. A visually striking and sexually abrasive array of dreamlike sequences often blurring the lines of fantasy and reality. Truly captivating. Truly innovative. A genuine masterpiece of a cinematic experience.

Fleshing them all out a little more though, Suguru Takeuchi’s MARS CANAL is an astonishing start to this collection. An almost entirely silent piece of filmmaking which juxtaposes intense sexual violence with a desolate landscape implying we are in the man’s guilt-ridden psyche. At 7 minutes this short left me breathless!

Akio Jissoji’s MIRROR HELL is a distinctively stylistic entry but far longer and less interesting. There are some incredible shot compositions using the mirror motif, but beyond that this story of melted faces and a mad mirror maker drags, I am sad to report.

Hisayasu Sato’s CATERPILLAR is easily the strongest entry here! Sato’s fascination with the grotesque is in full effect as a limbless war veteran returns helpless to defend himself against the perverted and sadistic torture of his wife. It’s such an uncomfortably brilliant watch!

And finally, Atsushi Kaneko’s CRAWLING BUGS closes things off strong with a painterly look at obsession. Kaneko’s background in manga is apparent as the framing really pops and the sense of color is striking. An absolutely wild final shot too! Another short experience I won’t soon forget!

Limited Edition Special Features:
High Definition Blu-ray™ (1080p) presentation
Original lossless Japanese stereo audio
Optional newly translated English subtitles
Brand new audio commentary by Japanese film experts Jasper Sharp and Alexander Zahlten
Another World, a new interview with Suguru Takeuchi, director of “Mars’s Canal”
A Moving Transformation, a new interview with Hisayasu Sato, director of “Caterpillar”
Butterfly Queen, a new interview with Atsushi Kaneko, manga artist and director of “Crawling Bugs”
Hall of Mirrors, a new interview with cinematographer Masao Nakabori about working with Akio Jissoji and “Mirror Hell”
The Butterfly Effect, a new interview with Akiko Ashizawa, the cinematographer of “Caterpillar”
Looking in the Mirror, a new interview with actor Yumi Yoshiyuki about “Mirror Hell”
Archive stage greeting footage with the cast and directors from the Japanese premiere of Rampo Noir
Crossing the Lens, a feature-length making-of documentary by Tatsuya Fukushima from 2006
Image gallery
Reversible sleeve featuring original and newly commissioned artwork by Luke Insect
Illustrated collector’s booklet featuring new writing on the film by Eugene Thacker and Seth Jacobowitz

www.arrowvideo.com

Overview: The tenth film co-directed by Johnnie To (Running Out of Time) and Wai Ka-fai (Peace Hotel) following a string of collaborations that included comedies, romances, action films and historical epics, Running on Karma is a crime thriller with a distinctly Buddhist flare starring a titan of Hong Kong cinema in Andy Lau (Infernal Affairs).

Big (Lau) was once a devoutly religious man, but turned away from his vocation as a Buddhist monk when he could no longer bear the weight of his unusual gift: the ability to see people’s past lives and predict the impact of karma upon their present and future.

Having found a new life as a bodybuilder, he is drawn to use his sixth sense for good after meeting Lee Fung-yee (Cecilia Cheung, The Legend of Zu), a cop investigating a homicide. But as the two grow closer and work together to catch a murderer, their relationship is complicated by the fact that Big can see Lee’s past lives, too.

A film that balances genre thrills with deep philosophical questions on the nature of spirituality and faith, Running on Karma stands with Mad Detective as one of the most interesting and unique collaborations between Johnnie To and Wai Ka-fai. The Masters of Cinema series is proud to present the film on Blu-ray for the first time outside of Asia.

Blu-ray Verdict: I think this film can easily be summed up as: Deeply spiritual, hauntingly mysterious work, rushed, severely disjointed, all over the place, corny, non-sensical, irregular, gratuitous and a full-blown masterpiece!

Lau as an ex-monk who becomes a bodybuilder after killing a sparrow and a karma-hunted Cheung who was a Japanese soldier in her previous life meet in a neon lit city of lonely people and fall in love. A man unable to free his spirit from the material world and a woman who tries to do what’s right even if she knows she is already doomed. The entire film flows like a weird dream, hazy and full of mysterious ellipses and a bizarre tone, angry and resentful, ambiguous and stoic, tortured and funny.

Special Features:
1080p HD presentation on Blu-ray
Original Cantonese stereo audio
Optional English subtitles, newly translated for this release
New audio commentary by East Asian film experts Frank Djeng (NY Asian Film Festival) and F.J. DeSanto
Reap the Whirlwind – new interview with Gary Bettinson, editor-in-chief of Asian Cinema journal
Archival “making of…” featurette
Theatrical trailer
PLUS: A collector’s booklet featuring a new essay by David West of NEO magazine
Limited edition of 2000 copies
Limited edition O-card slipcase featuring new artwork by Time Tomorrow

Official Purchase Link

Overview: Japan’s legendary King of Cult Teruo Ishii (Horrors of Malformed Men, Shogun’s Joy of Torture) delivers four dramatized tales of real-life crimes of passion involving women across the ages in this grotesque anthology featuring the stories of the Hotel Nihonkaku Murders, the notorious poison wife and last woman in Japan to be executed by beheading, Oden Takahashi, the brutal serial killer Yoshio Kodaira and the story of Sada Abe, the infamous castrative featured in Nagisa Oshima’s In the Realm of the Senses.

Blu-ray Verdict: That’s right folks, Director Teruo Ishii delivers four dramatized tales of real-life crimes of passion involving women across the ages in this grotesque anthology entitled Love And Crime.

In truth, Teruo Ishii is no stranger to the format of Love and Crime, That is having several short stories with a common theme making up the runtime of the film. And so here within the titled In Love and Crime the man himself Ishii, tells four stories from real life in which the common denominator is passionate crimes.

Now, for all those wondering, and rightly so, the level of gore and torture is lower than what one has usually become accustomed to when watching Ishii’s torture series, but holds up really well anyway, in my humble opinion.

Furthermore, Love and Crime is one of those rare gems that actually displays really great acting, accentuating the stories the film tell. Also noteworthy is that Ishii has somehow managed to gather the most beautiful women in Japan for the roles in Love and Crime. Normally the lead actress in these four films are highly charismatic, but here Ishii has rounded up a good eight women who could have been the Primadonna’s of the age, that is for sure.

As always, there is a great combination of nudity, violence and Japanese silliness, which I like and appreciate a lot from a visual standpoint, and as the title suggests, these stories are all about evil intrigues and brutal crimes.

A scene in the forensic department sets the tone for the extremely bloody story right at the beginning, and with the episode about a brutal serial killer, staged in black and white, Ishii repeatedly proves his stylistic mastery. At times I was strongly reminded of John McNaughton’s Henry: Portrait of a Serial Killer, others very reminiscent of some CSI TV killer moments!

In closing, I haven’t revisited Ishii and his work for maybe a decade so to have these four stories come at me all grouped together, well, they are pretty wild. His sensibilities for the grotesque are in no way hindered by basing the action on true events, so know that going in too!

Bonus Features:
HIGH DEFINITION BLU-RAY PRESENTATION IN 2.35:1 ASPECT RATIO
ORIGINAL MONO 2.0 AUDIO WITH NEW ENGLISH SUBTITLES
AUDIO COMMENTARY BY JASPER SHARP & AMBER T.
BRAND NEW FILMED INTRODUCTION BY MARK SCHILLING
STILLS GALLERY
TRAILER
ORIGINAL AND NEWLY COMMISSIONED ARTWORK BY ILAN SHEADY
LIMITED EDITION INDIVIDUALLY NUMBERED OBI STRIP
LIMITED EDITION BOOKLET

Official Purchase Link

Overview: In 1963, a paranoid couple lock themselves and their 3 kids in their nuclear fallout shelter. 30 years later, those 3 kids still survive there!

Blu-ray Verdict: On November 22nd, 1963, Mr. and Mrs. St. Cloud hear about the tragic assassination of the President of the United States, John Fitzgerald Kennedy. Consumed with paranoia and believing that WWIII is now inevitable, they take their small children Tina, Pam and Scotty and hide with them in their fallout shelter, never to leave it again.

By 1993, the parents had died but their three adult man-children still live in the nuclear bomb shelter alone without any human contact. They’ve developed their own rules and rituals based on their fading memories of the life above, their old records that still work and whatever they catch on TV, when some station’s signal reaches them now and then, for a few moments.

Most of their day is spent in play sessions, in which they act out various common activities like going to school, eating out or staging musical numbers. They love to dance, sing and on occasion wrestle. Sometimes they even play their parents and reenact the parents’ speeches to them. At one point, Tina and Scotty even pretend to be boyfriend and girlfriend but in a quite innocent manner.

They play many other bizarre games that only make sense to them and tell each other stories that are amalgams of things they heard about like the Bible, Superman or the Pledge of Allegiance. Scotty even has a make-believe superhero alter ego - Supercar. The movie uses vignettes to tell the story but there’s also a thin central plot that revolves around the fact that Mom and Dad gave the only key to the vault with food to Pam.

The story is based on a stage play written by the three actors who play Tina, Pam and Scotty. The movie is quite rare and was never released on VHS or DVD, although some bootleg VHS copies do exist.

This startingly magnificent final film from legendary actor/director/screenwriter Paul Bartel, starring O-Lan Jones and Jim Turner (AKA Randee of the Redwoods from MTV), is just what the doctor ordered if you are sick and tired of all the redone, reborn, remodeled crap that the TV and cinematic experiences are trying to foist on you!

I was gripped from start to finish and found the whole thing to be a riot of a movie. I can also see how it was also based on a stage play written by the very same three actors who play Tina, Pam and Scotty, as it definitely lends itself to that visual entertainment also.

Simply put, if you are looking for something visual to watch tonight, and have channel surfed for so long you have come back to the start of the channels five times now, stop what you are doing and buy/rent this brilliant film and thank you later!

Special Feature:
Trailer

Official Trailer

Official Purchase Link

Overview: Dark Sanctuary: The Story Of The Church is the story of one of the longest run goth clubs in the US and community of artists and misfits who call the Dallas TX club, The Church, their sanctuary.

A feature-length documentary about the historic Dallas, TX Goth club - The Church, Dark Sanctuary exposes the incredible, shocking history of one of the longest running goth clubs in the U.S. as well as the world-renowned artists who performed there.

Blu-ray Verdict: Through interviews with world-famous music artists, local bands, and patrons, the film tells the story of the community that formed over nearly three decades of the legendary club’s existence. The motto of The Church became Enter Without Prejudice meaning no matter who you are, how you look, how you dress, your sexuality, your gender identity, the color of your skin, your body type, all are welcome and embraced at The Church.

“It’s the place where you can go and be accepted,” says Don Nedler, the Lizard Lounge’s owner and founder, “where no one’s going to judge you.”

Follow DJ in residence, Joe Virus, on his journey from aspiring musician to headlining the main stage for over 20 years and through the events of the global epidemic which lead to a neighborhood buyout from a multimillion-dollar real estate company, threatening to claim the beloved building at 2424 Swiss Avenue.

Just what will happen when the deep south’s premiere goth club of nearly thirty years stands on the brink of being lost forever? Well, directed by Timothy Stevens and produced by Austin Hayes, the beyond fascinating story - one that dutifully balances between action, comedy and drama oh-so perfectly - opens its doors and brings forth 86 minutes of pure visual wonderment.

Inspired by Carlos Menendez and his successful long running theme night, which began in Miami “Velvet” nightclub, The Church provided Dallas with the most unique nightclub experience. The Miami Church still exists, although in a different location, of course, but this brilliant documentary focuses moreover on its history.

Throughout the years, past luminaries have included Trent Reznor & Nine Inch Nails, Marilyn Manson, Peter Hook, Andy Laplegua, Combichrist, cEvin Key, Voltaire, Rubberdoll, Torture Garden, Korn, Disturbed, Depeche Mode, Lords of Acid, Dita Von Teese, Midori, Benny Benassi, Abney Park, Fischer Spooner & Front 242, to name but a few.

I mean, there are just so many stories from The Church’s visitors that Stevens has amiably compiled them here in this new crowdfunded documentary (and which had its premiere at the Violet Crown theater as part of the Dallas International Film Festival.

Stevens says the idea for a documentary about The Church first came to him during a phone call with Austin Hayes, a regular patron of The Church who became one of the film’s producers. “At the time I was making another film, actually my first feature,” Stevens says, “and my first thought was someone should do that.”

In closing, any documentary about The Church would be incomplete without focusing on Virus’ influence. Stevens took it one step further by hiring Virus to write the score and soundtrack for his film. Just like the trajectory at The Church, Virus’ role in the film expanded and shaped the sound of the Dark Shadows doc. He ended up creating 75 new tracks for the movie over six months!

Cast & Crew:
Bill Leeb of Front Line Assembly as self
cEvin Key of Skinny Puppy as self
Patrick Codenys of Front 242 as self
Paul Oakenfold as self

Bonus materials included Slide Show, Trailers & more!

DARK SANCTUARY: The Story Of The Church (Official Trailer)

Overview: ONCE UPON A TIME... IN NAZI OCCUPIED FRANCE, one of the most celebrated filmmakers of our time harnesses the power of cinema itself to rewrite history in this electrifying WWII thriller.

Narrowly escaping the massacre of her entire family by the SS, Shosanna Dreyfus (Mélanie Laurent) flees to Paris and forges a new identity as the owner and operator of a cinema. Meanwhile, a guerilla band of Jewish-American soldiers known as The Basterds led by Lt. Aldo Raine (Brad Pitt), are waging a bloody war of attrition behind enemy lines but Europe remains beneath Nazi bootheels.

Believing themselves unstoppable, the leaders of the Third Reich assemble in Paris for the premiere of propaganda epic Nation’s Pride. The location? Shosanna’s cinema. With all the rotten eggs in one basket, The Basterds join forces with British Commando Lt. Archie Hicox (Michael Fassbender) and German film star/undercover allied agent Bridget Von Hammersmark (Diane Kruger) to infiltrate the premiere. Their plan? Blow up the basket.

Brim-filled with shocking violence, thrilling action and excruciating suspense, Inglourious Basterds was a box office smash around the world garnering eight Academy Award™ (2009) nominations including Best Picture, Best Director and Best Screenplay, with Christoph Waltz winning Best Supporting Actor for his star-making turn as the chilling SS Col. Hans Landa. Witness the war as it might have been in stunning 4K Ultra HD, packed with explosive extras!

4K UHD Blu-ray Verdict: It is no surprise to say that this film is indeed a masterpiece of cinema. Not only in terms of writing, but the acting and execution as well. It uses every element of film in order to create tension and suspense mainly through the use of dialogue and camera work.

There are multiple scenes that will have you on the edge of your seat simply because two people are having a conversation. My friend, who had just seen the film for the first time, calls it Tension: The Movie. When it comes to atmosphere, Tarantino is the king at creating suspense and tension in a scene. I’ve never seen a war film like this. It’s able to balance action, comedy and drama perfectly.

This film has one of my favorite opening scenes of all time. Tarantino’s writing combined with Christoph Waltz genius acting and they can make any conversation seem like the most interesting thing in the world. This opening scene is both intriguing and extremely tense and grabs the attention of the viewer right away.

Christoph Waltz is absolutely amazing in this film. He feels like a genuine psychopath. The character of Hans Landa is extraordinary. I also really liked the character of Shoshanna. Being a Jew myself it is awesome seeing all these Nazi’s get killed by this vengeful girl.

I couldn’t help but feel for Shoshanna. She was definitely one of the best characters in the film with a great arc. The way she goes out is brutal. Daniel Bruhl was also great in this movie. Poor guy had PTSD and just wanted some.

The characters within the Basterds are great as well. Specifically Brad Pitt and Eli Roth. The Bear Jew was awesome and the scene where we are first introduced to him really hypes him up and it doesn’t disappoint. Such a well filmed scene. It really is hard not to laugh or smile when the Bear Jew starts swingin’ the bat.

Michael Fassbender is in this film and I was surprised that he wasn’t in it longer. But, his scenes were really good and he does a great job. In fact that scene in the basement bar is one of the best, if not the best scene in the film. Literally every scene is so well written and interesting. There are no scenes that drag and everything that is shown or said has a purpose.

Overall, Inglorious Basterds is a masterpiece, no doubt about it, especially no in this 4K UHD format. It is one of the most well written films I’ve ever seen. All the performances are amazing, the script is fantastic, and the direction is perfect. I don’t have any flaws to point out for this film. It is one of my favorite films of all time.

It is so extremely well thought out. All the characters are interesting. The opening scene is one of the best in film, and the entire third act is just perfect. In fact, the whole film is honestly a perfect movie. It is also extremely rewatchable. Which is hard for a movie that is this long. But it is so entertaining you will genuinely enjoy it with each watch.

This is what moviemaking is all about. Exceeding audience expectations and keeping the viewer entertained throughout while delivering a great story. That is art. As Aldo says in the final line of the movie, This just might be my masterpiece. And honestly, Tarantino, I think it is. *chef’s kiss*

2-DISC 4K ULTRA HD LIMITED EDITION CONTENTS:
Limited edition Operation Kino packaging with new art by Dare Creative 60-page Films & Filmmakers collector’s book with writing by film critics Dennis Cozzalio and Bill Ryan
Double-sided fold-out poster
Replica Nation’s Pride Premiere programme booklet
La Louisianne beermat
3 postcard sized double-sided art cards
Strudel recipe card
Reversible sleeve with original and newly commissioned artwork by Dare Creative

DISC 1 - FEATURE (4K ULTRA HD BLU-RAY):
4K (2160p) Ultra HD Blu-ray™ presentation in High Dynamic Range
Original lossless DTS-HD MA 5.1 audio
Optional English subtitles for the deaf and hard of hearing
Brand new audio commentary by film critic and author Tim Lucas

DISC 2 - EXTRAS (BLU-RAY):
What Would Sally Do? A new interview with editor Fred Raskin
Blood Fiction, a new interview with special make-up effects supervisor Greg Nicotero
Doomstruck, a new interview with actor Omar Doom
Making it Right, a new visual essay by film critic Walter Chaw, author of A Walter Hill Film
Film History on Fire, a new visual essay by film scholar Pamela Hutchinson, author of BFI Film Classics Pandora’s Box
Filmmaking in Occupied France, a new interview with film scholar Christine Leteux, author of Continental Films: French Cinema Under German Control
Extended and alternate scenes
Nation’s Pride
The Making of Nation’s Pride, an archival featurette
Roundtable Discussion, an archival interview with Quentin Tarantino, Brad Pitt and Elvis Mitchell
The Original Inglorious Bastards, archival featurette
A Conversation with Rod Taylor, archival featurette
Rod Taylor on Victoria Bitter, archival featurette
Quentin Tarantino’s Camera Angel, archival featurette
Hi Sallys, archival featurette
Film Poster Gallery Tour with Elvis Mitchell, archival featurette
Trailers

www.arrowfilms.com

Overview: Sublime, grotesque and visually ravishing, Tarsem Singh’s debut feature delivers on the extraordinary artistry of his work in music video and commercials as it takes the audience on a journey through the bizarre worlds inside the mind of a killer.

When serial murderer Carl Stargher (Vincent D’Onofrio) falls into a coma with his latest victim still trapped in an unknown location and waiting to die, the FBI turn to psychologist Catherine Deane (Jennifer Lopez) for help. Using an experimental technology she enters the dark dreamscape of Stargher’s mind, attempting to learn his secrets before it’s too late. But his unconscious is a twisted nightmare, a labyrinth that threatens to trap her inside his terrifying world forever. To save a life, she’ll have to risk her own.

With a script by Mark Protosevich (I Am Legend), and a supporting cast that includes Vince Vaughn (Brawl in Cell Block 99) and Marianne Jean-Baptiste (In Fabric), The Cell is a gripping, edge-of-the-seat thriller, filled with jaw-dropping imagery that will entrance and unsettle in equal measure.

4K UHD Blu-ray Verdict: In my opinion, the last film that provided a vivid and disturbing look at what insanity was probably the brilliant In Dreams. In that movie, you didn’t see insanity, you were there within it. Then The Cell came along with an updated and much more disturbing portrayal of inside of the mind of a psychotic killer.

The opening scene takes you into the seemingly innocent mind of a comatose little boy, and the things that Catherine Deane (Jennifer Lopez) sees are, at first fascinating, but then also very much terrifying. The things that she later sees in the mind of Vincent Stargher (Vincent D’Onofrio) are amazingly imaginative and fascinating, which (at that time) most of this stuff has never been seen in film before.

The story of The Cell is not exactly something that is really groundbreaking. In fact, it is basically the same as the story within Silence of the Lambs. You have a killer in custody and these people have to enter his mind to find a female victim who is currently in danger of losing her life. The only real difference between the foundation of the plots is that in Silence of the Lambs, you have to enter the mind of a killer to find a different killer as well as his current victim. While in The Cell, you have to enter the mind of a killer to find his own victim.

However, despite the unfortunately weak story, The Cell completely revolutionizes the genre of the psychological thriller. None that have ever been made even come close to it at that time (maybe since).

Also, the film had good direction and was extremely well acted. Vince Vaughn delivers another of his characteristically excellent performances (he was even good as Norman Bates in the pathetic 1998 re-make of Psycho, if you ask me), and even Jennifer Lopez puts forth the second good effort of her career (the other being the great Out of Sight).

Nothing can be said of the cinematography in The Cell to give it sufficient credit, for it was imaginative and fascinatingly done and is unparalleled by anything ever seen in cinematic history. Simply put, The Cell is an incredibly well-made film, and it deserves to be recognized here in 2025 once again, here in this wondrous 4K UHD form.

2-DISC 4K ULTRA HD LIMITED EDITION CONTENTS:
Brand new 4K restorations of both the 107-minute Theatrical Cut and the 109-minute Director’s Cut by Arrow Films, approved by director Tarsem Singh Includes bonus disc containing a previously unseen version of the film with alternate aspect ratio and alternate grading created by director of photography Paul Laufer
Original lossless DTS-HD MA 5.1 audio
Optional English subtitles for the deaf and hard of hearing
Illustrated collector’s book containing new writing on the film by critics Heather Drain, Marc Edward Heuck, Josh Hurtado, and Virat Nehru
Limited edition packaging with reversible sleeve featuring original and newly commissioned artwork by Peter Savieri

DISC 1 - FEATURE & EXTRAS (4K ULTRA HD):
4K Ultra HD Blu-ray™ (2160p) presentation of both the Theatrical and Director’s cuts of the film in its original 2.39:1 aspect ratio with Dolby Vision (HDR10 compatible)
Brand new audio commentary with film scholars Josh Nelson & Alexandra Heller-Nicholas
Brand new audio commentary with screenwriter Mark Protosevich & film critic Kay Lynch
Archive audio commentary with director Tarsem Singh
Archive audio commentary with director of photography Paul Laufer, production designer Tom Foden, makeup supervisor Michèle Burke, costume designer April Napier, visual effects supervisor Kevin Tod Haug, and composer Howard Shore
Projection of the Mind’s Eye, a new feature-length interview with director Tarsem Singh
Between Two Worlds, a new in-depth interview with director of photography Paul Laufer

DISC 2 - ALTERNATE VERSION & EXTRAS (BLU-RAY):
Previously unseen version of the Theatrical Cut of the film, presented in 1.78:1 aspect ratio with alternate grading, from a 2K master created by director of photography Paul Laufer
High Definition Blu-ray™ (1080p) presentation
Paul Laufer Illuminates, a new interview about the alternate master of The Cell presented on this disc
Art is Where You Find It, a new visual essay by film scholar Alexandra Heller-Nicholas
The Costuming Auteur, a new visual essay by film critic Abbey Bender
Style as Substance: Reflections on Tarsem, an archive featurette
Eight deleted/extended scenes with optional audio commentary by director Tarsem Singh
Six multi-angle archive visual effects vignettes
Theatrical trailers
Image gallery

www.arrowfilms.com

Overview: Two cops (Brad Pitt and Morgan Freeman) track a brilliant and elusive killer who orchestrates a string of horrific murders, each kill targeting a practitioner of one of the Seven Deadly Sins. Gwyneth Paltrow also stars in this acclaimed thriller set in a dour, drizzly city sick with pain and blight.

David Fincher (Fight Club, Zodiac, The Curious Case of Benjamin Button) guides the action – physical, mental and spiritual – with a sure understanding of what terrifies us, right up to a stunning denouement that will rip the scar tissue off the most hardened soul.

4K Blu-ray Verdict: Simply put, Se7en is a nerve-jangling thriller, hauntingly shot by visionary director David Fincher, who crafts one of the most iconic films of all time.

Warner Bros. Entertainment is expanding their 4K Ultra HD Blu-ray catalog offerings this month with the release of the highly-anticipated Se7en (4K Ultra HD + Digital) in the expansive 4K Ultra HD video format this January 7th, 2025.

For my money, this Se7en (4K Ultra HD + Digital) sharpness takes a fairly large step forward from others in their 4K Ultra HD catalog and even comes with HDR (High Dynamic Range) for the complete 4K Ultra HD experience, of course.

So, what we have is Se7en presented to us as a one-disc with a sheet for a Digital HD Copy. Other stand out points you should know are: Codec: HEVC / H.265 (70.35 Mbps), Resolution: Native 4K (2160p), HDR: HDR10, Aspect ratio: 2.39:1 and Original aspect ratio: 2.39:1.

Featuring Dolby Vision and HDR10 for brighter, deeper, and way more lifelike colors, as with most all 4K UHDs, everything that we watch features these qualities - but somehow, this film gloriously shines within them all.

Noticeably crisp with the overall clarity receiving an obvious boost here on this release, what is more is that it is enjoyably noticeable. For as well as some new nuances to the somewhat drab palette courtesy of Dolby Vision, we also get to witness sudden bright pops of color, which makes the eyes draw in, for sure.

To pick one is hard as this is a flawless crime masterpiece, chock full of many a thrilling sequence. The revelatory chase through the crummy apartment complex, the cross-cutting police interrogation of the sleazy porn dungeon owner and its remarkably disturbed client, the discovery of what hundreds of air fresheners are concealing, the “WHAT WAS IN THE BOX WHAT WAS IN THE BOOOX?!”, the reveal of John Doe and his bloodied fingers, and on and on.

But, for me, the film produces no better, more effective thrill than when Detectives David Mills (Brad Pitt) and William Somerset (Morgan Freeman) discover the clue hidden behind Doe’s GREED killing. “Clue” may not be accurate. More like tease, or ultimate f**k with. A brilliant, Hey, I’m smarter than you, catch me if you can!

After Somerset convinces Mills and their superior that they have a nutjob killing people according to the seven deadly sins, Mills hesitantly embraces Somerset’s intellect by inviting him to help solve the case. Several thoroughly detailed, and wholly essential sequences take place (because really, there’s nothing shown in Se7en that isn’t necessary for something later in the film), before Somerset and Mills realize that something is off about the GREED murder, in which a crooked lawyer was stabbed to death in his fancy office.

The detectives eventually show the lawyer’s grieving wife photos from the crime scene (in which the gory details of her husband’s newly deceased body are amusingly covered in Post-It notes), and she soon spots an abstract painting on the wall hanging upside down. Mills and Somerset go to the lawyer’s office and take the painting off the wall. Nothing. They set it on the ground and examine the back of the artwork. Nothing.

Somerset removes the brown paper from the back of the painting. Nothing. “There, must, be, something,” Somerset quietly mummers. Mills makes jokes of frustration, angered by the killer’s obvious enjoyment. Somerset jumps on the table below where the painting hung, he gets out a pocket-sized fingerprint kit, and then it all clicks.

We brilliantly, historically, exceptionally jump cut from Freeman’s inquisitive face to the same wall in extreme close-up, brightened by neon blue lights. A lab tech blows white powder away with a can of air. “Oh…man,” the tech says.

We cut to Pitt and Freeman, who are staring at the wall from a few feet away. Pitt turns away, framing the shot in a Persona-esque two-shot. And then we’re privy to the very best line deliveries of both Pitt and Freeman’s careers.

“Honestly,” Pitt whispers, “Have you ever seen anything like this?” The camera pulls focus to Freeman, and after the briefest of moments, Freeman offers a stunning, “No.”

Pitt looks back at the wall, and all is revealed – HELP ME has been crudely written with fingerprints (which aren’t even the lawyer’s, but I’m getting ahead of the overall review).

As for the audio, well we get a smorgasbord of choice of: English: DTS-HD Master Audio 5.1 (48kHz, 24-bit), French (Canada): Dolby Digital 2.0, French: Dolby Digital 5.1 (640 kbps), German: Dolby Digital 5.1 (640 kbps), Spanish: Dolby Digital 5.1 (640 kbps), Spanish: Dolby Digital 2.0 (192 kbps), Czech: Dolby Digital 2.0 and Japanese: Dolby Digital 2.0 (192 kbps).

Overall, this is a very strong 4K HDR Blu-ray presentation, and, for the most part, the audio track remains fairly similar to its DTS-HD counterpart; with much of the action occupying the surrounds with outstanding directionality and placement where effects flawlessly pan between the sides and rears.

OK, back onto the movie, and Se7en tells the tale of a grisly serial killer who is twisted on delivering a sermon against modern depravity. He murders his victims to atone for the sins he deems them to have committed; his crimes echo the seven deadly sins namely gluttony, greed, sloth, envy, pride, wrath and lust.

Tracking this gruesome killer (played with a quiet insanity that makes your flesh crawl, by an actor par excellence – no spoilers here!) is a cliché pair of cops. There’s the jaded veteran Detective Lieutenant Somerset (Morgan Freeman who brings great depth and dignity to the part) who is in the last week of his employ with the police department.

Partnering him is a young, eager-to-kick-some-evil-butt cop Detective Mills (Brad Pitt whose callowness works perfectly for his character). After killing an overweight man by force-feeding him to death in the name of gluttony and bleeding to death a lawyer for greed, the anonymous killer is now turning his attention to the five remaining deadly sins. As the two men investigate, the gulf between their respective world-views begins to inform everything about how they respond to the savagery of these crimes.

It is impossible to deny the potency and artistry with which Fincher executes the material. Although very little of each murder is shown, the director expertly allows suggestion to lead the appalled viewer towards the truly cataclysmic climax. Fincher’s sepia-toned gloom successfully lends the film the knock-out punch it intends to. Purposely draining his landscapes of color, and setting all the tense action against rain-washed streets and under-lit interiors, Fincher evokes an atmosphere of nightmarish proportions as he unfolds a gripping tale of urban horror.

Se7en is riveting in a gut-twisting way. It plays out at an engaging pace destined to entrance you with its abject horror. The film is as dark and brutal as a film can be, without showing much actual violence. Most of the stuff in the film is implied, but it’s so damn disturbing that you feel like you actually saw it. And that is the beauty of Se7en!

Se7en Digital release and Ultra HD Blu-ray disc contain the following previously released special features:
Commentaries:
The Stars: David Fincher, Brad Pitt, Morgan Freeman
The Story: Richard Dyer, Andrew Kevin Walker, Richard Francis-Bruce, Michael De Luca, David Fincher
The Picture: Darius Khondji, Arthur Max, Richard Francis-Bruce, Richard Dyer, David Fincher
The Sound: Ren Klyce, Howard Shore, Richard Dyer, David Fincher

Deleted Scenes:
Car Ride in from Gluttony
My Future
Raid on Victor’s
Spare Some Change?
Tracy Wakes from Light Sleep
Pride

Alternate endings:
Animated storyboards of un-shot ending
Original “Test” ending

Still Photographs (featurettes):
John Doe’s Photographs
Victor’s Decomposition
Police Crime Scene Photographs
Production Photographs
The Notebooks
Production Design (featurette)
Mastering for the Home Theater (featurette)
Exploration of the Opening Title Sequence: Early Storyboards (featurette)
Exploration of the Opening Title Sequence: Rough Version (featurette)
Exploration of the Opening Title Sequence: Final Edit (featurette)
Exploration of the Opening Title Sequence: Stereo Audio Commentary One – The Concept – Designer Kyle Cooper (featurette)
Exploration of the Opening Title Sequence: Stereo Audio Commentary Two – The Sound – Brant Biles & Robert Margouleff (featurette)
Theatrical EPK

Celebrating the 30th anniversary of the psychological thriller Se7en from New Line Cinema and acclaimed director David Fincher, the 1995 film will be available for purchase Digitally in 4K Ultra HD and on 4K UHD Blu-ray Disc on January 7th, 2025.

Se7en received an Academy Award nomination for Best Film Editing (Richard Francis-Bruce) at the 68th Academy Awards. The film was also nominated for Best Original Screenplay (Andrew Kevin Walker) at the 49th British Academy Film Awards.

The 4K restoration of Se7en was completed at Warner Bros. Discovery’s Motion Picture Imaging (MPI) and was sourced from the original camera negative. The restoration was overseen by director David Fincher.

Overview: Anticipating the cool aesthetic of Seijun Suzuki’s Branded to Kill and based on a crime novel by Shinji Fujiwara, the author of the original material for the same year’s A Colt is My Passport, A Certain Killer and A Killer’s Key are similarly stylish contemporary hitman thrillers directed by Daiei’s top director of jidai-geki, Kazuo Mori (The Tale of Zatoichi Continues) and starring the studio’s top actor Raizō Ichikawa (Shinobi: Band of Assassins, Sleepy Eyes of Death).

Co-scripted by the director Yasuzō Masumura (Giants and Toys, Blind Beast) and featuring masterful scope cinematography with an expressionistic eye for color by one of Japan’s most esteemed cinematographers, Kazuo Miyagawa (Rashomon, Ugetsu), these Japanese crime drama essentials are presented for the very first time to the English-language home video market.

Blu-ray Verdict: In A Certain Killer (1967), Shiozaki’s low-profile existence as a chef at a local sushi restaurant serves as a front for his true job as a professional assassin whose modus operandi is poisoned needles.

He’s approached by Maeda, a low-ranking member of a local yakuza group, to take out a rival gang boss. But the sudden arrival into his life of a spirited young woman, Keiko (Yumiko Nogawa, Gate of Flesh), has dramatic ramifications on his relationship with his new employer.

A Certain Killer is definitely a more downbeat approach to the hitman film series and while it’s not ridden with bloodshed, its got class. Shiozawa’s a lone wolf, strong silent type, and Raizō Ichikawa is a block of ice in this role. Just the way he maneuvers in this role he’s way too cool and embodies it.

His supporting characters make this worth the watch as their personas are more loud, while he is very reserved. It makes the plot thicker, and while some of it felt non-linear, once you get to the final act it’s rewarding.

Co-written by Yasuzo Masumara, I assume he probably was set to direct at some point, but action specialist Kazuo Mori does a good, and rather stylish job with plenty of Melville echoes.

Ichikawa’s lone wolf assassin is back in A Killer’s Key (1967), this time masquerading as a traditional dance instructor named Nitta who is called in to avert a potential financial scandal that threatens to engulf a powerful yakuza group with ties to powerful figures in the political establishment.

In a vacuum, A Certain Killer might be the better of the two, but A Killer’s Key is much more intriguing in context. Raizō Ichikawa reprises his role as the reticent killer that women can’t help but fall for. But where A Certain Killer led the character down one path, the path of never once being tempted and of the job being the job, A Killer’s Key takes the same low key performance and embarks into a whole different direction.

The same performance that in one movie made the character withdrawn and calculating suddenly is steeped in revenge, petty vindictiveness and greed. Where the eponymous killer would have no qualms about walking away several times over in the previous movie, he comes back and digs himself deeper into a hole that with a cooler head could have been avoided entirely.

Two endings of a man anonymously vanishing into a crowd, the same image but very different emotions. One is of a man with his head held high and his dignity intact, the other of a fool that kept betting on black even while the casino collapsed all around him.

In a way the perfect ending to a franchise that with the second movie essentially prevents itself. A killer thoroughly humbled and embarrassed into disappearing from the face of the earth.

Visually and structurally not as interesting as A Certain Killer, but as a biting portrait of a certain type of protagonist it’s really effective without ever having to lean into becoming a farce.

Bonus Features:
High Definition (1080p) Blu-ray presentation of both films
Original uncompressed Japanese mono audio for both films
Optional newly translated English subtitles
Brand new audio commentary for both films by critic and Asian cinema expert Tony Rayns
The Definite Murderer, a brand new 30-minute introduction to the films by Japanese film scholar Mark Roberts
Original theatrical trailers for both films
Image gallery
Reversible sleeve featuring newly commissioned artwork for both films by Tony Stella
Illustrated collector’s booklet featuring new writing on the films by Jasper Sharp and Earl Jackson

www.ArrowVideo.com

Overview: Loose-cannon gangster Kawada rebels when his two-timing boss forms an alliance with a major crime syndicate. The syndicate’s main rivals see Kawada as their perfect proxy, but his furious temper quickly rubs them the wrong way, leaving Kawada to face overwhelming forces.

Fukasaku’s final yakuza film features some of the strongest women’s roles in his career, plus a raucous central performance from Hiroki Matsukata (Cops vs Thugs) and support from the legendary Sonny Chiba.

Blu-ray Verdict: HOKURIKU PROXY WAR was Fukasaku’s final jitsuroku eiga. It stars one of my favorite actors, Matsukata Hiroki, and is set in the freezing cold and snowy winter of Hokuriku; Fukui to be more precise. And it’s completely unhinged!

Around these parts, local yakuza Kawada Noboru (Matsukata Hiroki) of the Tomiyasu-gumi quickly shows himself to be not one to mess with. He tries to execute a promise made to him by his boss, Yasuhara, with all his might. The promise entailed the transfer of control of the speedboat racetrack’s security business in return for assassinating a target and consequently doing prison time.

With Kawada making his life difficult, Yasuhara reaches out to Kanai Hachiro (played wonderfully by the one and only Sonny Chiba) for assistance. Kanai heads a subsidiary of Osaka’s Asada-gumi, a large organisation looking to further expand into the region.

Many more yakuza from different prefectures and varying loyalties will become involved in what will become a bloody war in the snow of Hokuriku. It essentially boils down to Kawada trying to stop the Asada-gumi from taking over control of Fukui.

For this he stops at nothing and he knows no such thing as loyalty. He himself puts it this way: “Boss, brotherhood depends on the situation. Home is more important than a cup of brotherhood.”

HOKURIKU PROXY WAR is not my favorite jitsuroku eiga, but it’s definitely up there. Matsukata – his usual ferocious and unhinged self – screws over everyone in his way. The finale is absolutely brutal and that’s an understatement. It’s one of those finales that will forever remain with you. A memorable picture!

Bonus Features:
High-Definition digital transfer
Uncompressed mono PCM audio
New interview with actress Yoko Takahashi (2024, 15 mins)
New interview with screenwriter Koji Takada (2024, 19 mins)
Yakuza film historian Akihiko Ito on the real-life Hokuriku Proxy War murder case (2024, 15 mins)
Trailer
Newly improved English subtitle translation
Reversible sleeve featuring original and newly commissioned artwork by Time Tomorrow
Limited edition booklet featuring newly translated archival writings on the film
Limited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings

www.radiancefilms.co.uk

Overview: Legendary director William Friedkin brings together Al Pacino, the 70’s New York gay scene and a searing punk-rock soundtrack in this one-of-a-kind serial killer thriller, finally restored to its long-unavailable original theatrical version in 4K.

New York is caught in the grip of a sadistic serial killer who is preying on the patrons of the city’s underground gay scene. Young rookie cop Steve Burns (Pacino) is tasked with infiltrating the S&M subculture to try and lure the killer out of the shadows, but as he immerses himself deeper and deeper into the underworld, Steve risks losing his own identity in the process.

Taking the premise and title from reporter Gerald Walker’s novel, Cruising was the subject of great controversy at the time of its release and remains a challenging and remarkable movie to this day, with Pacino’s haunted lead performance as its magnetic centerpiece.

With hours of brand-new bonus features, including never-before-seen material from the deepest recesses of the studio archives, you’ve never seen Cruising like this.

4K Blu-ray Verdict: First and foremost, Cruising is not a film about gay men in general. Friedkin explains this perfectly on the archival audio commentary. Moreover, it is a murder mystery of a cop going undercover that just happens to have a gay element in it.

To those familiar with the 70s Italian giallos, Cruising is a U.S. giallo - a successful combination of murder mystery, sex, alternative lifestyles and subcultures with that, and how getting into something too out of your element can affect you. Unlike the Italian giallos that often featured a gratuitous lesbian tease, Cruising gave us a masculine leather theme instead.

The controversy and protests surrounding Cruising were based on misinformation and unfairly gave the film a bad reputation, though lately many critics that originally panned it have since recanted their negative comments, finding more to appreciate about the film.

Two things factored into why people were uncomfortable with Cruising: First, the murder story was not the real reason. Frankly, they saw not effeminate stereotypes, but masculine gay men dancing, kissing, and experiencing S&M activities. When gay characters are weak and fey, many heterosexual men feel safe. They want non-threatening characters that will be kept in their place. The disclaimer that once appeared before the film was set there to appease gay men that felt the film would be perceived as a representation of the whole gay community.

If that’s the case, then films like The Birdcage and TV’s Will & Grace should still to this day have disclaimers also, stating that not all gay men are effeminate finger-snappers that watched Desperate Housewives, or are drag queens, nor are FABulously well-groomed clean-shaven cutie boys!

Second, the locations and activity in the bars was as it actually was (and still is to a degree) in many places. The characters and extras were real for this story ie: bearded leather men enjoying what they do, instead of buffed party circuit boys dancing to the latest diva tunes.

To add to the darkness and mood of the story the bars were blasting with serious hard-driven songs by Willy DeVille, John Hiatt, Rough Trade, The Germs, The Cripples and others instead of loopy diva dance music. Some gay men as well as straight had a problem with this, thinking it was not a decent representation of what gay men should listen to. To date this is still one of the coolest soundtracks around, and I personally cherish my vinyl LP copies of it!

Yes, this film was brutal. It will leave an impression on you. THAT’S A GOOD THING! It’s what film is supposed to do. Amidst all this the journey of Al Pacino’s out of his element slip into a different mindset was a great touch. It affected his whole being; his treatment of his girlfriend, his whole outlook.

And it wasn’t just because he got to dance with some leather men, it was because the murder investigation he was doing was so horrifying. What, you were expecting a sweet ending? The only reasons Pacino distanced himself from this film was because footage was cut that he felt fleshed out his character better, and the protests during filming distressed him.

And think of it this way, for if this were a film about lesbians, it would be hailed by hetero guys as an erotic masterpiece. But when it’s about masculine gay men, it seems hard for some of them to handle it. This may sound cliché, but I know many straight guys that actually understood Cruising and have told me they thought it was quite a cool film.

I digress, because after all these years, Cruising still packs a punch and does what it sets out to do: unnerve you. It’s a taut thriller and a mindblower in its complexities. That’s quite an achievement in and unto itself, and while many films are forgotten, this one still seems to be well remembered no matter what. I for one LOVE this film and think Friedkin and company deserve much praise for their effort.

4K Limited Edition Special Features:
Original Theatrical Trailer
Exorcizing Cruising - archival featurette looking at the controversy surrounding the film and its enduring legacy
The History of Cruising - archival featurette looking at the film’s origins and production
Archival audio commentary by William Friedkin
Optional English subtitles for the deaf and hard of hearing
Newly remastered 5.1 DTS-HD Master Audio supervised by William Friedkin
High Definition Blu-ray (1080p) presentation
Brand new restoration from a 4K scan of the original camera negative, supervised and approved by writer-director William Friedkin

Cruising Original Trailer (William Friedkin, 1980) HD

Overview: Two robbers hold up a bank and its employees demanding 3 million marks for their ransom. The police plot to storm the bank but are unaware the robbers have an accomplice on the outside, anticipating their every move.

Genre master Dominik Graf specialized in crime films and The Cat is one of his greatest. A heist film of the highest order, it grabs you from its opening scenes and doesn’t let go.

Winner of Best Direction at the German Film Awards, The Cat is an undiscovered treasure and Radiance Films is proud to present it on Blu-ray for the first time outside Germany.

Blu-ray Verdict: Düsseldorf, June 16, 1987: Two people are lounging on the bed of a room in the Hotel Nikko. One of them is Probek (Götz George), a wanted criminal, and the other is Jutta Ehser (Gudrun Landgrebe), wife of the branch manager of the credit bank opposite.

Shortly after the secret couple have romped about in the hotel sheets, the very same bank is robbed by Probek’s accomplices Junghein (Heinz Hoenig) and Britz (Ralf Richter). But this crime is no ordinary bank robbery - Probek’s plan is to extort 3 million DM in ransom from the seven hostages present.

The head of the task force responsible, Voss (Joachim Kemmer), naturally tries to thwart this. He soon suspects that Junghein and Britz are not acting alone, but that a third party is pulling the strings from behind the scenes.

With a fast narrative pace that gets straight to the point and complete with a wonderful, twist-filled storyline, The Cat also includes a set of highly convincing characters, especially Götz George, all come together along with some high class camera and editing skills to bring forth a quite gripping, and thrilling drama.

Bonus Features:
High-Definition digital transfer newly graded by Radiance Films and overseen by director Dominik Graf
Interview with Dominik Graf (2024, 62 mins)
Interview with screenwriter Christoph Fromm (2024, 31 mins)
Interview with producer Georg Feil (2024, 31 mins)
Select-scene commentary by Dominik Graf (2024)
Trailer
New English subtitle translation
Reversible sleeve featuring original and newly commissioned artwork by Time Tomorrow
Limited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings

www.radiancefilms.co.uk

Overview: From Hong Kong’s legendary Shaw Brothers studio comes a blood-drenched story of ninjas, eunuchs and dark palace intrigue: the old emperor is on his last legs, and his most ambitious and amoral son plots to cheat his way to the throne.

But taking power is the easy bit. Staying on top will prove much more difficult. Based on a particularly infamous chapter of Chinese history, The Lady Assassin mixes pageantry with some of the most awesome sword fights in any Shaw Brothers film - and that’s really saying something!

88 Films are proud to present this classic of swords and scheming for the first time in the UK on Blu-ray.

Blu-ray Verdict: Intrigue and power plays in the palace. The fourth and fourteenth son of the emperor are fighting to be next in line to the throne. Their henchmen are also jostling for favor and positions. Other characters come in and fight these characters, maybe on behalf of someone maybe not and then it’s all a bit too messy to tell.

It’s convoluted but entertaining enough. And the final fight is great, for some reason ninjas are in it but I’m not going to complain about that. I will, however, complain about some of the fights along the way being a bit too obviously sped up. Usually I don’t notice, so this must have been pretty glaring. Also, what’s with the title? I mean I guess there is a female assassin but she doesn’t really do anything assassin-y until the end!

All that said, and though not as fanciful as Zu Warriors, Lady Assassin is nevertheless chock full of wild shenanigans that had my head spinning for hours regardless. What an final shot! What a borderline nausea-inducing, incomprehensible plot! I loved it all!

Bonus Features:
Limited Edition O-ring
Limited Edition Set of 4 collectors art cards
Brand New artwork by Sam Green
High Definition (1080p) Presentation in 2.35:1 Aspect Ratio
2.0 DTS-HD MA Cantonese Soundtrack with newly translated English Subtitles
From Child Actor to Fight Coordinator - An Interview with Poon Kin-Kwan
Stills Gallery
Trailer
Reversible sleeve featuring original art

www.88-films.myshopify.com

Overview: A young Brooke Shields meets an untimely end in this religious-themed proto slasher par excellence from director Alfred Sole.

On the day of her first communion, young Karen (Brooke Shields) is savagely murdered by an unknown assailant in a yellow rain mac and creepy translucent mask. But the nightmare is far from over - as the knife-wielding maniac strikes again and again, Karen’s bereaved parents are forced to confront the possibility that Karen’s wayward sister Alice might be the one behind the mask.

Bearing influences from the likes of Hitchcock, the then-booming Italian giallo film and more specifically, Nicolas Roeg’s Don’t Look Now, Alice, Sweet Alice is an absolutely essential - if often overlooked - entry in the canon of 1970s American horror.

4K Blu-ray Verdict: When young Karen Spages is strangled and set on fire in a Catholic Church at her first communion, her disturbed older sister Alice is the central suspect, because of her jealously towards her. Her estrange father Dominick arrives in town for the funeral. Catherine her mother and Dominick believe Alice is an innocent victim, but when her Aunt Annie is attacked by someone in a yellow slicker and plastic doll mask, she believes it’s Alice.

The police take Alice in, where she tries to convince them that Karen is alive and stabbed Annie. And their lie detectors goes on to prove it. Dominick with the help of father Tom try their best to investigate just who might be behind the actual attacks.

Alfred Sole’s effectively accomplished direction, atmospheric handling and astutely symbolic, psychological tampered plot really do go real long way to covering the flawed aspects of the commendable production. In what might have damage other films, only goes on to be a minor quibble here because there are so many glowing factors, which are amazingly pulled off for an impressive low-budget effort.

This is one of my favorite 70’s horror oddities, which breaths fresh air in its premise’s circuitously glum layout, an ominously nasty streak, purposely stinging jolts and being filmed on authentic locations in New Jersey.

What makes the unusually cunning and certainly unpredictable plot compelling, is that so much can be read from it, like it’s penetrating thoughts on Catholicism too the prolific character developments involving the hardships of family life, but there’s no lying about its true intentions, which did kind of got mingled with the baffling conclusion.

Making repeat viewings a must, to pick up on those minor details. Some fundamental devices in the plot show up; the usual police investigation is the glaring one, but it never draws away from the main focus and adjustably installs itself into the material. There are some odd and eccentric characters written in also, which catch onto the emotional ride.

Some might think the tension will evaporate, as just after halfway through the killer is unmasked, but the story’s slow rising sinisterness early on eventually leads to a brooding intensity that actually seems to fester up, for the thrilling final third with one powerful conclusion to boot.

Sole does a vividly lucid job in the director’s chair with moody imagery, creative viewpoints and uneasy composition, backed up by disquietingly stylish jolts timed with utter perfection. However in spots it can drag with it’s deliberately slow pace and a densely thorough script, which can labor along.

Maybe it was a tad too long. Also illustrating the film’s disorienting air and unsettling suspense was John Freeberg’s gracefully skilled cinematography and Stephen Lawrence’s playfully chilling, but occasionally harrowing musical score, which expertly went hand-to-hand to craft out an overwhelming tenor.

The killer goes around in a shiny yellow slicker, white gloves and the chilling doll mask they wear, actually gives me the creeps. The performances are noting to write home about and might be gauche in some cases, but there’s no denying that the matchless Paula E. Shepherd is startlingly convincing as the creepy Alice.

Linda Miller does exceptionally well as Alice’s heart-aching mother Catherine and Niles McMaster brings a solidarity to his performance as Alice’s stalwart father Dom. Jane Lowry can get fittingly overbearing as the haughty Aunt Annie and the unforgettable Alphonso DeNoble keeps it all vile as the grubby landlord.

Even with the high billing that Brooke Shields receives, her debut performance is efficient and her death memorable, but not worth all the fuzz for only 15 minutes. Mildred Clinton, Rudolph Willrich, Michael Hardstark, Tom Signorelli, Lillian Roth and Gary Allen go on to give able support.

In short, this is an uncomfortably staggering affair with many dimensions to its story and inspired craftsmanship by Sole and company, which go on to make it a very good unappreciated gem of the 70s.

4K Limited Edition Special Features:
Brand new 2K restoration of the theatrical version from the original camera negative
High Definition Blu-ray (1080p) presentation
Original uncompressed mono audio
Optional English subtitles for the deaf and hard of hearing
Brand new audio commentary with Richard Harland Smith
Archival audio commentary with co-writer/director Alfred Sole and editor Edward Salier
First Communion: Alfred Sole Remembers Alice, Sweet Alice - director Alfred Sole looks back on his 1976 classic
In the Name of the Father - brand new interview with actor Niles McMaster
Sweet Memories: Dante Tomaselli on Alice, Sweet Alice - filmmaker Dante Tomaselli, cousin of Alfred Sole, discusses his longtime connection to the film
Lost Childhood: The Locations of Alice, Sweet Alice - a tour of the original Alice Sweet Alice shooting locations hosted by author Michael Gingold
Alternate Holy Terror Television Cut
Deleted scene
Alternate Opening Titles
Trailer and TV Spot
Original screenplay
Image gallery

Holy Terror (Alice, Sweet Alice) Original Trailer (Alfred Sole, 1976)

Overview: Japanese box-office sensation directed by the revered Kinji Fukasaku (Battle Royale), Legend of the Eight Samurai brings together an impressive ensemble cast, including Hiroko Yakushimaru (Sailor Suit and Machine Gun), Hiroyuki Sanada (Ring), Sonny Chiba (Message from Space) and Etsuko Shihomi (The Street Fighter), in a sweeping epic that blends fantasy with historical drama.

The Satomi Clan have been all-but wiped out by their mortal enemies: the ghoulish members of the undead Hikita Clan. The last Satomi survivor is Princess Shizu (Yakushimaru), who goes into hiding to avoid meeting the same fate as her family.

Left to wander on her own, she eventually becomes entangled with farmer-turned-soldier Shinbei (Sanada) and then a pair of warrior monks who reveal themselves to be two of eight fabled Hakkenden - or Dog Warriors - who can lift the curse that has been placed upon her family.

Together, they must find the rest of the Hakkenden and take on the leader of the Hikita Clan: the evil Tamazusa (Mari Natsuki).

Following Message from Space, which transported the story to a science fiction setting, Legend of the Eight Samurai is Fukasaku’s second loose adaptation of Toshio Kamata’s Shin Satomi Hakkenden, itself an adaptation of Kyokutei Bakin’s earlier epic novel Nanso Satomi Hakkenden.

The Masters of Cinema series is proud to present the film on Blu-ray for the first time in North America from a new 4K restoration.

Blu-ray Verdict: Although he’s well-defined by his slew of Yakuza films, it’s easy to forget that Kinji Fukasaku had an experimental phase like many others and Legend of the Eight Samurai came at the height of that phase.

A bold fantasy epic, taking cues from Kurosawa’s samurai movies, it mixes classical imagery with the stuff of nightmares, martial arts, beautiful music, giant bug monsters, Fukasaku’s hyper-kinetic camera work and potency for bloody violence into a movie about friendship, good vs evil and a woman’s quest for identity in not being defined by her lineage.

Thus, Kinji goes back to the fantasy martial arts genre with his take on ... Dragon Ball? Or something? Also, can anyone explain why is there are some English power ballads in a full Japanese movie? Bruh, that was so bizarre!

But yeah, despite some choices that had me scratching my head, this was a really fun movie. The cinematography and set designs are great, especially the villains’ dungeon it had a really great scope, and many of the exterior shots have a great cinematic quality to them.

The special effects were goofy AF, but I particularly adored the practical effects whether it’s some unexpected beheading during the final showdown or the goofy flying worm and the blink and you miss it face meltdown before the final transformation was wild!

Hanada was fantastic as Shanbei; he appears to be unlikeable at first, but you grow to enjoy him despite his shortcomings, and he gets to kick some ass. Natsuki’s campiness and scenery-chewing were entertaining. As the princess, Yakushimaru held her own, however I couldn’t help but feel that Hiroyuki overshadowed her.

All in all, while it starts a bit slow and the story can get convoluted at times, this was still a very amusing ’80s fantasy film about a princess trying to escape from the claws of some evil face ripping witch.

Special Features:
Limited edition O-Card slipcase featuring new artwork by Chris Malbon
1080p HD presentation on Blu-ray from a brand new 4K restoration
Uncompressed original Japanese audio and alternate English dub track
Optional English subtitles
New audio commentary by Japanese cinema expert Joe Hickinbottom
New Interview with Kinji Fukasaku’s son, filmmaker Kenta Fukasaku
New video essay by film historian and critic Stuart Galbraith IV
Theatrical trailer
PLUS: A collector’s booklet featuring a new essay by Tom Mes, co-founder of Midnight Eye

Official Purchase Link

Overview: Wicked, one of the most beloved and enduring musicals on the stage, now arrives on your screen as a generation-defining cinematic event. The untold story of the witches of Oz, Wicked stars Cynthia Erivo as Elphaba, a misunderstood young woman who has yet to discover her true power, and Ariana Grande as Glinda, a popular young woman who has yet to discover her true heart.

The two meet at Shiz University and forge an unlikely friendship—before their lives take different paths following an encounter with The Wonderful Wizard of Oz. Their extraordinary adventures will ultimately see them fulfill their destinies as the Wicked Witch of the West and Glinda the Good.

Wicked is an immersive, cultural celebration that will have you dancing and singing along at home over and over again!

4K UHD Blu-ray Verdict: Warner Bros. Entertainment is expanding their 4K Ultra HD Blu-ray catalog offerings this month with the release of the highly-anticipated Wicked, Part 1 (4K Ultra HD + Digital) in the expansive 4K Ultra HD video format this February 4th, 2025.

For my money, this Wicked, Part 1 (4K Ultra HD + Digital) sharpness takes a fairly large step forward from others in their 4K Ultra HD catalog and even comes with HDR (High Dynamic Range) for the complete 4K Ultra HD experience, of course.

So, what we have is Wicked, Part 1 presented to us as a one-disc with a sheet for a Digital HD Copy. Other stand out points you should know are: Codec: HEVC / H.265, Resolution: Native 4K (2160p), HDR: Dolby Vision, HDR10 and Original aspect ratio: 2.39:1.

Featuring Dolby Vision and HDR10 for brighter, deeper, and way more lifelike colors, as with most all 4K UHDs, everything that we watch features these qualities - but somehow, this film gloriously shines within them all.

Noticeably crisp with the overall clarity receiving an obvious boost here on this release, what is more is that it is enjoyably noticeable. For as well as some new nuances to the somewhat drab palette courtesy of Dolby Vision, we also get to witness sudden bright pops of color, which makes the eyes draw in, for sure.

Top scenes for me were when Glinda cries For Elphaba in No One Mourns The Wicked, and is actually the first scene in Wicked that hints at Elphaba and Glinda’s iconic friendship; whilst also featuring the opening song of the musical, the aforementioned No One Mourns the Wicked, sung by Glinda and the Munchkin ensemble.

Though Elphaba is not included physically in this number, her presence is felt strongly. As the Munchkins celebrate the demise of the Wicked Witch of the West, Elphaba’s infamous nickname, Glinda sings alongside them.

However, it is clear that something haunts Glinda as she struggles to hide what is bothering her. Later, it becomes clear that this is because of her complicated friendship with Elphaba. She is mourning their relationship while feeling guilt over participating in the celebration of her death.

In fact, in the song, Glinda recounts the difficult childhood her friend had as an outcast, reminding the Munchkin ensemble to have some grace for her and that it couldn’t have been easy.

Another is when Glinda and Elphaba agree to disagree in Defying Gravity and thus the two women decide to respect their different desires.

Few moments in Wicked are as powerful as Elphaba’s song Defying Gravity. The power ballad includes a brief duet between the two young witches, before it becomes Elphaba’s breathtaking solo about her newfound independence and vowing to stop the Wizard with her powers.

Although Glinda and Elphaba go separate ways by the end of the song, they remain in support of each other, understanding that they both have different ways of problem-solving and standing up for what is right.

I hope you’re happy, both Glinda and Elphaba say throughout the scene, sincerely wishing the best for their friend. It is clear to audience members that this friendship has not been broken yet because of Elphaba’s decision to escape and Glinda’s to conform.

Rather, they can understand and respect the wishes of the other individual in this complicated situation. Though she chooses to stay behind, Glinda knows the importance of Elphaba’s decision.

As for the audio, well we get the choice of: English: Dolby Atmos and English: Dolby TrueHD 7.1 (48kHz, 24-bit).

Overall, this is a very strong 4K HDR Blu-ray presentation, and, for the most part, the audio track remains fairly similar to its DTS-HD counterpart; with much of the action occupying the surrounds with outstanding directionality and placement where effects flawlessly pan between the sides and rears.

As for the story to hand, well, having seen the original show in London back in 2015, it was a blast seeing this on the big screen and here now again, this time as a crystal clear 4K UHD presentation. I couldn’t imagine seeing Ariana Grande in a lead role and getting entranced by her performance, but both she and Cynthia Erivo knocked their roles out of the park phenomenally. The overall cast are great as well and one can tell the likes of Jonathan Bailey, Ethan Slater, Peter Dinklage, Michelle Yeoh and Jeff Goldblum had a blast in their respective roles.

For all of the content changes and additions the filmmakers went with, the film is quite well paced for what’s essentially an adaptation of the first act from Stephen Schwartz & Winnie Holzman’s iconic stage musical. Sure it might have been just as fine being one concise movie on its own, but seeing the themes of prejudicial anarchy, intolerance towards those who are different, unconventional friendship and solidarity triumphing over resentment remain intact and actually keep the film on its toes quite seamlessly.

There are so many nods to both the musical and the overall world of Oz that it’s hard not to appreciate the immense dedication put on display. If nothing else, there’s at least one gorgeous musical number to sing along and dance to after the credits have rolled.

Director Jon M. Chu has come a long way in his career, from the mediocre atrocities of Step Up and Jem & the Holograms to the critically lauded Crazy Rich Asians and In the Heights (2021). Seeing him helm the big screen adaptation of a uniquely ambitious take on the witches from Wizard of Oz is nothing short of miraculous. Here’s to the next part coming out next year, may it send us soaring and never bring us down.

Special Features:
Includes 4K UHD, Blu-ray and a digital copy of Wicked
Features Dolby Vision and HDR10 for Brighter, Deeper, More Lifelike Color
Deleted and Extended Scenes
Making Wicked
Welcome to Shiz
A Wicked Legacy
The Wonderful Wizard
Feature Commentary with director Jon M. Chu
Feature Commentary with stars Cynthia Erivo and Ariana Grande

On February 4th, 2025, Wicked, Part 1 will be available to own on 4K UHD, Blu-ray and DVD. Wicked, Part 1 will also continue to be available to own in high definition and standard definition from participating digital retailers.

Based on the stage play with music and lyrics by the legendary Grammy and Oscar® winning composer and lyricist Stephen Schwartz, WICKED is expertly directed by acclaimed filmmaker Jon M. Chu (Crazy Rich Asians, In the Heights).

The film also stars Oscar® winner Michelle Yeoh (Everything Everywhere All at Once, Crazy Rich Asians), Oliver Award winner and Emmy nominee Jonathan Bailey (Bridgerton, Fellow Travelers), Tony nominee Ethan Slater (Broadway’s SpongeBob SquarePants, Fosse/Verdon), Marissa Bode, Peter Dinklage (Game of Thrones, The Hunger Games: The Ballad of Songbirds & Snakes), and Jeff Goldblum (Jurassic Park, Independence Day).

Overview: Dinosaur Valley Girls enjoys it’s first time ever on Blu-ray, and is packed with hours of new and archival bonus features.

Chain-smoking Hollywood action movie star Tony Markham is zapped back in time via a magic artifact to a prehistoric world of flesh-hungry dinosaurs, angry cavemen, and a tribe of exotic, love-starved cavegirls. He must use his modern-day machismo and best karate moves to survive the onslaught of Jurassic terrors while wooing the literal cavegirl of his dreams, Hea-Thor.

Produced, written and directed by fan film pioneer, Marvel Comics scribe and Star Wars novelist Don Glut, Dinosaur Valley Girls playfully and skillfully dives headfirst into the subject matter, including creating a completely new language for the titular tarts.

What could have easily been just a typical late-night slot-filler on Skinemax becomes an epic world-building adventure, complete with stop motion dinosaurs, original music numbers, off-the-wall cameos and more dad jokes than you can shake an Allosaurus bone at.

Blu-ray Verdict: Respected Dino Nut and horny filmmaker, Donald F. Glut, mashes his two passions together to bring forth a film I’m sure he thought up when he was 13!

I mean, it’s about a martial artist/action star going back in time to fight stop-motion dinosaurs and have sex with lots of naked cavewomen! And there’s a lot of fart sound effects, just so you know, so I’m pretty sure I’m spot on with my theory!

Even with all those aspects that are tailored to me (ok, I’m 13 at heart), this isn’t particularly engrossing, all told, but it IS entertaining, in a C-Movie kind of way. Sure some of the jokes don’t land, but that’s the nature of the C-Movie cinescape.

Oh, and in one of the most random acts of cinematic history that I think I have ever witnessed, out of nowhere (and I truly mean out of nowhere), a randomly-placed music video is revealed in the middle of the film! Entitled Jurassic Punk (!), it showcases just how badass the stop-motion Allosaurus is! And yes, of course, all the cavewomen take their tops off and dance too!

Overall, sure, the effects are a lot of fun, the stop-motion is off kilter at times but pretty decent overall, and the practical effects on the Allosaurus are rather nicely detailed, in all truth. In fact, I’d like to believe that the film splurged most of the budget on that alone! (which was not that bad a gamble, I think you will agree upon watching it for yourselves).

Special Features:
Region Free Blu-ray
Remastered, director-supervised SD master from original tape elements
New 2023 Commentary with director Don Glut and C. Courtney Joyner
Archival Commentary with director Don Glut and C. Courtney Joyner
Dinosaur Valley Guy: Interview with director Don Glut (2023)
Don Glut: The Collection - A look inside Don’s legendary dinosaur home museum (2023)
The Making of Dinosaur Valley Girls
Dinosaur Valley Girls - Alternate ‘PG-13’ rated cut
Deleted and Alternate Scenes
Actress Auditions Reel
Dinosaur Tracks - Music Video Reel
Jurassic Punk - Music and Lyrics
Dinosaur Valley Girls - Music and Lyrics
Storyboards
Production Image Galleries
Mu Wang in Mu-Seum
Mu Wang in Danse Prehistoric
Original Promotional Trailer
Visual Vengeance Trailer
Limited Edition Slipcase by Rick Melton - FIRST PRESSING ONLY
Limited Edition Dinosaur Valley Girls logo sticker - FIRST PRESSING ONLY
Reversible Sleeve Featuring Original home video art
2-sided insert
Folded mini-poster
Stick Your Own VHS Sticker Set
Optional English subtitles

Official Purchase Link

Overview: This is one of the best ever documentaries about Gunnar Hansen, the actor who portrayed Leatherface in The Texas Chainsaw Massacre (1974). Friends, colleagues, filmmakers, and fellow actors share personal stories and discuss the dichotomy between the maniacal chainsaw-wielding character he played on-screen and the very intelligent, creative, soft-spoken man he actually was in real life.

Blu-ray Verdict: Releasing the same year as the 50th anniversary of the original release of The Texas Chainsaw Massacre (1974), the title comes from a song by The 3-D Invisible’s, a local Detroit band Kallio has worked with several times in the past.

Kallio played Gunnar the song the first time he picked the legendary actor up from the airport, while in town doing pick-up shots for the film, Mosquito. Hansen fell in love with the song, mainly because of the witty lyrics.

In truth, the story goes that filmmaker, Michael Kallio, continuously pitched Gunnar Hansen about doing a documentary about him. Gunnar would tease Kallio saying, Who the f#@k wants to see a documentary about me? They would joke that if made, the title would be called Like a God! an in-joke between the two friends.

As we all know by now, audiences were absolutely terrified out of their skins all across movie theaters back in 1974 when The Texas Chainsaw Massacre first hit the screens some fifty years ago. If witnessing what would happen to a random group of teenagers when they accidentally pop into the house of a cannibal family wasn’t enough, it was the lead, and very much stand out character of Leatherface, played by Gunnar Hansen, that helped continue the legacy all these years later.

So what we get here in this BRILLIANT documentary are several well-chosen actors from The Texas Chainsaw Massacre original who are here to eloquently and interestingly describe their hot and blood-soaked days spent out in those fields alongside star Gunnar Hansen, including Allen Danziger, Daniel Pearl, Kim Henkel, and Edwin Neal.

We get stories galore about just who Gunnar is, from his upbringing as a kid in Iceland who ended up in Texas ... with a chainsaw! However, did you know that immediately after his breakthrough role, Gunnar walked away from showbiz and focused on writing for magazines and books. And so what brought him back to the world of horror after all the time away? Well, you will have to watch this documentary to find out, won’t you!

The full line-up of actors and filmmakers recounting their experiences with Gunnar Hansen includes: Barbara Crampton (Re-Animator), Danielle Harris (Halloween 4: The Return of Michael Myers), Bruce Campbell (The Evil Dead), R.A. Mihailoff (Leatherface: The Texas Chainsaw Massacre III), Kane Hodder (Jason in Friday the 13th: The New Blood), Dave Sheridan (Scary Movie), Felissa Rose (Sleepaway Camp), Michelle Bauer (Sorority Babes in the Slimeball Bowl-O-Rama), Tiffany Shepis (Victor Crowley), Brian O’Halloran (Clerks), Debbie Rochon (Tromeo and Juliet), Fred Olen Ray (Hollywood Chainsaw Hookers), Linnea Quigley (The Return of the Living Dead), Betsy Baker (The Evil Dead), Joe R. Lansdale (Bubba Ho-Tep) and Jeff Burr (From A Whisper to a Scream).

The Special Features include commentary with writer/director Michael Kallio and editor Josh Wagner, an extended Interview with filmmaker and historian Michael Felsher, a convention chat with actress Danielle Harris, Southern Hospitality Trailer - 2022 Remastered, and Tales of Gunner Hansen.

Official Purchase Link

Overview: In a dystopian society where the state has the power to determine who can and cannot father children, four men attend a government sanctioned retreat in the remote mountains of California.

When they show up at the site, only to find no guide or instructions waiting for them, they are left to their own devices and must prove to themselves--and each other--that they have what it takes to become fathers.

Blu-ray Verdict: Within a futurescape set slightly in the future our society’s governing laws have become a lot stricter about who and, importantly who cannot become a parent. They get an initial screening program to work their way through with the end part of the so-called quiz being that the candidates are placed in a government program to prove they can indeed be parents through some one-on-one sessions with an official representative.

So our lead four characters - Jeremy (Jono Sherman), Sebastian (Yuriy Sardarov), Andrew (Neal Kelley) and Mo (Pomme Koch) - arrive at the retreat in question, but find themselves all alone as a foursome. And when I say alone, I mean ALONE, as there are no guides, instructions for what to do or expect, nor a government employee in sight.

Of course, they all believe that nothing is wrong, nothing out of place, that they are being watched / studied regardless, so they just get on with things and get to know each other better.

But then a knock on the door brings forth Ally (Jacqueline Toboni) who tells them that her car has broken down on the road and can they help. But they immediately question her and her motives, and whether or not this is just all part of the program / test.

A great concept with some great lead actors, and with quite excellent dialogue strewn throughout, my only ache is that the ending is so open-ended that it sadly forfeits all the filmmakers were hoping to cinematically say.

Official Purchase Link

Overview: The cult martial arts classic available for the first time ever on Blu-ray with hours of bonus features. Simon, a fierce Kung Fu master, ventures into the city’s gritty underbelly for answers to his sister’s death.

There, a cunning spiritual master deceives him, plotting to snatch his piece of an ancient amulet he shared with her. Unraveling the scheme, Simon plunges fists and feet first into a bone-crushing battle for the fate of the world against an alien army of karate wizards, dragons, a new wave clone band, talking pigs and mystical chickens!

One of the most bizarre domestic martial arts movies ever made, Furious throws the 1980s home video chopsocky craze in a blender with elements of the supernatural, horror and superhero genres, by way of an improvised MTV video.

Featuring Hollywood martial arts legends Simon and Phillip Rhee (Best of the Best, The Matrix, Inception) in their first ever starring roles and who also handled all the non-stop action choreography on display in the film.

Blu-ray Verdict: As the story goes, Furious was shot in six days (they would have done seven, but the two leads went to Tijuana to get drunk!) with only enough negative to shoot 90 minutes, and no final script. In essence, nearly every inch of film they shot is in this movie (minus flash frames).

Shot mostly in sequence, what you see when you watch Furious is young, creative people actively figuring out a movie as they make it. With all that the filmmakers had against them, including their own disbelief that they would be able to turn out a finished product, I felt I could sense the movie fighting against its own existence whilst watching it.

It’s like a scene in an action movie when a guy has been badly beaten and shot multiple times but keeps trudging forward. Furious actually gets better and better as it goes along, getting weirder, more deliberately humorous, and quicker paced. I feel like a broken record, but again, this is what independent film could be if, as Tim Everitt points out in the archival commentary, young filmmakers were more ambitious and didn’t feel confined to filming conversations with their friends in apartments.

Oh, and interestingly, apparently the long credit scroll at the end of Furious is filled with fake names to add to the running time of the movie. The optical house that printed their credits happened to have leftover elements from Star Trek II: The Wrath of Kahn. They shifted the column containing the first names down a row so they no longer matched up to the correct last names and printed those as the Furious credits. Unbelievable!

Special Features:
Region Free Blu-ray
New SD master from original tape elements
Archival commentary with co-director Tim Everitt
Commentary with Justin Decloux of The Important Cinema Club and Peter Kuplowsky of the Toronto International Film Festival
High Kicking In Hollywood: Co-director Tom Sartori Interview
The Kung Fu Kid: Co-director Tim Everitt Interview
North American No-Budget Martial Arts Cinema Primer - Justin Decloux Video Essay
Rhee Brothers Career Overview - Justin Decloux Video Essay
Archival Scarecrow Video Podcast with Tim Everitt (2013)
Furious New Wave Band - Behind The Scenes Super 8 Footage
Scorched Earth Policy: Full Six Song EP (1987)
Cinema Face: Live in Concert (1986)
Tom Sartori 1980s Music Video Reel
Tom Sartori Super 8 Short Films Reel
Original Trailers
Visual Vengeance Trailer
Limited Edition Slipcase by The Dude - FIRST PRESSING ONLY
Limited Edition Throwing Star Key Tag - FIRST PRESSING ONLY
Reversible Sleeve Featuring Original VHS Art
Folded mini-poster reproduction of original Furious one sheet
2-sided insert with alternate art
Stick Your Own VHS Sticker Set
Optional English subtitles

Official Purchase Link

Overview: From Lucio Fulci, the godfather of gore (The Psychic, The Beyond), comes one of the most powerful and unsettling giallo thrillers ever produced: his 1972 masterpiece Don’t Torture a Duckling.

When the sleepy rural village of Accendura is rocked by a series of murders of young boys, the superstitious locals are quick to apportion blame, with the suspects including the local “witch”, Maciara (Florinda Bolkan, A Lizard in a Woman’s Skin).

With the bodies piling up and the community gripped by panic and a thirst for bloody vengeance, two outsiders – city journalist Andrea (Tomas Milian, The Four of the Apocalypse) and spoiled rich girl Patrizia (Barbara Bouchet, The Red Queen Kills Seven Times) – team up to crack the case. But before the mystery is solved, more blood will have been spilled, and not all of it belonging to innocents.

Deemed shocking at the time for its brutal violence, depiction of the Catholic Church and themes of child murder and paedophilia, Don’t Torture a Duckling is widely regarded today as Fulci’s greatest film, rivaling the best of his close rival Dario Argento. Arrow Video is proud to present this uniquely chilling film in its North American high definition debut.

4K Blu-ray Verdict: My goodness! A wicked rural nightmare. A child killer death spree gialli of the most depressing nature, trading bright light cityscapes for small town paranoia complete with angry villagers, forensic journalists, witchcraft, a Donald Duck head, Barbara Bouchet, and the most brutal cemetery chain flogging ever as Fulci puts Italian traditionalism and the Catholic Church under a microscope!!

Simply put, this is TOP tier Fulci, as far as I’m concerned, expertly crafted and soundwaved by a perfect Riz Ortolani score. Gets bleaker (and better) every time I watch it! Funnily enough, Fulci has said in numerous interviews that he ranks this movie as his most personal favorite of all the movies he directed in his career!

And the fact that none of the main cast are actually Italian: Florinda Bolkan is Brazilian, Tomas Milian is Cuban-American, Barbara Bouchet is German-American, Irene Papas is Greek; and Marc Porel & Georges Wilson are both French, doesn’t even play into what we experience as each lead character is as compelling as the next.

I mean, the scene in which the vigilantes beat Florinda Bolkan to death (while pop music is playing from a car radio) is what makes this film a classic. I highly doubt that the Reservoir Dogs ear cutting scene would exist without this! And, of course, the reveal of the killer [** NO SPOILERS **] is great. Separates it from the pack and is quite brave too, especially given it was 1972 back then!

And for Barbara Bouchet fans, well, she’s quite scantily clad once again so you will all be very happy at now running out to buy this beautiful high definition debut from Arrow Films.

In closing, and whilst the English dubbing might be considered a bit stiff by some, I really don’t think it’s too bad. The cast is excellent and when you hear the film in English is not really any less true-to-the-ear than the Italian cut. And the story is the real treat here, and it might surprise you how much pathos Fulci is able to wring out of it.

Bonus Materials:
High Definition Blu-ray (1080p) and Standard Definition DVD presentations
Original mono Italian and English soundtracks (lossless on the Blu-ray Disc)
English subtitles for the Italian soundtrack • Optional English subtitles for the deaf and hard of hearing for the English soundtrack
New audio commentary by Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films
The Blood of Innocents, a new video discussion with Mikel J. Koven, author of La Dolce Morte: Vernacular Cinema and the Italian Giallo Film
Every (Wo)man Their Own Hell, a new video essay by critic Kat Ellinger
Interviews with co-writer/director Lucio Fulci, actor Florinda Bolkan, cinematographer Sergio D’Offizi, assistant editor Bruno Micheli and assistant makeup artist Maurizio Trani
Reversible sleeve featuring original and newly commissioned artwork by Timothy Pittides
FIRST PRESSING ONLY: Collector’s booklet with new writing on the film by Barry Forshaw and Howard Hughes

www.ArrowVideo.com

Overview: Play it Cool is a chic and erotically charged drama starring popular Japanese singer of the day Mari Atsumi as a college girl negotiating her way through the male-dominated hierarchies of Tokyo’s seductive but treacherous nightclub culture.

Yumi (Mari Atsumi) is a pretty fashion student who shares a cramped home with her mother Tomi (Akemi Negishi, The Saga of Anatahan) and good-for-nothing stepfather Ryoichi. Tomi works at a local hostess bar and hopes for a better fate for Yumi. When Ryoichi violently forces himself upon her blossoming daughter, Tomi is not afraid to take action to protect her, an act which lands her in jail.

Left to fend for herself, Yumi is taken in by her mother’s former place of employment, where she finds herself fighting off the unwanted attentions of the men who swarm around her. Then one day, a rescue by handsome former lawyer Nozawa (Yusuke Kawazu, Cruel Story of Youth) from a vicious gangster seems to offer an escape into an altogether glitzier world, albeit one that turns out fraught with similar dangers.

Arrow Films is proud to release this little-seen gem by one of Japan’s most highly regarded directors of the 1960’s, Yasuzō Masumura (Giants and Toys, Irezumi), a filmmaker known for his social satires and powerful portrayals of women, as Play it Cool is released for the very first time for the home video market outside of Japan in a brand new high-definition transfer.

4K Blu-ray Verdict: Essentially a story of compromises and horse-trading, not with four-legged animals but young women, the prettier the better when it comes to boosting night-spot takings, this under the radar film might well have escaped your attention thus far, but now it is out on crystal clear Blu-ray via Arrow Films, do not let it for much longer.

Yumi takes after her mother, a jaded staff member in a less-than-salubrious hostess bar, but theirs is a complicated relationship. Mother wants what’s best for her daughter as she certainly doesn’t want her to follow in her own footsteps, but a sudden change of circumstances dictates otherwise.

From this point on, Yumi makes as much money as she can while pissing off her co-workers who don’t appreciate her left field tactics. But she’s not hurting anyone. In any case, it’s her unaffected straightforwardness that makes her doubly attractive to middle-aged businessmen.

Through it all, Yumi has to deal with challenging situations and while she’s a strong woman, she’s no Scorpion for she can only rely on her wits while trusting to luck.

And thus she makes a late-stage decision that is shocking and baffling – at first. She’s her own person and sometimes it’s better to wipe the slate clean and begin again than it is to persist with a fatally damaged relationship.

I thought this might veer too much into exploitation territory but I needn’t have worried because while Masamura and Ishimatsu deliver a melodrama with tawdry elements, they give us a central character with admirable traits who does what she does in order to get by (while helping to ensure a loved one is always well looked after).

Bonus Materials:
High Definition (1080p) Blu-ray presentation
Original uncompressed mono audio
Optional English subtitles
Brand new audio commentary with critic and Japanese cinema specialist Jasper Sharp and professor and Japanese literature specialist Anne McKnight
Too Cool for School, brand new video essay on Play it Cool and the career of writer-director Yasuzō Masumura by Japanese film scholar Mark Roberts
Original theatrical trailer
Image gallery
Reversible sleeve featuring original and newly commissioned artwork by Tony Stella
Illustrated collector’s booklet featuring new writing on the film by Earl Jackson

www.ArrowVideo.com

Overview: From Renny Harlin, maximalist director of Die Hard II, Cliffhanger and The Long Kiss Goodnight, comes Deep Blue Sea, a shark-infested action-thriller where everyone is on the menu.

At an isolated research facility in the middle of the ocean, a team of scientists, led by Susan McAlester (Saffron Burrows), are working on a cure for Alzheimer’s by genetically altering the brains of sharks. When a shark escapes and attacks a pleasure boat, the company sponsoring the research threatens to pull its funding and sends corporate executive Russell Franklin (Samuel L. Jackson) to investigate. McAlester has just 48 hours to prove the value of her work, but her experiments have made the sharks smarter.

No longer happy to be injected, prodded, and caged, they begin to turn the tables. As a freak storm causes chaos on the surface, making it impossible to leave, the facility is flooded and the scientists must fight to survive against the rising water and the hungry sharks that now swim freely through the corridors.

Embracing action, horror and suspense with a knowing sense of humor and pushing them all as far as they can go, Deep Blue Sea is an adrenaline rush of pure entertainment presented in a brand new 4K restoration approved by director Renny Harlin. Come on in, the water’s great!

4K Blu-ray Verdict: This 1999 blockbuster is a refreshingly enjoyable and old-fashioned kind of thriller, full of action, suspense, and plenty of humor. In a year which had given us many oddities at the cinema, this came across as a breath of fresh air, as it didn’t try anything inventive or new, it’s just a plain simplistic adventure story. In many ways DEEP BLUE SEA harks back to the likes of THE POSEIDON ADVENTURE, albeit with a monster-movie twist!

Of course, with Renny Harlin as the director, it was pretty much a foregone conclusion that this film would offer up some exciting sequences. And, by gum, it does, as people are chased up corridors by sharks, having to swim for their lives and using everyday facilities as their only means of salvation; there are no rocket launchers or shotgun-toting heroes this time around, although Thomas Jane comes close.

Unfortunately, when the film is not dealing with one of these terrific action scenes, it all comes a bit unstuck. The music is uninspired and some of the cast disappoint. I know Harlin said he wanted to cast unknown actors and actresses in the film, I can understand that, but come on, he could have chosen someone who can actually act.

Thomas Jane is acceptable, but was better in the likes of THE PUNISHER. As for Saffron Burrows, talk about miscasting. She has a ridiculous accent and is a poor actress when it comes to the action scenes, having the same expression on her face for the entire film!

The rest of the cast are all also, for the most part interchangeable, we don’t really care if these guys live or die. The only interest comes from the two black cast members. Firstly there’s the ever reliable Samuel L. Jackson as a cool company benefactor back when he could do no wrong, and then there’s LL Cool J, who, surprisingly, is actually funny and likeable in this film. No mean feat for a rap artist, and I was expecting the worst. It turns out that LL Cool J is the one we’re rooting for and the only real person we actually care about when he’s in danger. Now there’s a refreshing turn up for the books!

There are some bloody moments in this film for shock purposes, the best being early on. For the next twenty minutes events just get worse, people die, buildings explode and the entire base gets flooded, these multiplying calamities are just sheer brilliance and really exciting and entertaining. It really made my heart beat which I love to happen. There’s no way the rest of the film could live up to this moment, and it can’t, but at least it concentrates on the sharks as the real stars and not the actors thereafter.

The special effects for the sharks are generally very good, and a seamless blend of animatronics and CGI animation is used. Only occasionally (at the end particularly) do the sharks look fake, but other than that they’re very well done indeed. There are also plenty of shots of people getting ripped in half underwater and legs flailing about, quite fake too but fun anyway. However the old standby of someone sinking and then blood welling up in the water is the most effective and clichéd of the lot, and yet it still works.

While comparisons to JAWS are obvious (the two films are very different DEEP BLUE SEA is action orientated, JAWS is more of a suspense story), just forget about that classic and sit back and enjoy some inspired moments and good chase bits, and play Guess the next victim with your friends. It’s a riot.

DEEP BLUE SEA may not have broken any new ground, but there are some excellent disaster moments (the large window cracking being one of them, it might have been nicked from THE LOST WORLD: JURASSIC PARK, but it’s a whole lot better) and there are plenty of things to divert your senses from the somewhat shallow nature of the film - no pun intended!

Bonus Materials:
Brand new 4K restoration of the film from the original camera negatives by Arrow Films approved by director Renny Harlin
4K (2160p) Ultra HD Blu-ray presentation
Original DTS HD-MA 5.1 and Dolby Atmos audio options
Optional English subtitles for the deaf and hard of hearing
Brand new audio commentary by screenwriter Duncan Kennedy
Brand new audio commentary by filmmaker and critic Rebekah McKendry
Archive audio commentary by director Renny Harlin and star Samuel L. Jackson
From the Frying Pan… into the Studio Tank, a new interview with production designer William Sandell
Beneath the Surface, a new visual essay by film critic Trace Thurman
When Sharks Attack: The Making of Deep Blue Sea, an archive featurette
The Sharks of the Deep Blue Sea, an archive featurette
Deleted scenes with optional audio commentary by director Renny Harlin
Theatrical trailer
Image gallery
Reversible sleeve with original and newly commissioned artwork by Luke Preece
60-page perfect bound collector’s book containing new writing by film
critics Josh Hurtado, Jennie Kermode, and Murray Leeder, plus previously unseen production art and designs
Double-sided fold-out poster featuring original and newly commissioned artwork by Luke Preece
Postcards from Aquatic

www.ArrowVideo.com

Overview: Just beneath the streets of modern-day Los Angeles lies a world of demons ... and angels. Globetrotting misfit and renegade occultist John Constantine (Keanu Reeves), a man who has literally been to hell and back, enters this world to help a skeptical policewoman investigate the mysterious suicide of her twin sister in Constantine.

4K UHD Blu-ray Verdict: Warner Bros. Entertainment is expanding their 4K Ultra HD Blu-ray catalog offerings this month with the release of the highly-anticipated, and compelling Constantine (4K Ultra HD + Digital) in the expansive 4K Ultra HD video format this February 18th, 2025.

For my money, this Constantine (4K Ultra HD + Digital) sharpness takes a fairly large step forward from others in their 4K Ultra HD catalog and even comes with HDR (High Dynamic Range) for the complete 4K Ultra HD experience, of course.

So, what we have is Constantine presented to us as a one-disc with a sheet for a Digital HD Copy. Other stand out points you should know are: Codec: HEVC / H.265 (64.21 Mbps), Resolution: Native 4K (2160p), HDR: Dolby Vision, HDR10 and Original aspect ratio: 2.39:1.

Featuring Dolby Vision and HDR10 for brighter, deeper, and way more lifelike colors, as with most all 4K UHDs, everything that we watch features these qualities - but somehow, this film gloriously shines within them all.

Noticeably crisp with the overall clarity receiving an obvious boost here on this release, what is more is that it is enjoyably noticeable. For as well as some new nuances to the somewhat drab palette courtesy of Dolby Vision, we also get to witness sudden bright pops of color, which makes the eyes draw in, for sure.

One of those moments is, and given that Constantine effectively showcases its unique genre sensibilities from the very beginning by taking Reeves’ character through a routine exorcism that does not go as planned, and so it is a shame this scene isn’t talked about more often, because it is genuinely memorable. Constantine doesn’t linger on the horror elements, but presents them as just another possession in its world of angels and demons.

The use of a mirror to trap and destroy the demon alludes to a huge body of esoteric knowledge that Constantine has good expertise in. But the highlight of this scene must be the moment when Constantine punches the victim’s throat to control the possessing entity — you don’t see that in too many horror films!

As for the audio, well we get the plentiful choice of: English: Dolby Atmos and English: Dolby TrueHD 7.1 (48kHz, 24-bit).

Overall, this is a very strong 4K HDR Blu-ray presentation, and, for the most part, the audio track remains fairly similar to its DTS-HD counterpart; with much of the action occupying the surrounds with outstanding directionality and placement where effects flawlessly pan between the sides and rears.

As for the film itself, well, Constantine is a dark, yet dazzling film. A terrific story backed up by spectacular special effects and great cinematography pull us into a dark and dangerous world - a world where half-angels and half-demons whisper to us mortals as God and Satan use us as pawns in an apocalyptic game of chess. Cursed with ability too see these spirits, John Constantine finds himself right in the middle of this showdown.

Keanu Reeves gives a fantastic turn as John Constantine. He infuses Constantine with a grim sense of purpose and dark humor. He is the ultimate anti-hero, and Reeves deftly takes Constantine from being someone we simply root for to someone we actually like and respect.

Rachel Weisz is terrific as well. Her tortured and soulful performance is the best of the film. Shia LaBeouf also blew me away, Peter Stormare (who plays Satan) is a great character actor in anything he does and Tilda Swinton as Gabriel, well, she portrays the Angel perfectly as not quite male or female. The film presents interesting views about heaven, hell and death, it is very thought-provoking.

Lastly, note should be paid to Djimoun Honsou as Papa Midnite, the owner of the bar where demons and angels can take their own time out every once in a while. Convincing, but his part is more of a macguffin than fleshed out character in this part.

I have never read the Hellblazer comics, but standing alone (as this film does) Constantine is a great film throughout. That all said, and turning away from the humans, the cinematography and score all match the tone of the story. Washed out apartments and nighttime streets are never shot with much light that it does become difficult to see what is going on, at times, but narratively, the film is evenly paced and impressively edited.

Constantine Digital release and Ultra HD Blu-ray disc contains the following special features:
New Feature - Two Decades of Damnation
Commentaries
Channeling Constantine
Conjuring Constantine
Holy Relics
Shotgun Shootout
Hellscape
Warrior Wings
Unholy Abduction
Demon Face
Foresight” The Power of Pre-Visualization
A Writer’s Vision

Constantine Ultra HD Blu-ray disc contains the additional previously released special features:
Director’s Confessional
Demon Face

Celebrating the 20th anniversary of the fan-favorite superhero thriller Constantine, the 2005 film will be available for purchase Digitally in 4K Ultra HD and on 4K UHD Blu-ray Disc on February 18th, 2025. Featuring an all-star cast led by Keanu Reeves, the film marks the directorial debut of Francis Lawrence. The newly remastered film will also include new bonus content featuring Keanu Reeves and Francis Lawrence reflecting on the making of the film 20 years later.

Constantine will be available to purchase on Ultra HD Blu-ray Disc online and in-store at major retailers and available for purchase Digitally from Amazon Prime Video, AppleTV, Google Play, Fandango at Home and more.

Directed by Francis Lawrence (I Am Legend, The Hunger Games) in his feature film directorial debut from a screenplay by Kevin Brodbin and Frank Capello and a story by Brodbin, the film is based on the DC Comics/Vertigo “Hellblazer” graphic novels.

Constantine stars Keanu Reeves (The Matrix films, Speed), Academy Award winner Rachel Weisz (The Constant Gardener, About a Boy), Shia LaBeouf (the Transformers films, Fury), Academy Award winner Tilda Swinton (Michael Clayton, Dr. Strange), Pruitt Taylor Vince (JFK), Academy Award nominee Djimon Hounsou (Blood Diamond, Shazam!), Gavin Rossdale (Zoolander) and Peter Stormare (Fargo, The Big Lebowski).

Overview: Amadeus triumphs as gripping human drama, sumptuous period epic, glorious celebration of the music of Wolfgang Amadeus Mozart – and as the winner of eight 1984 Academy Awards, including Best Picture (produced by Saul Zaentz), Actor (F. Murray Abraham), Director (Milos Forman) and Adapted Screenplay (Peter Shaffer).

It’s 1781 and Antonio Salieri (Abraham) is the competent court composer to Emperor Joseph II. When Mozart (Academy Award nominee Tom Hulce) arrives at court, Salieri is horrified to discover that the musical gifts he desires for himself have been bestowed on a bawdy, impish jokester. Mad with envy, he plots to destroy Mozart by any means. Perhaps even murder!

4K Blu-ray Verdict: Simply put, Amadeus is one of the greatest movies ever made! There, I said it. And I mean it. And now, luckily for us all, Warner Bros. Entertainment is expanding their 4K Ultra HD Blu-ray catalog offerings this month with the release of this highly-anticipated Amadeus (4K Ultra HD + Digital) in the expansive 4K Ultra HD video format this February 25th, 2025.

For my money, this Amadeus (4K Ultra HD + Digital) sharpness takes a fairly large step forward from others in their 4K Ultra HD catalog and even comes with HDR (High Dynamic Range) for the complete 4K Ultra HD experience, of course.

So, what we have is Amadeus presented to us as a one-disc with a sheet for a Digital HD Copy. Other stand out points you should know are: Codec: HEVC / H.265, Resolution: Native 4K (2160p), HDR: HDR10, Aspect ratio: 2.39:1 and Original aspect ratio: 2.39:1.

Featuring Dolby Vision and HDR10 for brighter, deeper, and way more lifelike colors, as with most all 4K UHDs, everything that we watch features these qualities - but somehow, this film gloriously shines within them all.

Noticeably crisp with the overall clarity receiving an obvious boost here on this release, what is more is that it is enjoyably noticeable. For as well as some new nuances to the somewhat drab palette courtesy of Dolby Vision, we also get to witness sudden bright pops of color, which makes the eyes draw in, for sure.

To pick one outstanding scene to epitomize this is very hard, but if forced to, it would be when Mozart is dictating the notes to Salieri, he gets confused and can not keep up with Mozart. But instead of hate, he feels amazed, amazed for seeing such a beautiful composition gaining life right before his eyes. An amazing scene, beautifully directed and masterfully acted.

As for the audio, well we get English: DTS-HD Master Audio 5.0 (48kHz, 24-bit), French: Dolby Digital 5.1 and Spanish: Dolby Digital 5.1.

Overall, this is a very strong 4K HDR Blu-ray presentation, and, for the most part, the audio track remains fairly similar to its DTS-HD counterpart; with much of the action occupying the surrounds with outstanding directionality and placement where effects flawlessly pan between the sides and rears.

OK, back to the movie, and in simplistic terms, Amadeus presents a heavily fictionalized, speculative portrayal of Wolfgang Amadeus Mozart’s last years, focusing powerfully on his relationship with Italian composer Anthony Saliere, and Mozart’s wife, Constanzia.

Do not approach this movie looking for some objective presentation of historic fact. Do not go into this film expecting to see a tribute to one of the world’s greatest composers. Do not see Amadeus in order to understand the workings of musical genius. Inasmuch as all of these are incomprehensible - probably as much to those who lived them as they are today - Amadeus fails to achieve any of these laudable goals.

However, what is does achieve - and quite well - is the blending of elements of Mozart’s personality, aspects of his historical context, and an ingenious plot which is spelled out in a very clever narrative style. The truth you get out of Amadeus - as with most good historical fiction films and novels, is the truth of the feeling of a particular time and place.

Amadeus immerses its audience in Europe’s 18th century, but has just enough anachronism in its script to prevent losing its audience there. Mozart is a young prodigy who struggles with his own ego, over-sensitivity, arrogance, and self-destructiveness against a world which does not really know what to make of him.

Salieri (Abraham) is his most ardent fan and admirer, but harbors a deep personal and professional jealousy, as well as an overwhelming self-centered guilt, and an even deeper conviction that his own perceived inadequacies reflect on his relationship to his creator.

The third character, much better developed in the director’s cut than in previous versions, is Mozart’s wife Constanzia (Berridge) - seemingly the only fully rational and practical person among the principal roles. The film narrates the twists and turns of fate - the intrigues and folklore - which, even today tend to crowd out the facts of this part of Mozart’s life.

Hulce, playing Mozart in what is easily his greatest performance to date, utters a couple of highly anachronistic and off-color remarks in the course of the film. Since I do not hold historical fictio to some arbitrary standard of authenticity, I can say that my reaction to these was probably exactly as they were intended: (1) Either Mozart was so creatively explosive that he occasionally happened upon 20th century phraseology through sheer coincidence, and/or (2) We are supposed to find these phrases a little shocking and they are used as plot devices to give the film a sense of surreal ambiance.

Either way, the film works very well as a work of art and a good story, and what some describe as problems of authenticity are, to my mind, nothing more than artistic license. Most movies are not meant to be encyclopedic recitations of what really happened. Keep that in mind before you commit to watching this. The only danger with regard to this film is that it is SO compellingly portrayed that some people are likely to walk away from it believing that this REALLY is what happened.

Nevertheless, F. Murray Abraham, who almost always does well, exceeds himself in this film, and well deserved his Oscar. Hulce is remarkable and the supporting cast are easily up to the task. The directing is subtle enough to be somewhat refreshingly unnoticeable, and the script and editing are excellent (at least in the director’s cut). Very little can be said about the use of period music and costume which has not been said in the numerous awards and the high praise received from critics down the year, but suffice to say that it is incredible, sumptuous and highly alluring throughout.

Amadeus Digital release and Ultra HD Blu-ray disc contain the following new and previously released special features:
· The Making of Amadeus (New)
· Amadeus: The Making of a Masterpiece

Celebrating the 40th anniversary of the epic historical film’s 8 Academy Awards, Amadeus, from acclaimed director Milos Forman (One Flew Over the Cuckoo’s Nest), will be available for the first time Digitally in 4K Ultra HD and on 4K UHD Blu-ray Disc on February 25th, 2025.

One of the most celebrated films in cinematic history, the theatrical version of Amadeus will be available to purchase on Ultra HD Blu-ray Disc online and in-store at major retailers and available Digitally from Amazon Prime Video, AppleTV, Fandango at Home and more.

Overview: After Santa Claus – Code Name: RED ONE – is kidnapped, the North Pole’s Head of Security (Dwayne Johnson) must team up with the world’s most infamous bounty hunter (Chris Evans) in a globe-trotting, action-packed mission to save Christmas.

4K UHD Blu-ray Verdict: Warner Bros. Entertainment is expanding their 4K Ultra HD Blu-ray catalog offerings this month with the release of the highly-anticipated Red One (4K Ultra HD + Digital) in the expansive 4K Ultra HD video format this March 4th, 2025.

For my money, this Red One (4K Ultra HD + Digital) sharpness takes a fairly large step forward from others in their 4K Ultra HD catalog and even comes with HDR (High Dynamic Range) for the complete 4K Ultra HD experience, of course.

So, what we have is Red One presented to us as a one-disc with a sheet for a Digital HD Copy. Codec: HEVC / H.265, Resolution: Native 4K (2160p), HDR: Dolby Vision, HDR10 and Original aspect ratio: 2.39:1.

Featuring Dolby Vision and HDR10 for brighter, deeper, and way more lifelike colors, as with most all 4K UHDs, everything that we watch features these qualities - but somehow, this film gloriously shines within them all.

Noticeably crisp with the overall clarity receiving an obvious boost here on this release, what is more is that it is enjoyably noticeable. For as well as some new nuances to the somewhat drab palette courtesy of Dolby Vision, we also get to witness sudden bright pops of color, which makes the eyes draw in, for sure.

One of those moments is within the scene I will call the Krampus Slap Game Scene, where it plays out like one giant, extended Will Smith v. Chris Rock at the Oscars scene! The force put behind their slaps upon one another would leave most mortals headless, but here we see how their brotherly love restrains them just enough from causing any real, serious forever disfigurement.

As for the audio, well we get the choice of: English: Dolby Atmos, English: Dolby TrueHD 7.1 (48kHz, 24-bit), French: Dolby Digital 5.1, Spanish: Dolby Digital 5.1 and Audio descriptive.

Overall, this is a very strong 4K HDR Blu-ray presentation, and, for the most part, the audio track remains fairly similar to its DTS-HD counterpart; with much of the action occupying the surrounds with outstanding directionality and placement where effects flawlessly pan between the sides and rears.

As for the film itself, well, in truth, arguably there’s a layer of irony and/or parody that runs throughout the movie. Whether it be the militarization and industrialization of the North Pole and borrowing concepts from Black Panther, the over the top stakes of having to save Christmas, Santa being a gym bro and more, most people might just shelve this movie as being a low brow attempt at a Christmas action movie.

OK, sure, it actually is exactly that, but when you can shelve all the goofiness that exists in the world of Red One aside and accept it for what it is, it is legitimately a great film for the purposes of a comedic film to watch with family and friends that can appreciate the absurdity of the world it has built for itself!

I loved so many of the smaller elements of this film, including the unique characterization of Santa - something only JK Simmons could have pulled off. Additionally it was great to see Lucy Liu doing what she does best - even though her character is a bit of a trope in and unto itself.

The plot is silly, I won’t kid you, but the world building undertaken to try to accommodate for Santa’s monumental task of delivering presents to every kid in the world had me invested from the off. The motivation of Gryla unironically contained one of the key elements of the writing within the film and is one that would actually make a good film of its own to be brought forth at some time, me thinks!

Oh, and that both protagonist and antagonist share the same goal but have drastically different views on how to achieve this is a very deep train of thought that runs throughout. The special and practical effects also contributed greatly to making the mythological elements of this film believable and dare I say highly captivating.

As with every Christmas movie there’s always a message to be told, and the message of Red One is that even if one is surrounded by things, people and situations that inevitably make someone bad, there’s an inherent good that can be found in all of them. This is mainly explored through Chris Evans character and I think for the purposes of this film they did a great job conveying the simple message within.

All in all, I went into watching this glorious 4K blu-ray with zero expectations and yet was blown away in every way possible with what I lovingly, and joyfully witnessed. Will most people like this? Probably not. But that is down to them, for it had all the elements one needed to enjoy a comedy movie along with a humorous [admittedly premise taken to the extreme], a convincing plot, world building and a good underlying message.

This, Red One was the [albeit late re: March release] Christmas gift I had no idea I needed and I’m genuinely grateful that I got to see this wonderful movie and had a great laugh along the way too!

Director Jake Kasdan’s (Walk Hard: The Dewey Cox Story, Bad Teacher) Christmas action-adventure comedy Red One, from Metro-Goldwyn Mayer Pictures, will be available for purchase on 4K UHD, Blu-ray, and DVD on March 4th, 2025.

Red One stars Dwayne Johnson (the Fast & Furious franchise), Chris Evans (Captain America in the Marvel Cinematic Universe), Lucy Liu (Charlie’s Angels, Kill Bill), Kiernan Shipka (Twisters), Bonnie Hunt (Jerry Maguire), Kristofer Hivju (TV’s Game of Thrones), Nick Kroll (Get Him to The Greek), Wesley Kimmel, and Academy Award winner J.K. Simmons (Whiplash) as Santa Claus.

Overview: During his long and industrious career, the Godfather of Hong Kong Cinema Chang Cheh made several films with the celebrated Venom Mob, a group of skilled martial arts performers - including Lu Feng, Chiang Sheng, Philip Kwok, Sun Chien, Lo Mang, and Wai Pak - who rose to fame as the stars of his own Five Deadly Venoms.

Here, Eureka Classics presents two of the Venom Mob’s best: The Daredevils and Ode to Gallantry. Set in Republic era China, The Daredevils follows Yang Ta-ying (Lo Mang) as he sets out to avenge his father, a military commander who was murdered in cold blood by Han Pei-tsang (Wong Lik), a thief-turned-soldier who killed Yang’s father - along with the rest of his family - to take control of his estate and his army. With the help of his friends Chen Feng (Chiang Sheng), Fu Quanyi (Lu Feng), and Xin Zheng (Sun Chien), he sets out for justice.

Then, in Ode to Gallantry, a lone martial artist nicknamed Mongrel is continually drawn into an intense struggle between several warring martial arts clans after he stumbles across the Black Iron Token, which entitles the owner to have any wish granted by Xie Yanke (Wong Lik), a brutal kung fu master.

After forming in 1978 for Five Deadly Venoms, the Venom Mob made over a dozen films with Chang Cheh that featured at least three of their number in starring roles. Filled with thrilling action set-pieces courtesy of some of the most talented martial artists to emerge in the 1970s, The Daredevils and Ode to Gallantry are two of the finest among them.

Blu-ray Verdict: First up is The Daredevils (1979) which may well be noticeably light on plot but makes it up with some wonderful Martial Arts choreography led by Lu Feng, Phillip Kwok, Chiang Sheng and Robert Tai Chi-Hsien.

It’s not as bloody for a Chang Cheh film but gun use is still prevalent in the film and so as much as it ell might be one of Cheh’s lesser-violent films of the 1970’s, it brings forth one of the rare instances where all of the Venoms are fighting in the same side/team. Plus, it was strange seeing Lu Feng in a sympathetic role, which was weirdly comforting.

Simply put, a gaggle of ragamuffin acrobatic buskers turn their talents towards spycraft and mayhem, helping a friend avenge his family against an evil wannabe General. And now I want to know, why isn’t buskers fighting crime a whole genre by now? I mean, this is the kung fu equivalent of the Globetrotters taking on the mafia, which obviously frickin’ rules!

The other film is Ode to Gallantry (1982) and is yet another film adaptation of Louis Cha Leung-yung (Jin Yong) Wuxia novels made by Chang Cheh. This one also stars Philip Kwok Chun-Fung in the lead once more, this time playing a dual role along with his Venoms costars Sun Chien and Chiang Sheng having very minor roles. Candy Wen has a fairly large female role but her character is quite annoying, in truth, sorry.

Moving on and with the movie ending with a vibrant swordfight between Chiang Sheng and Phillip Kwok, one that is just so good it almost makes up for almost everything slow that went before it, at close to ten minutes or so!

Overall, the story is interesting, the characters semi-memorable but the pacing, for me, was just off throughout, and yet the one thing that’s still fun are the various kung fu action scenes. Oh, and although it’s not bad but we have seen better from the Venoms, in my humble opinion.

Bonus Features:
Limited edition O-Card slipcase featuring new artwork by Chris Malbon [2000 copies]
1080p HD presentations on Blu-ray from masters supplied by Celestial Pictures
Original mono audio tracks
Optional English subtitles, newly translated for this release
Two new commentaries by East Asian film expert Frank Djeng (NY Asian Film Festival) and martial artist and filmmaker Michael Worth
Two new commentaries by action cinema experts Mike Leeder and Arne Venema
Deadly Venoms – new interview with Hong Kong cinema scholar Wayne Wong on the Venom Mob
A limited edition collector’s booklet featuring new writing by writer and critic James Oliver [2000 copies]

www.eurekavideo.co.uk

Overview: Rock ’n’ roll will never die, in this 1980s cult favorite that stars Marc Price (Family Ties) as Eddie Weinbauer, a teenage outcast who idolizes Sammi Curr (Tony Fields), a heavy metal superstar.

After Sammi dies a violent death, his spirit returns to help Eddie get even with his high school tormentors. In doing so, Sammi begins to gain control over Eddie’s life and brings him deeper into the world of the occult.

When Eddie realizes that he has become the tool of Sammi’s vengeance, he attempts to stop him, and the horrifying events that follow leave no one unscathed.

Blu-ray Verdict: Eddie Weinbauer (Marc Price), an awkward high school student, faces relentless bullying from the cool kids. Eddie retreats into his private world of heavy metal. When Eddie’s idol, Sammi Curr (Tony Fields), is killed, Eddie is beyond devastated. Things seem as bleak and dark as they can get - until Eddie begins hearing Sammi’s voice speaking directly to him on his latest album. It seems that Sammi doesn’t want to be dead. He wants Eddie to help bring him back to life, regardless of how many people have to die.

It’s difficult for me to explain my reasoning, but I’ve always found Trick or Treat an effective little horror film. For whatever reason, it creeps me out. It might be the demonic nature of the subject matter or Tony Fields’ incredibly effective performance or the atmosphere director Charles Martin Smith creates - I’m not sure. Whatever, this is a film that fills me with a real sense of unease.

Another big plus for me as far as the film goes is the performance of Marc Price. It’s hard to imagine Skippy from Family Ties giving a performance like this. You’d never know he was capable based on his time on television. He plays Eddie as a complicated, multi-layered character. He makes Eddie seem genuinely real. Whether it’s a scene where he’s being bullied or a scene where he’s defiant and confident with the strength he gets from Sammi, or a scene where he’s running scared, Price delivers. It’s just plain old good stuff throughout.

A couple of other things I’ll mention before I end this include the fact that Gene Simmons is fantastic. I’ve seen him do some other things, but here, he’s really good here. I can’t, however, say the same for Ozzy! Oh, and I also got a real kick out of seeing Elaine Joyce in the film as Eddie’s mother. She was always a favorite of mine from the 1970’s-era game-show circuit.

Featuring special appearances by Gene Simmons and Ozzy Osbourne, Trick or Treat marked the directorial debut of veteran actor Charles Martin Smith (Never Cry Wolf, Starman) and features a legendary soundtrack by Fastway.

Red Shirt Home Video and Synapse Films are proud to present this heavy metal horror classic in an all-new 4K restoration presented in Dolby Vision (HDR10 compatible) with a head-banging 5.1 surround sound mix and loaded with hours of supplemental material including multiple commentary tracks and a feature-length video retrospective! No false metal!

Bonus Features:
4K restoration from the original 35mm camera negative mastered in Dolby Vision (HDR10 compatible) and approved by Director of Photography Robert Elswit
Lossless English DTS-HD Master Audio of the original 2.0 theatrical mix and an all-new 5.1 surround sound mix
Audio commentary with director Charles Martin Smith, moderated by filmmaker Mark Savage
Audio interviews with writer/producer Michael S. Murphey and writer Rhet Topham, moderated by film historian Michael Felsher
Audio conversation with Paul Corupe and Allison Lang, authors of Satanic Panic: Pop-Cultural Paranoia in the 1980s
Rock & Shock: The Making of “Trick or Treat”
In The Spotlight: A Tribute to Tony Fields featuring interviews with the late actor’s family and friends
Horror’s Hallowed Grounds: The Filming Locations of “Trick or Treat” with Sean Clark
“After Midnight” music video
Theatrical Trailers, TV Spots and Radio Spots
Still Gallery featuring optional audio interview with still photographer Phillip V. Caruso
Vintage electronic press kit
Region free for worldwide playback
Limited edition O-Card slipcover, available on FIRST PRESSING ONLY!
Reversible Cover Art

Trick or Treat (1986) - Theatrical Trailer

www.synapsefilms.com

Overview: Reminiscent of Harold & Maude and Start the Revolution Without Me, this gentle comedy is the story of a man out of step with this world, marching to the beat of his own drum.

Quackser Fortune (Wilder) earns his living by following the horse-drawn delivery wagons of Dublin, scooping up the droppings and selling it as fertilizer. Margot Kidder is the American exchange student who finds herself drawn to this unlearned, but not unknowing man.

Blu-ray Verdict: For me, this film is a really odd and somehow compelling movie. Gene Wilder is an independent and none-too-bright guy in a working class Dublin family. He does quite a good job in the role. I never much liked him away from Mel Brooks, but I have to admit he was just right in this part. I’m no expert on the working class Dublin dialects, but he fooled my ear. I couldn’t even tell it was his voice!

Anyway, Wilder doesn’t want to spend his life working in a factory like his dad, so he creates a profession for himself. He follows the horse-drawn delivery wagons, shovels up the horse-dropping from the streets, and resells it from a pushcart, as fertilizer. (Get your fresh dung!) He loves this, the city loves him for it, and he is generally loved by everyone he meets along the way.

The problem is that the modern world is encroaching on the world he has built for himself; the horses are going to be shipped off to unpleasant fates, and Wilder has no skills to find another profession. He can’t even read or write.

Margot Kidder is the love interest of sorts, an adventurous American college student, and she was really college age (21) at the time it was filmed in Dublin, nearly a decade before she hit the big time as Lois Lane. She was very beautiful. Her character gradually seduces Quackser, and he thinks it’s love. For her it’s a frolic, which she regrets by the time they actually sleep together.

Just when things look bleakest for Quackser, without job or girl, there is a deus ex machina happy ending which spoiled for me an otherwise realistic and bittersweet movie. And yet, now here on beautiful Blu-ray via VCI, I still highly recommend a viewing of what is, for the most part, an incredibly impassioned film from back in the day. [S.P.]

Bonus Features:
Commentary track by Robert Kelly, artist, reviewer and film buff extraordinaire!
Restored original Theatrical Trailer

www.vcientertainment.com

Overview: A vegan-goth high school student falls in love with her new English teacher and develops a problematic taste for human flesh.

Heavily Influenced by the work of producer Lloyd Kaufman, filmmaker Liam Regan has lovingly crafted a Troma film for the 21st century, where teenage crushes and cannibalism collide in a gut-busting and gore-soaked, comedy horror film that pushes just about every boundary socially constructed.

Blu-ray Verdict: In truth, Eating Miss Campbell was actually the best of a bunch of Troma movies I have reviewed recently, not only in writing and story contents, but most certainly also in production value and most likely thus also in budget. This was actually a proper movie whereas the other Troma projects feel more like home video projects.

Anyway, the story line here in Eating Miss Campbell, as written by Liam Regan, was strange and bizarre, but in an oddly dark, twisted and entertaining manner. There are just so many really far out there things taking place throughout the 84 minutes that the movie ran for. I enjoyed it immensely and was genuinely entertained by the contents delivered within.

That said, I think that a movie such as Eating Miss Campbell is somewhat of a rather acquired taste and it is not one that will easily cater to everyone thinking of undertaking the cinematic/small screen experience.

The only two performers on the cast list that I was familiar with were Laurence R. Harvey and Lloyd Kaufman himself. However, leading actress Lyndsey Craine really carried the movie quite nicely with her performance as Beth Conner. Visually, I will say that the effects in the movie were quite good also, with a fair amount of visceral graphic effects, which I definitely enjoyed.

Featuring a cast of genre favorites including LAURENCE R. HARVEY (The Human Centipede 3: Final Sequence), LYNDSEY CRAINE (Book of Monsters), VITO TRIGO (My Bloody Banjo), JUSTIN A. MARTELL (Shudder’s The Last Drive-In) and LLOYD KAUFMAN (The Toxic Avenger) with an original score composed by Academy Award®-winner JOE RENZETTI (Child’s Play, Poltergeist III and Frankenhooker). [P.H.]

Bonus Features:
7 Days of Hell: Making of Documentary
Audio Commentary
Deleted Scenes
Outtakes
Gore Reel
Raw B-Roll
Cast Interviews
FrightFest Premiere
1 Hour of Raw BTS Footage
VFX Reel
Introduction from Lloyd Kaufman
Troma Trailers
Radiation March
Easter Eggs

www.troma.com

Overview: As their popularity waned in the US, the hardboiled genre remained hugely popular and relevant throughout the 1960s and 70s in France, thanks to the successful Serie Noire imprint and a succession of new translations.

In Alain Corneau’s early films, he sought to continue the noir tradition in his native France, and was both directly and indirectly inspired by titans of hardboiled genre, including Kenneth Fearing and Jim Thompson.

A heady combination of classic noir and 70’s grit, these three darkly thrilling films are vastly underrated and important works in the canon of crime cinema.

In Police Python 357, Yves Montand (The Wages of Fear) plays a tough cop who, when his lover is found murdered, finds himself implicated in her death and in a battle of wits with a powerful rival, in the second screen adaptation of Kenneth Fearing’s The Big Clock.

Serie Noire adapts Jim Thompson’s A Hell of A Woman to the banlieues of Paris: in an astonishing performance, Patrick Dewaere (Themroc) attempts to save a young girl from prostitution, with murder the only solution.

In Choice of Arms, Yves Montand heads an all-star cast, including Catherine Denueve and Gerard Depardieu, as a former crook pulled out of retirement when a gang on the run turn to him for shelter after a prison break.

Blu-ray Verdict: Up first is Police Python 357 (1976) and is an absolute masterpiece of French Noir. Like an existential take on Dirty Harry filtered through middle-aged guy angst who have access to big pistols, it also comes complete with a love story, before transforming into a rather paranoia-fueled thriller which then becomes a descent into Hong Kong-style violent whiplash madness!

I mean, the byzantine last act is worth the price of admission alone! Good lord, what an incredible rush this film is, and sure, as much as there must be a better way to beat a police line-up than scarring your face with acid, overall the WTF ending beats anything I have seen cinematically over the past five decades!

Then we get A Hell of A Woman (1979) brought forth Patrick Dewaere, who gives one of the most energetic and insane performances I’ve ever seen. He’s like a cross between Vincent Cassel and Jim Carrey. He’s on a completely different wavelength than everyone else, which works for the character because he’s a completely delusional and terrible con man.

This is a really twisted, disturbingly funny neo-noir that feels like a more abstract Coen brothers film. My only real issue with it is that it meanders a bit and some scenes go on for too long (this really could’ve been like 90 mins) but luckily it’s so weird, surprising and engaging throughout. Really it’s just worth watching for Dewaere alone, he’s insane and completely captivating!

Also Marie Trintignant looked exactly like her dad, it so that was a little distracting, but that aside, most films lock us with the protagonist. We don’t see the world by the eyes or the words of another character. We are stuck with whoever was chosen to be the protagonist.

But here, and whilst we get a similar viewpoint, for the most part what we view is an uneasy film, sure, but if you love noir, and especially if the fiction of Jim Thompson has ever struck a chord with you, this is an unmissable landmark. Oh, and Patrick Dewaere gives a fantastic performance that will stay with you for a long while after.

Lastly we get brought forth Choice of Arms (1981), a beautiful French crime film from writer/director Alain Corneau in which the basic story concerns Noël Durieux (Yves Montand), a middle aged former gangster, who has retired to a substantial horse stud outside Paris where he breeds thoroughbreds with his wife Nicole (Catherine Deneuve).

When Serge (Pierre Forget), a former member of Noël’s gang, is wounded in an escape from prison with a younger protégé, Mickey (Gérard Depardieu), they head for Noël’s estate. Mickey has poor impulse control (he shot and killed a policeman during the escape) and is quick to anger. When he threatens Noël and shoots up a dinner party on the estate, Noël reassembles his old gang to track down and eliminate the threat Mickey poses.

The mirroring between the gangsters and the police is one of the fascinating elements in the film. In the same way that Noël falls back on his old gang, who come immediately when he calls when he is threatened, Mickey calls on his gang from before his imprisonment to protect him from Noël and the police.

There is a generational divide between Noël and his “gentlemen gangsters” and Mickey and his street punks for whom extreme violence is a first resort and hard drugs interfere with gang loyalty norms. The sub-plot involving Karine (Karine Lenoir), a big-eyed three year old poppet, skated perilously close to cloying sentimentality but is forgivable because she shows another side of Mickey’s complex psychology and because the end of her story arc provides a common point between Noël and Mickey.

Bonus Features:
High-Definition digital transfers, presented on three discs
Uncompressed mono PCM audio for each film
Audio commentary by Mike White on Police Python 357
Maxim Jakubowski on Police Python 357’s source novel and adaptation (2024)
Archival interview with Alain Corneau and François Périer about Police Python 357 from Belgian Television (1976)
Série noire set interviews with Alain Corneau, Patrick Dewaere and Miriam Boyer from Belgian Television (1981)
Série noire: The Darkness of the Soul - An archival documentary featuring cast and crew on the making of the film (2013, 53 mins)
Archival interview with Alain Corneau and Marie Trintignant about Série noire (2002, 30 mins)
A visual essay about Jim Thompson adaptations for the screen (2024)
Introduction by documentary filmmaker Jérôme Wybon (2024)
Shooting Choice of Arms - interviews with the cast and crew including behind-the-scenes footage (1981)
Interviews with Deneuve, Montand and Depardieu from the set (1981)
Interview with Manuela Lazic on Yves Montand in the 1970s (2024)
Trailers
Optional English subtitles for each film
Reversible sleeve featuring designs based on original posters
Limited edition 80-page booklet featuring new writing by Charlie Brigden, Andrew Male, Nick Pinkerton, Travis Woods, and newly translated archival interviews with Alain Corneau
Limited edition of 2500 copies, presented in a rigid box with full-height Scanavo cases and removable OBI strip leaving packaging free of certificates and markings

www.radiancefilms.co.uk

Overview: Leigh Whannell brings a dark new twist to one of Universal’s most iconic monsters in WOLF MAN, available to own or rent on Digital February 4th, 2025 and on 4K UHD, Blu-ray and DVD March 18th, 2025 from Blumhouse (The Black Phone, Halloween franchise) and Universal Pictures Home Entertainment.

From Blumhouse and the director of The Invisible Man comes a modern take on the classic monster story, WOLF MAN. Seeking a fresh start, Blake moves his wife Charlotte and daughter Ginger to his childhood home in rural Oregon. Upon arrival, they encounter a brutal animal attack, forcing the family to barricade themselves inside the house as an unseen creature prowls the perimeter.

As the night wears on, Blake’s injuries worsen, and his bizarre behavior turns monstrous. To protect her daughter, Charlotte must decide whether to confront the danger outside or the growing horror within.

4K UHD Blu-ray Verdict: Universal Pictures is expanding their 4K Ultra HD Blu-ray catalog offerings this month with the release of the highly-anticipated Wolf Man (4K Ultra HD + Digital) in the expansive 4K Ultra HD video format this March 18th, 2025.

For my money, this Wolf Man (4K Ultra HD + Digital) sharpness takes a fairly large step forward from others in their 4K Ultra HD catalog and even comes with HDR (High Dynamic Range) for the complete 4K Ultra HD experience, of course.

So, what we have is Wolf Man presented to us as a one-disc with a sheet for a Digital HD Copy. Codec: HEVC / H.265, Resolution: 4K (2160p), HDR: HDR10 and Original aspect ratio: 2.39:1.

Featuring Dolby Vision and HDR10 for brighter, deeper, and way more lifelike colors, as with most all 4K UHDs, everything that we watch features these qualities - but somehow, this film gloriously shines within them all.

Noticeably crisp with the overall clarity receiving an obvious boost here on this release, what is more is that it is enjoyably noticeable. For as well as some new nuances to the somewhat drab palette courtesy of Dolby Vision, we also get to witness sudden bright pops of color, which makes the eyes draw in, for sure.

One of those moments is the werewolf fight between Blake and the other creature and is therefore one of the more brutal sequences in the film, blending together intense action with a clue towards the true brutality of the creatures. While Blake has been transforming for a while by this point in the film, he’s remained largely in control of himself. Even flashes of his rage are tempered by the character pulling back and trying to leave his family alone. However, this creates an opening for the other werewolf to blindside him, setting up a brutal fight in the house.

Also, while many elements of Blake’s transformation into a werewolf are scary throughout Wolf Man, the most frightening examples of this in the entire film comes after Blake murders his father. Retreating outside, Blake’s transformation goes further as he loses his fingernails, dislocates his jaw, and morphs under his own skin into a new, more animalistic state. This is arguably the most memorable moment in the entire movie, an example of classic body horror brought to unnerving life.

As for the audio, well we get the choice of: English: Dolby Atmos, English: Dolby TrueHD 7.1 (48kHz, 24-bit), French: Dolby Digital Plus 7.1 and Spanish: Dolby Digital Plus 7.1.

Overall, this is a very strong 4K HDR Blu-ray presentation, and, for the most part, the audio track remains fairly similar to its DTS-HD counterpart; with much of the action occupying the surrounds with outstanding directionality and placement where effects flawlessly pan between the sides and rears.

As for the film itself, well, Leigh Whannell’s Wolf Man delivers a compelling and visually arresting revival of Universal’s iconic monster. Known for his work in The Invisible Man, Whannell once again proves he understands how to reinvent classic tales with a modern touch, making Wolf Man a solid addition to Universal’s modern monster universe.

The cast shines throughout. Julia Garner, already stellar in Ozark, cements herself as a scream queen with her captivating performance. Her character’s vulnerability and determination ground the supernatural events in emotional reality. Christopher Abbott, tasked with portraying Blake’s transformation into the Wolf Man, brings a raw physicality to the role, delivering both emotional depth and visceral intensity.

His transformation scenes are one of the movie’s highlights, visually stunning and steeped in tension. The attention to the sound design during the transformation adds a deeply unsettling layer, making the process feel almost tangible.

Special praise goes to Matilda Firth, whose natural performance stands out. Despite being a younger actress, she avoids overacting and brings an authentic charm to her role. Her ability to convey emotion with subtlety makes her one of the film’s quieter yet more impactful presences.

One of the most inventive aspects of the movie is its approach to the werewolf howl. Whannell avoids the trope of the stereotypical wolf cry and instead delivers a howl that’s unique-haunting and primal in its originality. The score, composed with precision, complements the atmosphere perfectly, ratcheting up the tension in key moments without ever overwhelming the visuals.

However, not all elements land as well. The film attempts to add layers of sentimentality by revisiting locations and scenes. While this works in some instances to create emotional resonance, at times it feels forced, disrupting the film’s otherwise steady pacing. When these moments hit subtly, they add depth, but when overemphasized, they can feel a bit heavy-handed.

Overall, Wolf Man is a worthy successor to Whannell’s The Invisible Man, proving that Universal can still breathe new life into their monster catalog. The film demonstrates how classic tales can be modernized without losing their haunting allure. It’s also a strong reminder of what The Mummy reboot in 2017 failed to accomplish - a story that’s intimate, personal, and truly terrifying.

For fans of psychological horror and gripping monster reimaginings, Wolf Man is a howl worth hearing!

BONUS FEATURES on DIGITAL, 4K UHD, BLU-RAYTM AND DVD:
UNLEASHING A NEW MONSTER – Explore Leigh Whannell’s dark and gritty take on one of horror’s most iconic monsters. Learn what inspired the visionary director to create this tragic tale of family, loss, and a night of absolute terror
DESIGNING WOLF MAN – Director Leigh Whannell and prosthetic designer Arjen Tuiten, set out to create a Wolf Man unlike any seen before. Take a closer look at the conceptual designs, sculptures and prosthetic make-up that aided in the creation of a monster that stays with you long after the credits roll
HANDS ON HORROR – Strap in for a breakdown of the film’s most thrilling action sequences. Cast and crew discuss how practical effects enabled them to capture raw and realistic performances of the most terrifying, heart-pounding scenes in the film
NIGHTMARES AND SOUNDSCAPES – Transition into Blake’s perspective and witness the world through the eyes of an animal. Learn how sound design and VFX came together to highlight the enhanced hearing, vision, and complete abandonment of humanity that materialized during the transformation from Man to Wolf
FEATURE COMMENTARY WITH DIRECTOR/CO-WRITER LEIGH WHANNELL

WOLF MAN contains over 30 minutes of behind-the-scenes content, including a peek at the terrifying Wolf Man transformation, breakdowns of the gnarly action & scares scenes throughout the film, and much more! WOLF MAN is directed by horror-acclaimed filmmaker Leigh Whannell, and stars Christopher Abbott (Poor Things, It Comes At Night), Julia Garner (“Ozark”, “Inventing Anna”), Sam Jaeger (“The Handmaid’s Tale”), Matilda Firth (“Hullraisers”), Ben Prendergast (“The Sojourn Audio Drama”) and Benedict Hardie (The Invisible Man).

Wolfman | Official Trailer | Universal Pictures

Official Wolfman Website