THE GHOST BREAKERS - BLU-RAY REVIEW

Following their successful pairing in the previous year’s THE CAT AND THE CANARY (Eliott Nugent, 1939), stars Bob Hope and Paulette Goddard returned in George Marshall’s THE GHOST BREAKERS (1940), an undemanding yet quintessential horror-comedy. Brimming with perfectly-timed, zippy one-liners, Hope is at his comic best in this good-natured romp, which also doesn’t skimp on genuine scares and eerie atmosphere. 

 

After incensing local underworld boss Frenchy Duvall (Paul Fix) over the radio, popular gossipmonger Larry “Radio” Lawrence (Bob Hope) is sent for, so Frenchy can (quote) “give it to him straight.” In the ensuing mix-up, Larry mistakenly believes he may have shot one of Frenchy’s men in self-defense and ends up hiding inside a steamer trunk belonging to Mary Carter (Paulette Goddard), who is bound for Cuba. Having inherited Black Island and Castillo Maldito, its supposedly haunted castle (“Death waits for you on Black Island!”), it seems Mary’s inheritance also interests several other individuals, including the mysterious Medero brothers (Anthony Quinn) and Mr. Parada (Paul Lukas), whose (quote) “peculiar reputation” also comes into question. Upon her arrival, Mary also meets up with old friend Geoff Montgomery (Richard Carlson), who also warns her of this cursed island. Thus, in return for helping him out, Lawrence and his trusted valet (Willie Best) try and prevent some potential—and very real—threats pointed her way. 

 

In Lee Gambin’s informative audio commentary, he addresses the inherent issues with horror comedies and praises this film’s (quote) “finely acute balance” between the two genres, which is indeed one of the film’s major strengths. Despite all of Hope’s witty remarks and self-deprecating humour (“If there’s going to be any hysterics around here, I’ll have ’em!”), his quick-talking personality also reveals a subtle optimism and self-confidence, which plays well next to Goddard’s equally-strong character, Mary Carter. Holding her own among several deceptively suave swindlers vying to get at her potential inheritance, she proves to be as every bit resourceful as her male counterparts. At one point, against Geoff’s best advice, she makes her way to Black Island by herself, swimming to shore in the dead of night after her boatman refuses to dock his boat there.

 

Talented African-American character actor Willie Best is also on hand. Although his appearance herein is relegated to a stereotypical role as Lawrence’s dim-witted servant, he commits himself sincerely to the part, ultimately coming across as the shrewdest of the whole bunch. Despite some of the colourful (no pun intended!) and cringe-worthy digs aimed at him (e.g., “You’re like a blackout in a blackout!”), Best’s character emerges with a (as pointed out in Mr. Gambin’s audio commentary) “quiet dignity” thanks to some quietly subversive writing, which helps transcend this potentially benign and problematic role into one of the film’s most memorably noteworthy.

 

While THE GHOST BREAKERS is first-and-foremost a comedy, it also displays an astute usage of horror tropes with its atmospheric island setting (beautifully rendered via Farciot Edouart’s matte paintings) and in the impressive art direction of the castle set itself. This delightfully decadent haunted house comes complete with creaking doors, cob-webbed coffins, apparitions, and even mother-and-son zombies (Virginia Brissac and Noble Johnson, respectively) that function as the castle’s creepy caretakers; all of which modulate in harmony with the film’s lighthearted comedy elements.

 

Readily available on home video since the early ’Nineties on both VHS videocassette and Laserdisc, THE GHOST BREAKERS made its digital bow in 2002 when it debuted on DVD as part of Bob Hope: The Tribute Collection. While that edition was perfectly adequate for the time, Kino Lorber Studio Classics’ new Blu-ray is a major upgrade indeed. Sourced from a (quote) “brand new 2K master”, Kino’s transfer is a marked improvement over its SD counterparts, with better clarity and detail across the board. Black levels still tend to vary a little here and there, but it’s certainly nothing to complain about. Fans of the film should be more than happy with the work Kino have done here. Given the film’s age, the DTS-HD Master Audio 2.0 is also perfectly fine, not exhibiting any real issues, such as hiss and/or crackles and whatnot.

 

The most significant extra here is the aforementioned audio commentary by Lee Gambin, who has plenty to say about the film, its performers, and numerous crew involved in the production. Some of the many topics discussed include George Marshall’s 1953 remake SCARED STIFF (co-starring Dean Martin and Jerry Lewis), the (quote) “trick photography” of Farciot Edouart, and how this film served as the inspiration for Ivan Reitman’s GHOSTBUSTERS (1983). Despite it being a zany comedy, Gambin is quick to point out that THE GHOST BREAKERS (quote) “never loses its sense of urgency” and “lays down a lot of ground for things to come” within the horror genre. Of course, Mr. Gambin seizes the opportunity to also talk about many of its connections to other films and genres, allowing him to go off on numerous interesting tangents. Like the film itself, it’s a breezy, entertaining, and informative listen. Other extras include an episode of Trailers From Hell with writer Larry Karaszewski championing the film, the original theatrical trailer (“Ghost Breakers Incorporated. You make ’em! We shake ’em!”), and several trailers from the Kino Lorber Studio Classics library, which are, one way or another, associated with the present title. 

 

Highlighted by the spot-on comic-timing of Bob Hope, THE GHOST BREAKERS amounts to one his funniest films and is a consistently entertaining crossover of obvious appeal to both fans of American film classics and straight-ahead horror movies. Needless to say, Kino’s new Blu-ray is an absolute must! Order it from Kino or Amazon.

CANNIBAL APOCALYPSE - BLU-RAY REVIEW

“What I’d like to know is, what this is all about, this contagious cannibalism or whatever you call it?!” asks one of the many confused characters in “Anthony M. Dawson” / Antonio Margheriti’s CANNIBAL APOCALYPSE (1980), an entertaining—albeit harebrained!—hybridization of Vietnam-themed war pictures and Italian cannibal gut-crunchers. Notwithstanding the film’s heavily-marketed horror tropes and extravagant bits of über-violence, Margheriti’s film is, first-and-foremost, a briskly-paced action flick, one that doesn’t even attempt to inject any real pertinent ‘social commentary’ on the lingering aftereffects of the war. In what might possibly have been lost in the transition from script to screen, the film even brushes-off the epidemic of cannibalism as the fault of some virulent strain of rabies, in-part caused by a (quote) “biological mutation due to a psychic alteration” (!?!?), which is about as vague and unconvincing an explanation as you can get. Nevertheless, Margheriti understands his target audience and provides them (i.e., us!) with plenty of no-frills action and memorably over-the-top violenza. So, in that respect, at least, it succeeds admirably.

Noteworthy for its oft-censored splatter scenes—executed with panache and pizzazz by Italo gore guru Gianetto De Rossi—CANNIBAL APOCALYPSE first became available in the U.S. and Canada via Vestron Video’s bowdlerized 1984 Beta / VHS videocassettes as INVASION OF THE FLESH HUNTERS (“There are some things worse than death…”), which is just one of the film’s many alternate titles. Prior to Image Entertainment’s uncut, extras-laden 2002 DVD edition (as part of their pioneering Euroshock Collection), the best—and possibly only—way to appreciate the film during those days of analog antiquity was through Pack-In Video’s uncut Japanese VHS tape. But thanks to Kino Lorber Studio Classics’ substantial licensing deal with Studio Canal, CANNIBAL APOCALYPSE finally gets a truly superb HD upgrade, and comes with a whole gutful of worthy extras to boot.    

Capt. Norman Hopper (John Saxon) is a decorated ’Nam vet who—no thanks to being left severely shell-shocked from combat duty (a condition that would nowadays be diagnosed as Post-Traumatic Stress Disorder, or PTSD)—is suffering from a number of all-too-real nightmares, all of which involve Charlie Bukowski (“John Morghen” / Giovanni Lombardo Radice) and Tommy Thompson (Tony King), a pair of soldiers from his former unit who, after being cruelly starved whilst kept in captivity as POWs of the ’Cong, were forced to resort to cannibalism for sustenance. Presently about to get his first leave out of the (quote) “booby hatch”, Bukowski attempts to reconnect with his former captain, but Hopper is reluctant to meet him, as he too is beginning to feel the same inexplicable cannibalistic urges his former comrades-at-arms had experienced during the war; a fact which becomes readily apparent during one of the film’s more uncomfortable scenes, when his pubescent next door neighbours’ daughter Mary (“Cindy Hamilton” / Cinzia De Carolis) comes to visit him. Of course, Bukowski’s compulsion for human flesh inevitably gets the better of him when he takes a bite out of a girl at a movie theatre. This inappropriate ‘snack-attack’ not only causes the expected panic, but leads into a lengthy stand-off with the fuzz when he holes-up at a local flea market. At the behest of cantankerous Captain McCoy (Wallace Wilkinson), who is full of memorably tacky one-liners (e.g., “He’s gonna be singin’ through his asshole when I get through with him!”), Hopper tries to negotiate with Charlie. As he too succumbs to the ‘virus’, however, he eventually finds himself ‘reunited’ more than ever with his former unit, who cause further havoc for the local populace before escaping into the city sewers for a final bloody showdown… 

As with most Italian horror movies of the period, Margheriti and screenwriter “Jimmy Gould” / Dardano Sacchetti pinch ideas from a wide variety of filmic sources, including David Cronenberg’s far-more-apocalyptic RABID (1977) and George A. Romero’s hugely-influential DAWN OF THE DEAD (1978). The grim fatalism of Richard Compton’s WELCOME HOME SOLDIER BOYS (1971) is also recalled, and, for the film’s typically-plagiaristic Italian marketing campaign, it was cheekily titled APOCALYPSE DOMANI (“Apocalypse Tomorrow”) in reference to Francis Ford Coppola’s APOCALYPSE NOW (1979). Heavily reliant on its cast to inject any real substance into its half-baked scenario, the film’s headlining name, the ever-dependable John Saxon adds a great deal to the proceedings as the tormented Vietnam veteran trying to come to grips with his affliction. At the same time, the seasoned ‘tough guy’ actor delivers all the necessary machismo required by the part as well. In what also amounts to one of his stronger roles, fan favourite “John Morghen” goes way off the deep-end herein, allowing viewers to savour his always-entertaining oddball charisma, whereas Tony King (who went on to appear in Margheriti’s more faithful APOCALYPSE NOW rip-off THE LAST HUNTER [1980] alongside David Warbeck) provides plenty of abrasive shouting and grinning as the psychotic, shotgun-blasting Tommy. Also along for the ride is a newly-contaminated nurse (May Heatherly), a female cast inclusion which nicely completes the film’s obvious homage to DAWN OF THE DEAD. 

Shot in Atlanta, Georgia during the winter of 1980, CANNIBAL APOCALYPSE tries its absolute darnedest to hide its Euro origins. Atypically for an Italian/Spanish co-production, much of it was shot using direct sound for all the film’s English-speaking actors, whereas a number of European bit players are either hiding behind anglicized pseudonyms or go completely uncredited. Far outweighing its apocalyptic ambitions, Margheriti nonetheless energizes things with a number of economic-but-enthusiastic action sequences, including the opening Vietnam-set skirmish and a rather intense, impressively-staged climax down in the sewers of Atlanta which also includes a bravura gory set-piece, which was extensively highlighted in much of the film’s promotional materials.

Here making its worldwide HD debut, CA comes to Blu-ray in a (quote) “brand new 4K restoration”, which is pin-sharp and quite stunning (barring some of the conspicuously mismatching stock footage used during the opening credits). While much of the film does have a somewhat nondescript ‘TV’-style look to it, Spanish DP Fernando Arribas nevertheless manages to convey some notable atmosphere, that is especially evident in the finale’s catacomb-like sewer system, which almost makes it seem like one of Margheriti’s earlier Gothic horror entries. The DTS-HD 2.0 master audio track on the whole also sounds excellent, but keen listeners will notice an uptick in audio fidelity during many of the film’s direct sound recordings, whereas Alessandro Blonksteiner’s wholly unique score, which blends plenty of enthusiastic saxophone and ’Seventies-style pseudo-funk into a heady mix, plays well in juxtaposition with the schizophrenic storyline. 

For Kino’s new Blu-ray, author and film historian Tim Lucas provides a brand-new audio commentary, which is full of his usual detail and insight into many of the film’s personnel, production, locations (including rural Manziana, Italy, which doubled for Vietnam [!!!]), and many of its very loose connections to its filmic sources, including a missed opportunity to make a closer, more coherent variation of Coppola’s legendary ’Nam film. He also discusses how script-scribe Sacchetti became involved in the film and his excitement to (quote) “conflagrate” genres, and in the case of said film, brought everything together in a (quote) “timely collision of impressive influences”, including the surprise ending, which resembles a certain Mario Bava classic. Of course, he also discusses Margheriti’s career at length and how well-liked he was by everyone involved.  It’s yet another excellent, well-researched commentary that not only comes highly-recommended, but is actually the highlight of Kino’s new Blu-ray. In Cannibal King (10m01s), the disc’s other newly-produced extra, actor Tony King discusses his career with an equal amount of nostalgia and delight at the opportunities that were presented to him from the very beginning via a small walk-on role in Jerry Schatzberg’s THE PANIC IN NEEDLE PARK (1971), and his eventual migration to Rome later in the decade.  

For those of you of who own Image’s long-out-of-print Image DVD, there’s no need to fret, as Kino have thoughtfully included all of that disc’s extra features as well. For the record, these include the retrospective documentary Cannibal Apocalypse Redux (54m11s), featuring interviews with Margheriti, Saxon and Radice; a brief tour of the film’s Atlanta locations (6m40s), the alternate opening title sequence (taken from Vestron’s old VHS tape); the lively theatrical trailer (sourced from Venezuelan VHS, which includes burnt-in Spanish subtitles as SOBREVIVIENTES DEL APOCALYPSIS / “Survivors of the Apocalypse”), and a very cool Japanese teaser trailer. The disc also includes trailers for some of Kino’s other available horror films as well as reversible artwork, which also features some of CA’s rather deceptive, zombie-like artwork. Order it from DiabolikDVD or for you Canadian readers, Suspect Video.

HIGH-BALLIN' - BLU-RAY REVIEW

Choice voiceover (by star Jerry Reed) from A.I.P.’s easygoing trailer: “Shift over to the fast-lane, brothers and sisters, and see this story of two throttle-jockeys who get into it up to their eyeballs, in HIGH-BALLIN’!”

Although produced hot on the heels of Hal Needham’s commercial super-smash SMOKEY AND THE BANDIT (1977) and co-starring Jerry Reed as yet another amiable hard-rollin’ truck driver, Peter Carter’s Canadian-lensed HIGH-BALLIN’ (1977) actually has more in common with Jonathan Kaplan’s WHITE LINE FEVER (1975), an earlier, pre-SMOKEY pedal-to-da-metal trucker flick starring Jan-Michael Vincent, which, like HIGH-BALLIN’, likewise played with the classical mythology of American westerns, albeit replacing horseflesh with big rigs. Co-produced by American International Pictures (AIP) at the tail-end of their rich cinematic history, this consistently-entertaining film has languished far too long in the video graveyard, so kudos to Kino Lorber’s Studio Classics imprint for giving it a brand-new HD overhaul.

In their bid to take control of every trucker in the area, King Caroll (Chris Wiggins) owner of the all-powerful trucking cartel King Caroll’s Cargo, orchestrates a series of rig hijackings to coerce and intimidate all the local drivers into joining his ever-expanding monopoly. One of the last remaining ‘independents’, “Iron” Duke Boykin (Jerry Reed), is at first propositioned far more cordially when he’s offered (quote) “good buck and security”, but when he and his long-time friend Rane (Peter Fonda), a drifter and former trucker himself, refuse to join, they become the targets of an attempted hijack during a routine transport job, which not only results in some impressive vehicular mayhem, but enrages King Caroll and his silent, even-more-unscrupulous partner Harvey (David Ferry) no end.

Much like George Stevens’ iconic western SHANE (1953), Peter Carter’s film also incorporates many of that film’s plot structure and themes while still maintaining plenty of gear-jammin’ trucker action and CB radio jargon. Essentially reprising Alan Ladd’s role as Shane (here renamed the soundalike “Rane”), Peter Fonda acquits himself well as the enigmatic drifter (it’s also alluded that he was a stuntman) who is first introduced riding into town on a motorcycle. Just like in any western, he promptly visits Duke at the local truck-stop greasy spoon (i.e., saloon) wherein he gets hassled by local shitkickers about his leather biker boots (“I’ve never seen anybody but fags wear boots like that!”). Rane quickly proves his mettle against the rowdies with a handy pair of tire-irons, however. Stubbornly holding-out as long as he can as an independent despite his colleagues being picked-off by King Caroll’s men like (quote) “flies”, Reed just about steals the show right out from under Fonda’s fancy boot-wearing feet in his reinterpretation of Van Heflin’s role as the put-upon rancher from the aforementioned Stevens film; in yet another similarity, even Duke’s son (Christopher Langevin), who is aptly nicknamed “Tanker” here, also has plenty of admiration for Rane (“I bet you go everywhere! I bet you’ve seen the whole world!”) just like little Joey (Brandon DeWilde) had been in complete awe of Alan Ladd’s iconic Shane character. In an early role for Canadian actor David Ferry, he oozes all the appropriate slime from every pore as King Caroll’s ‘muscle’ and hired gun, and, fittingly enough, just like Jack Palance’s merciless gunfighter in SHANE, is also dressed in black, which properly – if heavy-handedly – accentuates the film’s darker side. Also along for the ride is ‘Pickup’ (Helen Shaver), an oddly-sketched wannabe trucker / groupie named after her decked-out GMC pickup camper, which even comes complete with a modified truck exhaust system. On more than one occasion, she comes to the rescue of either Rane and/or Duke, and, befitting the alternate implications of her CB handle, Pickup is also referred to as the (quote) “mobile beaver”. 

Although ostensibly taking place in the United States (at one point Duke is seen wearing a jacket emblazoned with a U.S. Mail emblem, and at another he off-handedly mentions transporting a shipment to Green Bay, Minnesota), the film’s Canadian origins are highly apparent here: including numerous lingering shots of Ontario license plates and views of Toronto’s most-famous landmark, the CN Tower, from the now-long-gone and since-heavily-redeveloped TO waterfront; further establishing the film’s Cancon (“Canadian content”), Canuck actors Harvey Atkin and Les Carlson also appear, as does a pre-fame Michael Ironside in a blink-and-you’ll-miss-him bit part. Despite being nicely shot by prolific French-Canadian DP René Verzier, who had also honed his camera chops on such Canadian classics as David Cronenberg’s RABID (1977) and Peter Carter’s extraordinary RITUALS (1977), to name just a few, HIGH-BALLIN’ isn’t the prettiest film to look at, but Verzier’s cinematography really captures our bitterly cold and wet Ontario winters perfectly with its barren trees and slushy, snow-covered roads; you can just about feel the chill deep in your bones! 

Difficult to see for many years outside of its 1983 Vestron Video Beta / VHS videocassette release, HIGH-BALLIN’ easily rates a “big 10-4” on Kino’s new Blu-ray, which was taken from a (quote) “brand new 2K master” and far eclipses any version seen before it. Everything is far sharper and much better-balanced, with excellent detail throughout, even during many of the film’s darker scenes, which had been especially problematic on Vestron’s murky old VHS tape. The DTS-HD Master Audio 2.0 also sounds clean and well-captured, especially during all of the film’s obligatory CB chatter, which includes all sorts of colourful handles (e.g., “Bruiser Cruiser” and “Spud Rancher”). Extras are limited to the film’s aforementioned theatrical trailer (2m56s), some radio spots (1m30s) plus trailers for some of Kino’s other titles, which feature either Peter Fonda, Jerry Reed, Helen Shaver or more 18-wheelers. Dare I say… “Keep on truckin’!”

While it may lack the driving dynamism of WHITE LINE FEVER or SMOKEY AND THE BANDIT, it’s all handled convincingly enough and never fails to entertain, plus it also features one of Jerry Reed’s funkiest, foot-stomping C&W theme songs. Recommended! Order it from DiabolikDVD.

STREET PEOPLE - BLU-RAY REVIEW

In an interview with Stacy Keach included on Kino Lorber’s new Blu-ray disc, the film’s co-star describes Maurizio Lucidi’s STREET PEOPLE (1976) as (quote) “escapist entertainment”, which is most certainly an apt assessment of the film, whose main drawing card was—and still is—ex-Saint portrayer Roger Moore, who had, at that time, been enjoying newfound re-fame as the latest James Bond. Based on a story penned by no less than six writers, including Italian director Maurizio Lucidi and Randall Kleiser (future director of GREASE [1978] and THE BLUE LAGOON [1980]), the film also evokes interest thanks to co-screenwriter Ernest Tidyman, whose scripts for both William Friedkin’s THE FRENCH CONNECTION (1971) and Gordon Parks’ SHAFT (1971) really put him on the map as a bankable writer. Although STREET PEOPLE never reaches the heights of those two undisputed American classics, this predominantly-Italian production shot on location in and around the San Francisco bay area enjoyed a healthy presence on home video during the ’Eighties thanks to Vestron Video’s prolific VHS / Beta videocassettes, which, without fail, turned up in virtually every video rental outlet during that time.  

In what seems like an unlikely casting choice, Roger Moore stars as Ulysses, an English-educated Sicilian lawyer working for his uncle Don Salvatore “Sal” Francesco (Ivo Garrani), a powerful mob boss living in Frisco. In his attempt to do (quote) “something nice” for the workers of his fishing fleet, their padrone Don Francesco imports a massive, hand-carved wooden crucifix from his childhood church in Sicily. Welcomed into the U.S. by Bishop Francis “Frank” Lopetri (Ettore Manni), this seemingly altruistic tribute, unbeknownst to both Frank and Sal, proves to be an insidious Trojan horse when they discover that its hollow interior has been stuffed with over (quote) “one million dollars of dope” that has been secretly smuggled into the country by Luigi Nicoletta (Fausto Tozzi), Panos (Pietro Martellanza) and Fortunato (Romano Puppo). Frank is certain that Uncle Sal is responsible for this sacrilege against the Roman Catholic church, for which he has been appropriately vilified (“Filthy excuse of a man!”) and excommunicated, so, with the official blessing of the boss of bosses, Don Giuseppe Continenza (Ennio Balbo), the local criminal underworld attempt to clear his name (“I want the punk who pulled this on me!” remarks Sal). Of course, much like his secretive cinematic alter-ego (i.e., codename: 007), Moore as Ulysses also turns out to be working double-duty as the organization’s ‘man’ (hence the film’s original Italian shooting title, UOMO DEL’ORGANIZZAZIONE) and, with the help of his street-savvy racing car driver friend, Charlie (Stacy Keach), he is entrusted by Don Continenza to solve this betrayal...   

The film is generally well-made and well-acted, and both Anglo name-stars seem to be enjoying themselves throughout. Despite their woefully-underwritten roles, Moore’s and Keach’s onscreen camaraderie is undeniably palpable. While the former’s odd casting has raised plenty of contention, Moore actually fares pretty well, all things considered and, in a few scenes, he even gets to show off his upper crust British-accented Italian lingo. As Ulysses, Moore provides the film’s emotional core, as his character tries desperately to clear his uncle’s name, even if Frank does think otherwise, some of which is periodically portrayed in a Sergio Leone-styled wistful flashback, which also comes complete with a memorable Morricone-like score, courtesy of Luis Enríquez Bacalov. Here playing the hyper-animated, thrill-seeking Charlie, Stacy Keach’s hip performance as the self-styled go-getter is perhaps one of the film’s greatest assets. He plays the ideal counterpart to Moore’s suave-yet-determined counsellor, committing himself with all the proper assurance the part requires. Working on behalf of Ulysses, Charlie isn’t interested in family loyalties or potential mob feuds (“Screw the family! I’m in it for the money!”), and his reckless disposition serves Ulysses well as they try and get to the bottom of the mystery, even though it’s already been made clear who the ringleaders behind the dope smuggling really are.

In spite of the piecemeal storyline, the narrative is frequently enlivened by spurts of enthusiastic action, including a wholly-gratuitous smash-up when Charlie sees fit to test drive a souped-up Chevy Monte Carlo (“Hold on, baby! Daddy’s gonna take you on a cosmic ride!”) through the busy streets of San Francisco; later, during one of the film’s other action highpoints, Ulysses and Charlie are obliged to outmaneuver a pair of swerving tanker trucks in a lengthy, impressively-staged car (and truck!) chase. In keeping with the film’s Italo connections, a sizable portion also has Ulysses travel to Sicily in his initial attempts to expose the smugglers, a ‘working vacation’ which also sees him coming face-to-face with an Italian hitman (Salvatore Billa) and his customary lupara (a.k.a. ‘wolf-gun’ [a sawed-off shotgun traditionally used by Sicilian shepherds to keep wolves away from their flocks, but which could also serve, uh, anotherpurpose during feuds between local mafiosi!]).

Released in most overseas markets under its original English-language export title THE SICILIAN CROSS, this version ran approximately 10 minutes longer than American International Pictures’ U.S. release cut, which includes a slightly-extended opening credit sequence that establishes Sal and Frank’s ‘buddy-buddy’ dynamic, shows Ulysses fishing for information at a swanky stripclub (“Welcome to the palace of pain and pleasure!”) and also includes another extended scene with Salvatore and his girlfriend (Rosemarie Lindt), none of which add much to the finished film or make the rather threadbare story any more coherent. Outside of the U.S., this original cut was readily available on home video and, in 1987, it even secured a simultaneous VHS/Laserdisc release in Japan courtesy of Columbia Home Video.

Italian newspaper ad courtesy of Steve Fenton. La Stampa 05/76.

Although released on disc throughout most of Europe, STREET PEOPLE avoided DVD completely in North America and instead made its home video debut here via Kino Lorber Studio Classics’ 2019 Blu-ray. Containing the shorter 92-minute AIP cut, Kino’s disc touts a new 2K transfer, which not only features the film’s intended 1.85:1 framing, but looks suitably slick in 1080p, which brings out far greater detail during some of the more intricately-lit nighttime scenes in Sicily, as well as the interiors of various San Francisco strip-joints. The DTS-HD master audio 2.0 also sounds perfectly fine, giving prominence to the clamor of screeching tires, revving engines and smashing metal in all of the film’s elaborately-choreographed autobatic sequences. Kino’s disc also contains Stacy Keach – Back on the Streets (9m25s), the aforementioned interview in which the actor speaks enthusiastically about his experiences working on the film alongside his co-lead Moore, and despite the language barrier that existed on the set, he decribes Maurizio Lucidi as a (quote) “terrific director”. Keach also discusses the film’s infamous ‘test drive’ scene and how it was shot without any permits (!), also discussing how, during his time on Richard Fleischer’s THE NEW CENTURIONS (1973), he learned so much from ace stunt-driver Carey Loftin. The disc also includes trailers for some of Kino’s other Moore and Keach titles, including Basil Dearden’s THE MAN WHO HAUNTED HIMSELF (1970), Peter Hunt’s GOLD (1974), Andrew V. McLaglen’s FOLKS (1980), Bryan Forbes’ THE NAKED FACE (1984) and Walter Hill’s THE LONG RIDERS (1980). Order it from DiabolikDVD.

UNPOPPED CINEMA'S TOP 25 BEST DISCS OF 2019

Even though industry giant Samsung decided to halt the production of their 4K Blu-ray players in the U.S. earlier this year, this rather worrying bit of news hasn’t caused any number of dedicated independent Blu-ray companies to slow down even a little bit. Labels such as Arrow Video, Code Red, The Criterion Collection, Eureka Entertainment, Grindhouse Releasing, Kino Lorber, Mondo Macabro, Scorpion Releasing, Severin Films, Twilight Time and Vinegar Syndrome continue to supply home video connoisseurs with a seemingly endless array of lovingly-restored studio catalogue pictures, forgotten and/or previously-unreleased films, most of which are lavishly-packaged, and in many cases, instantly collectible.  In fact, 2019 has seen so much new stuff released that it’s nigh-on-impossible to even try keeping up with ’em all! It must be said, though, that, as much as I enjoy putting these lists together, this incredible—and seemingly ever-increasing—volume of output makes it increasingly difficult for me to compile a thorough list without leaving something out; which may confound, frustrate or even annoy some especially voracious film fans out there as they peruse and contemplate my selections. But that’s half the fun, isn’t it?! So without further ado, let’s take a look at the notable 2019 Blu-ray releases below (presented in the order of their respective release dates), which amount to a mere fraction of this year’s long list of highlights, all of which come highly recommended, of course.

MIKEY AND NICKY [1976] (Criterion Collection) – Despite the absence of director Elaine May in Criterion’s otherwise superb Blu-ray (she did, however, supervise the 4K transfer), this still remains a most welcome release of what is perhaps her best film. John Cassavetes stars as Nicky, a low-level hood who has become entangled in the theft of some money from a mob-controlled bank and, when he hears that his accomplice was recently killed, he calls on his friend Mikey (Peter Falk) to help him out. Meticulously-scripted, with astonishing performances from both Cassavetes and Falk, May’s film is both a gangster film and a comedy like no other. While not for everyone, if you can succumb to the film’s unique rhythm, you’re sure to be generously rewarded by this unheralded and criminally-underseen film, one which fully deserves to be part of the Criterion family.

ALL OF THE COLORS OF THE DARK [1972] (Severin Films) – Sergio Martino’s fascinating psychedelic giallo whodunit, starring the inimitable trifecta of Edwige Fenech, George Hilton and Ivan Rassimov, remains one of the pinnacles of the genre, and this wonderful release from Severin Films finally does the film proud. It features the best transfer to date, along with a number of worthwhile extras (including a thoroughly-researched audio commentary from Diabolique’s Kat Ellinger), but, in a thoughtful bit of comprehensiveness, Severin have also included both the film’s alternate U.S. release version of the film and Bruno Nicolai’s complete 29-track score as a standalone CD. And for you hardcore collectors out there, Severin’s Dual Slipcase Edition also includes Federico Caddeo’s feature-length documentary ALL THE COLORS OF GIALLO (2019), which is housed in a staggering, extras-filled 3-disc set that also includes Giallothon, a four-hour (!) giallo trailer compilation (with optional audio commentary by Kat Ellinger once again!) as well as Kriminal! an additional trailer compilation, this time devoted to German Krimi films (whose influence on the Italian thriller genre is undeniable). Finally, The Strange Sounds of Blood Stained Films is yet another soundtrack CD, this one featuring 20 cues from several famed composers, highlighting their work within the genre. Whichever edition you opt for, both are as prestigious as the film itself. Highly recommended!

THE POSSESSED [1965] (Arrow Video) – Much like his later and equally stunning gialli THE FIFTH CORD (1971) and the extraordinary FOOTPRINTS ON THE MOON (1975), Luigi Bazzoni’s directorial debut is another mesmerizing, beautifully-photographed effort, which looks totally picture-perfect on Arrow’s new disc. On the extras front, Tim Lucas provides another one of his comprehensive, must-listen audio commentaries, wherein he reveals everything from the film’s production to the real-life crimes that inspired it. The disc also includes a number of featurettes about the film itself, along with coverage of the talented and hugely-undervalued filmmaking brothers Luigi and Camillo Bazzoni. Read review.

SCREAMS OF A WINTER NIGHT [1979] (Code Red) – Finally unearthed from the VHS graveyard, James L. Wilson’s ambitious regionally-produced horror anthology finally arrived on disc in grand style in an edition that not only featured a (quote) “brand new 2K scan of the original 16mm A/B roll camera negative”, but includes the never-before-seen 118m director’s cut as well! The results of this snazzy new transfer are quite spectacular, and this drastic improvement in picture quality will come as a real revelation to anyone accustomed to the murky old pan-and-scanned VHS tape. The vastly-improved image goes a looong way in helping viewers to better appreciate SOAWN’s eerie atmosphere, and improves on the somewhat troublesome day-for-night photography seen in previous versions. As an added bonus, the disc also comes with the truncated 91m theatrical version, which was taken from a suitably worn print and, by simple contrast, makes you better appreciate the truly excellent restoration work done by Code Red here. Read review. 

DETOUR [1945] (Criterion Collection) – Edgar G. Ulmer’s inspired bit of gritty low-budget noir filmmaking gains a lot of much-deserved extra respect via Criterion’s essential new Blu-ray. Utilizing prints from various different sources, Mike Pogorzelski and Heather Linville endured many hours of painstakingly complicated repair work, but their obsessive tenacity paid off handsomely with this incredible restoration. Criterion have also included a number of wonderful special features, including Edgar G. Ulmer: A Man Off-Screen, a feature-length documentary from 2004 about this legendary albeit woefully underappreciated director, who frequently worked wonders on lowest-of-the-low budgets. 

THE DEVIL’S NIGHTMARE [1971] (Mondo Macabro) – In spite of being one of the very first Euro horrors to attain a domestic DVD release way back in 1998 (courtesy of Redemption Films and Image Entertainment), Jean Brismée’s contemporaneously-set Gothic horror continued to be a public domain eyesore on digital disc for years thereafter, a fact which makes MM’s official Blu-ray debut all the more exciting and rewarding. Punctuated by André Goeffers’striking camerawork and Alessandro Alessandroni’s unforgettable music score, THE DEVIL’S NIGHTMARE is still best-remembered for Eurotrash cinema goddess Erika Blanc’s minimalistic if memorably sinister performance, for which the actress accomplishes so much with so little. It goes without saying that MM’s transfer improves mightily upon any and all previous versions but, besides the plentiful extras (including an entertaining audio commentary by Troy Howarth), MM have seen fit to include the film’s original French-language audio track with newly-translated English subtitles, which also makes for a far-more-satisfying viewing experience. Of course, MM’s initial Limited ‘Red Case’ Edition has since sold out, but the retail version contains the exact same extras (minus a 10-page liner notes booklet and some lobby card reproductions). Read review. 

BLOOD HUNGER: THE FILMS OF JOSÉ RAMÓN LARRAZ [1970 – 1978] (Arrow Video) – Spanish director José Ramón Larraz is likely best-known on these shores for his wild and excessively bloody lesbian vampire tour de force VAMPYRES (1974), but his lengthy filmography has revealed a number other mini-masterpieces, such as SYMPTOMS (1974) and his long-unseen WHIRLPOOL (1970), which has finally—and officially—resurfaced in this superb box set. The definitive highlight of Arrow’s set, WHIRLPOOL firmly established many of the director’s themes and obsessions, including bleak, oppressive atmosphere punctuated by some (for the time, at least) startlingly brutal moments of violence. Utilizing the film’s U.S. release version as prepared by Jerry Gross’ Cinemation Industries, Arrow’s transfer really brings out the film’s aesthetic qualities, and this comes as a real revelation to not only fans of Larraz’s work but to Euro horror buffs in general. Although VAMPYRES has been steadily available over the years through a number of different companies on many different formats, Arrow’s new 2K transfer easily ranks as the best of the bunch and, as with Blue Underground’s earlier U.S. Blu-ray, Arrow’s Blu also contains the complete uncut version. The last film in the set, THE COMING OF SIN (1978), is a rather hallucinatory, evocative bit of erotica, which too has finally been released in its complete uncut version here. It likewise boasts another stellar transfer, which does wonders with the film’s hazy, soft-focus photography. Handsomely-packaged over three discs, with far too many extras to mention individually, the set includes everything from audio commentaries c/o the likes of Tim Lucas, Kat Ellinger and Samm Deighan to a wide variety of featurettes and on-camera interviews, plus a nicely-illustrated 80-page (!) book of writings from Tim Greaves and Vanity Celis. An incredible undertaking indeed, and absolutely essential!

FLESHPOT ON 42^ND STREET [1973] (Vinegar Syndrome) – If one looks beyond his pitifully minuscule budgets, pioneering New York D.I.Y. filmmaker Andy Milligan did most certainly have a knack for bringing an undeniable angry energy to his seamy, pessimistic sub-cinematic worldviews, of which FLESHPOT is arguably one of his very best offerings. Unfolding amidst the forlorn squalor of a long-gone Times Square and featuring some wonderfully affecting performances from both Laura Cannon (using the pseudonym ‘Diana Lewis” here) and Milligan regular Neil Flanagan as a seen-and-done-it-all drag queen, this new 4K transfer taken from the film’s 16mm camera reversal is a real eye-opener, which brings to light a number of previously obscured details. Presented in its original 1.33:1 aspect ratio (although a 1.85:1 matted version is also included!), this new uncut edition additionally includes a couple of very brief scenes depicting explicit sex that were heretofore only ever talked about but never seen until now. As for extras, authors and film historians Samm Deighan, Heather Drain and Kat Ellinger provide a terrific joint audio commentary covering both the film itself Milligan’s and colourful career in general. As of this writing, the Limited Edition is still available at Vinegar Syndrome, and it ranks as one of the very finest releases in their entire, prolific catalogue. 

CUJO [1983] (Eureka Entertainment) – While the transfer has prompted complaints from some die-hard techies (it looks about on-par with Olive Films’ earlier 2013 release), everything here looks quite satisfactory and, while a new 2K or 4K scan would be most welcome, this is still the best-looking presentation of the film that is currently available. However, where Eureka’s 2-disc set really outdoes any previous release is in the extras department, which not only ports-over the Dog Days documentary from Lionsgate’s 2007 Blu-ray, but also includes an whole wealth of special features, including an audio commentary from film historian Lee Gambin (author of Nope, Nothing Wrong Here: The Making of Cujo), along with a number of lengthy on-camera interviews that include a 100-minute Q&A session with actress Dee Wallace c/o Melbourne, Australia’s film collective, Cinemaniacs. Limited to 4000 copies (which may have already sold out) and enclosed in a sturdy slipcase boasting original artwork courtesy of Graham Humphreys, the set in addition includes a 60-page book containing essays from Craig Ian Mann, Scott Harrison and Gambin once again. In spite of the somewhat dated transfer, this release nonetheless comes highly recommended for its expansive treasure trove of well-researched extra features alone. 

VIY [1967] (Severin Films) – Based on Nikolai Gogol’s supernatural short story The Vij (first published in 1835), which was also used as the basis for Mario Bava’s iconic Euro Gothic BLACK SUNDAY (1960)—as well as Oleg Stepchenko’s big-budget, CGI-filled Russian-Ukrainian-Czech remake / reimagining Вий/ VIY (a.k.a. FORBIDDEN KINGDOM [2014])—this extraordinary Russian horror fantasy was finally afforded a much-deserved Blu-ray release earlier this year, and the HD boost certainly does wonders for Alexandr Ptushko’s marvelous special effects sequences (without doubt, the climactic sequence—showcasing a garishly grotesque menagerie of otherworldly monstrosities—easily stands as one of the most fabulous and magical sequences to be found in all of international cinema!). The disc also includes Vij the Vampire, a terrific interview with director Richard Stanley, and From the Woods to the Cosmos, another fascinating interview with Russian film historian John Leman Riley, who goes over the history of Russian genre films. In addition, as with the previous Image/Ruscico DVD (circa the early 2000s), Severin have once again—most appreciatively indeed—included THE PORTRAIT (1915), THE QUEEN OF SPADES (1916) and SATAN EXULTANT (1917), three utterly fascinating Russian silent shorts, which are themselves quite unforgettable.  

AMERICAN HORROR PROJECT VOLUME TWO [1972 – 1977] (Arrow Video) – Three years since the release of Volume One, Stephen Thrower’s continued exploration of neglected and undiscovered American horror films totals another must-own box set. John Hayes’ DREAM NO EVIL (1972), Martin Goldman’s DARK AUGUST (1976) and Robert Voskanian’s THE CHILD (1977) are yet another trio of highly idiosyncratic examples of regional U.S. filmmaking, all of which are worthy of the praise they are given here. Although each film in this set is solid enough, it’s DARK AUGUST that turns out to be the real sleeper here. An impressively-mounted and highly atmospheric film in its own right, it is not only eerily compelling, but its air of underlying menace is entirely palpable. Loaded with informative audio commentaries, extra documentaries, cast/crew interviews and much, much more, this exhaustive set gets top marks all around, amounting to one of the very best releases of the year!  

DOUBLE FACE [1969] (Arrow Video) – Long unavailable in anything resembling a decent, coherent version (the film’s U.S. VHS transfer print was heavily edited), Riccardo Freda’s early giallo represents one of the very few early attempts to effectively bridge the gap between the atmospheric horror tropes of the Italian Gothic and the more modern sensibilities of the Italian thriller. Highlighted by Gábor Pogány’s appropriately moody photography and Nora Orlandi’s deliciously lush score, Freda’s film has never looked better than it does here on Arrow’s flawless Blu-ray, which not only reinstates the film back to its original luster, but finally features the uncut version as well. Arrow’s disc is also nicely complimented by an informative audio commentary courtesy of Tim Lucas, who most definitely knows a thing or two about Italian films, and he even discusses DOUBLE FACE’s connection to German Edgar Wallace Krimi genre (it was even marketed in Germany as such). A nicely-illustrated video essay charting the works of Freda and a couple of featurettes spotlighting the career of Nora Orlandi are also included.

THE NEW YORK RIPPER [1982] (Blue Underground) – A superb upgrade in every way, Lucio Fulci’s supremely nasty giallo gets quite the overhaul via BU’s new 3-disc Limited Edition Blu-ray set, which not only features a brand-new, startlingly crisp 4K transfer, but also an entire host of new special features, including an audio commentary by Splintered Visions author Troy Howarth and an on-camera interview with Beyond Terror: The Films of Lucio Fulci author Stephen Thrower. As with some of their earlier Limited Edition sets, BU have also included Francesco De Masi’s wonderful, highly-engaging 29-track score as a bonus CD. On the packaging front, it also includes a nice 20-page booklet with writing from Travis Crawford, all of which is appropriately adorned with sleazy if striking cover art featuring all-new alternate artwork by famed Italian poster artist Enzo Sciotti. 

OPERA [1987] (Scorpion Releasing) – Arguably one of Dario Argento’s last great films, this lavishly-produced, 3-disc set features new 2K transfers of three separate cuts of the film, including a (quote) “2.35:1 Super 35, 1.78:1 and US Orion Pictures Cut”, all presented on separate discs. And if that weren’t enough, the first two editions also include English or Italian audio tracks with optional, newly-translated English subtitles. Extras begin with a pair of great audio commentaries from Mondo Digital’s Nathaniel Thompson and author Troy Howarth, then continue with a bevy of on-camera interviews from Dario Argento, composer Claudio Simonetti, special effects guru Sergio Stivaletti, as well as most of the film’s principal actors. Scorpion’s impressive presentation may well be THE final word on the film, whose confusing release history is finally put to rest with this must-own disc.

THE TOUGH ONES [1976] (Grindhouse Releasing) – One of the high watermarks of the entire genre, Grindhouse’s staggering 3-disc Deluxe Edition is likewise one of the most impressive Blu-ray releases of any Italocrime film. Featuring the ever-dependable Maurizio Merli and a scene-stealing performance from Tomas Milian, this set is as much of a celebration of Lenzi’s entire career as the film itself, which, outside of the numerous extras, also features a feature-length documentary on the man himself. Beautifully packaged, Grindhouse have also seen fit to include Franco Micalizzi’s dynamic, hugely-enjoyable score as a separate CD. Read review.

KLUTE [1971] (Criterion Collection) – From director Alan J. Pakula (who would go on to helm one of the greatest conspiracy thrillers, ALL THE PRESIDENT’S MEN [1976]), Jane Fonda stars as Bree Daniels, a high-end New York City call-girl who gets mixed-up in a missing persons investigation, which private investigator John Klute (Donald Sutherland) is hired to solve in this understated and rather unsettling thriller. While expertly lensed by master DP Gordon Willis and chillingly scored by Michael Small, this remains Fonda’s show all the way thanks to her edgy, masterful performance. Beautifully-restored and scanned in 4K (as supervised by camera operator Michael Chapman), this is a most welcome release of a pivotal ’Seventies classic. 

CRUISING [1980] (Arrow Video) – Vilified during its initial theatrical release, William Friedkin’s controversial-yet-unforgettable film has steadily gained a quite rabid fan base over the years, but following Warner’s 2008 DVD, the film became controversial for an entirely different reason due to Friedkin’s notorious tinkering with it. The entire picture was reworked and given a blue hue over most of the proceedings, but, most notoriously of all, some odd—and highly distracting—digital effects were also sloppily added to the film, as good as ruining it in the process. Fortunately, Arrow’s new Blu-ray restores CRUISING back to its original form, and it now features a far more appropriate and naturalistic color scheme. At the same time, all those annoying digital effects have been removed as well. Also worth mentioning (since it too caused some controversy), this new 4K scan additionally features a slightly reworked, fittingly ominous title card which sets up the narrative more effectively without intruding on the film proper when it begins. So with that being said, this new presentation should be considered the definitive version of Friedkin’s film. Porting-over all the extra features from Warner’s DVD, Arrow have also included a brand-new audio commentary from Friedkin and critic Mark Kermode and, unlike Friedkin’s solo commentary from the earlier disc (also included here), Kermode gets him to reveal all sorts of interesting stories related to the film, which still remains one of the more compelling works in his entire canon. 

APOCALYPSE NOW [1979] (Lionsgate) – With more and more films making the jump to 4K UHD, Francis Ford Coppola’s hallucinatory, epic and beautifully stylized film is easily one of the more impressive UHD releases to hit the home video market. Spread over 2 UHD and 4 Blu-ray discs, Lionsgate’s gorgeously packaged set includes all three versions of the film (each taken from the same 4K restoration), all of which look immaculate with perfect colour saturation and superb detail. The almost ridiculously thorough extras (most of which are presented in 1080p and also include the essential documentary Hearts of Darkness: A Filmmaker’s Apocalypse [1991]) only sweeten the deal. 

THE PREY [1980] (Arrow Video) – A true labour of love, Edwin S. Brown’s highly-distinctive slice ’n’ dicer gets plenty of first-class treatment thanks to Arrow Video (and in particular Arrow’s Ewan Cant) in this lovingly-put-together and beautifully-restored BD package. Spread out over two discs, no stone is left unturned in this exhaustive set, which not only includes three (!) separate audio commentaries, but the film’s long-unseen International Cut as well. While not for all tastes, this remains one of the best and most impressive restorations of the year, which comes as a real godsend for fans of the film. Read review.

TOYS ARE NOT FOR CHILDREN [1972] (Arrow Video) – Although marketed as a sexploitation picture, director Stanley H. Brasslof’s film transcends that genre and remains a surprisingly dark and melancholic look at a woman’s damaged psyche. Avoiding all the usual sex film pitfalls, Brasslof’s haunting, meditative approach to the material is infinitely more memorable, and its effect lingers long after the film has finished. A hidden gem among Something Weird Video’s long line of Harry Novak acquisitions released as a Special Edition DVD (for which it was paired-up with Ron Garcia’s sex-horror weirdie THE TOY BOX [1971]), Brasslof’s film comes to Blu-ray in an excellent 2K transfer taken from original film elements. Included in the package are a number of worthy special features that both explore the film and pay tribute to Brasslof’s unique filmography, beginning with an audio commentary from Diabolique’s Kat Ellinger and Heather Drain, an on-camera interview with Nightmare USA author Stephen Thrower, plus a video essay from Alexandra Nicholas-Heller. Get it!

HAMMER VOLUME FOUR: FACES OF FEAR [1958 – 1968] (Indicator) – Even though the first three volumes of Indicator’s ongoing restorations of Hammer Films have been stellar to say the least, this fourth volume is the one everyone has been waiting for. Gathering together some of the studio’s best films, Indicator’s brand-new 4K scan of Terence Fisher’s THE REVENGE OF FRANKENSTEIN (1958) looks incredibly vibrant here with lush, colourful textures and stunning detail; it’s easily the best the film has ever looked, which goes a long way in further strengthening its already high pedigree. Difficult to see for years, Joseph Losey’s THE DAMNED (a.k.a. THESE ARE THE DAMNED, 1968), which is probably the true standout of this amazing box set, also looks spectacular here thanks to Indicator’s brand-new 2K scan. If you’ve seen the film before, you’ll know it as easily one of Hammer’s most thought-provoking and interesting offerings. Although both Terence Fisher’s THE TWO FACES OF DR. JEKYLL (1960) and Seth Holt’s thriller TASTE OF FEAR (a.k.a. SCREAM OF FEAR, 1962) are only afforded (quote) “High Definition remasters”, both films look superb nonetheless, restoring a luster not seen in earlier presentations. As usual, Indicator have loaded each disc with a number of illuminating audio commentaries, alternate presentations, documentaries, booklets and so much more, making this yet another essential, must-own box set. And while you’re at it, if you don’t have any of Indicator’s other Hammer sets yet, then do yourself a (big) favour and pick those up too! 

AN AMERICAN WEREWOLF IN LONDON [1981] (Arrow Video) – Previously released virtually countless times on home video, John Landis’ werewolf classic comes to Blu-ray once again in what can easily be labeled as its definitive release. Featuring an all-new 2019 restoration of the film taken from the original camera negative and a mind-boggling assortment of extra features, including Paul Davis’ feature-length documentary Beware the Moonand still another feature-length doc, Daniel Griffith’s Mark of the Beast: The Legacy of the Universal Werewolf. Housed in one of Arrow’s sturdy slipcases, this Limited Edition is remarkable indeed, so grab it before it disappears!

GODZILLA: THE SHOWA ERA FILMS, 1954 – 1975 (Criterion Collection) – Criterion have really gone all-out for this truly inspired undertaking—their 1000^th release—a massive 8-disc set containing all fifteen of Toho’s Godzilla films from the so-called “Shōwa Era” (1954-1975), including everything from Ishirō Honda’s grim original (in two versions, no less!) up to his series swansong THE TERROR OF MECHAGODZILLA (1975). Including far too many extras to expound upon (including both the Japanese release version and the U.S. theatrical cut of Honda’s KING KONG VS. GODZILLA [1963]), plus some fascinating behind-the-scenes documentaries), this set will keep you entertained for weeks on end with its seemingly endless array of extra features. Stunningly designed with beautiful, eye-catching original artwork and housed within a giant over-sized book (which resembles a graphic novel or coffee-table book), this mammoth set singlehandedly proves that the market for physical media is still very much alive. 

MADIGAN [1968] (Kino Lorber Studio Classics) – Dan Madigan (Richard Widmark) and his partner Rocco (Harry Guardini) are a couple of NYC detectives who are on the lookout for Barney Benesch (Steve Inhat), an elusive, trigger-happy gangster, only to find themselves constantly at odds with the machinations of inter-departmental politics and bureaucracy. Another terrific effort from master filmmaker Don Siegel, MADIGAN reads very much like a transitional film, which treads the line between the studio pictures of the previous decade and the gritty realism of the ’Seventies cop dramas, which were right around the corner. Kino’s solid, studio-prepared transfer looks excellent, and the big highlight here is an audio commentary featuring Howard S. Berger, Steve Mitchell and Nathaniel Thompson, who provide a consistently entertaining first-hand look back at the film, which helps you to appreciate it all the more.  

DRACULA [1979] (Scream Factory) – Scream Factory had an incredibly busy year, but this 2-disc Blu-ray of John Badham’s epic, lavish cinematic adaptation of Bram Stoker’s Dracula was the highlight among their many riches. At long last, it contains the original ‘colour’ version of the film, which has been nearly impossible to see over the last few years. Of course, along with plenty of extra features, Badham’s preferred colour-drained, sepia version is also included, but in all honesty, you’ll never watch this version again, although it does serve as a good reminder of what a wrongheaded decision this unfortunate ‘aesthetic choice’ really was. 

HIGHLY HONOURABLE MENTIONS

ALICE, SWEET ALICE (Arrow Video), AMITYVILLE: THE CURSED COLLECTION (Vinegar Syndrome), ASSIGNMENT TERROR (Scorpion Releasing), ATTACK OF THE ROBOTS (Kino Lorber), THE BAD AND THE BEAUTIFUL (Warner Archive), BEATRICE CENCI (88 Films), BILLY THE KID VS. DRACULA (Kino Lorber Studio Classics), THE BLOB (Scream Factory), BLUE VELVET (Criterion Collection), THE BRAIN (Scream Factory), A BUCKET OF BLOOD (Olive Films / Signature Series), THE BUSHWHACKER / THE RAVAGER (American Arcana), THE CANDY SNATCHERS (Vinegar Syndrome), THE CORRUPTION OF CHRIS MILLER (Vinegar Syndrome), DAYS OF WINE AND ROSES (Warner Archive), EMANUELLE IN AMERICA (Mondo Macabro), HERCULES IN THE HAUNTED WORLD (Kino Lorber), THE FLY COLLECTION (Scream Factory), THE HILLS HAVE EYES PART 2 (Arrow Video), THE IGUANA WITH THE TONGUE OF FIRE (Arrow Video), IN THE HEAT OF THE NIGHT (Criterion Collection), INVASION OF THE BLOOD FARMERS (Severin Films), THE KILLER OF DOLLS (Mondo Macabro), MAGNIFICENT OBSESSION (Criterion Collection), THE MUMMY’S REVENGE (Scorpion Releasing), MURDERS IN THE RUE MORGUE (Scream Factory), THE NIGHTCOMERS (Kino Lorber Studio Classics), NOTORIOUS (Criterion Collection), OLDBOY(Arrow Video), THE PASSING (Vinegar Syndrome), ROBOCOP (Arrow Video / Limited Edition), SECTA SINIESTRA (Vinegar Syndrome), SPOOKIES (Vinegar Syndrome), TWO EVIL EYES (Blue Underground), WARLOCK (Twilight Time), WEREWOLF IN A GIRLS’ DORMITORY (Severin Films), WHO SAW HER DIE? (Arrow Video), YEAR OF THE DRAGON (Warner Archive), and finally, let’s not forget about Scream Factory’s ongoing dedication to famed British studio Hammer Films, which saw them release an astonishing 18 films onto Blu-ray in 2019 alone!