As more and more boutique labels continue to raise the bar, it has arguably become harder and harder to compile these lists. Although pioneering labels such as 88 Films, Arrow Video, the Criterion Collection, Grindhouse Releasing, Kino Lorber, Mondo Macabro, Severin Films, Synapse Films, Umbrella Entertainment and Vinegar Syndrome will continue to get the attention they deserve, several smaller companies have simultaneously immersed viewers into a world of discoveries and old favourites with the same attention to detail and meticulous restoration as their more celebrated counterparts. In what is an already difficult market to penetrate with so many films being released each and every week, labels such as AGFA, Canadian International Pictures, Cauldron Films, Celluloid Dreams, Hammer Films, Mélusine, Neon Eagle Video, Petroglyph Media, Radiance Films, Treasured Films, and VHShitfest have further compounded the challenge of putting this list together as they continue to make their indelible mark on the industry. So, without further delay, let’s dig in and take a look at Unpopped Cinema’s favourite 4K and Blu-ray discs of 2025!
BEHIND THE GREEN DOOR [1972] (Mitchell Brothers Film Group) – With its eccentric and irreverent style, this well-made, well-acted adult film from filmmaking brothers Jim and Artie Mitchell was a major influence on the nascent adult film industry at the time, which also helped make a sensation out of its star Marilyn Chambers. Thanks to her haunting, wordless performance, Chambers smoulders with an emotional intensity that is hard to shake, which makes BTGD quite unlike any other adult film out there. Given the film’s legacy and importance, Distribpix Inc., and Vinegar Syndrome have truly outdone themselves with this comprehensive and gorgeously-designed 3-disc UHD/BD/CD collection allowing fans to finally enjoy one of the finest adult films ever made in a beautiful new restoration.
THE BEYOND [1981] (Grindhouse Releasing) – Lucio Fulci was an unstoppable filmmaking force for over forty years, but by the 1980s, he had earned the moniker “The Godfather of Gore” in some circles for his aesthetically gruesome horror films such as THE BEYOND. Shot in sumptuous 2-perf Techniscope, this fever dream exemplifies Fulci at his gore-soaked prime and this staggering 6-disc (!) UHD/BD/DVD box set is a stunning tribute to the film’s enduring legacy. Scanned in 4K, this new restoration (which also includes Dolby Vision HDR) improves on previous releases with better contrast and richer colours, and looks absolutely flawless. Alongside a ton of newly-produced and archival extra features (far too many to list here), Grindhouse have also included the composer’s cut of the film on UHD, a DVD of 7 DOORS OF DEATH (the long-unseen U.S. cut of the film from Aquarius Releasing), a soundtrack CD for the composer’s cut, and a well-illustrated 100-page book, all of which is packaged in a big, beautifully designed, oversized slipcase. It’s the last word on the film and an exceptional example on the longevity of physical media.
BRIVIDO GIALLO [1987 – 1989] (Cauldron Films) – As television encroached on the Italian film industry in the mid-’80s, many directors such as Lamberto Bava decided to take full advantage of this ever-popular medium, a path that led to a new kind of filmmaking and a last hurrah of sorts for Italian genre product. Bava racked up an impressive filmography of TV films in the ensuing years, but GRAVEYARD DISTURBANCE (1987), UNTIL DEATH (1988), THE OGRE (1989) and DINNER WITH A VAMPIRE (1989), the four films that comprise BRIVIDO GIALLO were probably his mostly widely-seen small-screen terrors. Previously available via import VHS tapes or unauthorized DVD releases, these technically assured pictures were finally collected together in this impressive box set, which feature beautiful 2K restorations of each film, several audio commentaries from Italian cinema experts Nanni Cobretti, Eugenio Ercolani, Troy Howarth, Rachael Nisbet and Nathaniel Thompson, and a ton of expertly produced special features from the tireless and always comprehensive Ercolani. Highly recommended!
THE CAT [1992] (88 Films) – Although a trained cinematographer, director Lam Ngai-Choi is also the certified genius behind a succession of Hong Kong classics that include THE SEVENTH CURSE (1986) and RIKI-OH: THE STORY OF RICKY (1991). Much like its predecessor THE SEVENTH CURSE, this film is also based on the work of celebrated author Wisely (a.k.a. Ni Kuang), and boasts everything from shape-shifting aliens, lots of gooey practical effects, and a number of impressive action scenes including one jaw-dropping fight scene with the film’s titular feline. Wildly audacious and completely unconventional, THE CAT is easily one of the more entertaining releases of the year, which is well-supported with this exciting set from 88 Films. Topped by HK cinema expert Frank Djeng’s highly-informative audio commentary, 88 Films have also gathered together an interview with writer Gordon Chan, the film’s alternate Japanese cut, and a 40-page book, which should keep fans overjoyed, to say the least.
THE CURSE OF FRANKENSTEIN [1957] (Hammer Films) – A defining moment for Hammer Films, Terence Fisher’s seminal horror picture finally made its worldwide UHD debut in a new “painstaking restoration,” which further elevates this monumental film to the topmost levels of the genre. Spread out over 6 (!) discs, Hammer’s lavish box set not only contains the UK and US versions of the film (with a choice of viewing them in three different aspect ratios, no less!), but an embarrassment of riches as well, which include audio commentaries with several Hammer Film scholars, a plethora of featurettes, promotional materials, a 168-page book, and so much more.
THE DEADLY SPAWN [1983] (Synapse Films) – Long in the works, this gory creature feature favourite finally chomped its way on to HD in grand style finally replacing Synapse’s decades-old DVD. Given their impeccable track record over the years, it should come as no surprise that Synapse’s new restoration looks absolutely incredible, which also adds Dolby Vision HDR10 and a choice of two lossless DTS-HD Master Audio tracks including the original 21st Century Film Corporation theatrical mix. As expected, the bonus features are also first-rate, which consist of three audio commentaries, on-camera interviews with the cast and crew, a cool location featurette, behind-the-scenes footage, a 56-page book, and tons more besides! Simply put, this is a must-have!
THE DEVIL AT YOUR HEELS [1981] (Canadian International Pictures) – Affectionately known as The Mad Canadian, Ken Carter was a stuntman and fearless showman who is at the centre of this incredible documentary, which chronicles his attempt to jump a distance of one mile over the St. Lawrence seaway using a rocket-powered car! Produced by the National Film Board of Canada (NFB), Robert Fortier’s feature-length doc frequently showed up on Canadian television during the ’80s, which left a lasting impression for anyone that happened to catch it. Thanks in part to the pitch-perfect narration by Canadian actor Gordon Pinsent, the film also unveils the hell of one man’s absurd obsessions, which adds an appropriate edge to this this extraordinary picture. CIP’s new 2K restoration from the 16mm interpositive is also a real knockout, which is supplemented by a copious number of special features including a “selected-scene” audio commentary with the director, interviews, and a ton of short films, many of which focus on Ken Carter, which further help reinforce his unique legacy.
DEVIL FETUS / HER VENGEANCE [1983 / 1988] (Vinegar Syndrome) – Proving difficult to see outside of compromised VHS tapes and third-rate bootlegs, this pair of extraordinary Hong Kong films from production company Golden Harvest were finally released in their definitive and “most complete versions.” Liberally laced with bloodshed and nudity, this incredible release is given further due diligence with fine transfers and a host of expertly curated special features that include terrific audio commentaries with Cinema Arcana’s Bruce Holecheck, Ultra Violent’s Art Ettinger, and Dreamhaven Books’ Ryan Smith on HER VENGEANCE and film writer Travis Woods on DEVIL FETUS, which are further complimented by a couple of excellent visual essays from John Charles and Samm Deighan, plus a very informative 20-page booklet from John Charles again, who adds plenty of valuable context on these outrageous Hong Kong Films. Highly recommended!
EVA MAN / THE RETURN OF EVA MAN [1980 / 1982] (Mondo Macabro) – Essentially a vehicle customized to the talents of transgender ‘superstar’ Eva Robin’s, who is probably best remembered for her brief, but integral role in Dario Argento’s TENEBRE (1982), Antonio D’Agostino’s EVA MAN (1980) and it’s rarely-seen sequel THE RETURN OF EVA MAN (1982), which is also included on this disc, are a pair of highly-enjoyable and very likeable films, which also proudly boast fellow trans icon Ajita Wilson among its small but dedicated cadre of actors. Considering their still topical content, which happily promote transgender inclusivity, it’s hardly surprising these films found few exhibitors in the English-speaking world upon their initial release, and for that alone, Mondo Macabro should be commended for distributing these rather remarkable Eurotrash oddities on Blu-ray. As usual, MM offers up a wealth of superb extras including a rather jovial yet astute audio commentary from Caden Mark Gardner and Willow Catelyn Maclay, a superb visual essay from D’Agostino expert Ian Higbee, on-camera interviews with Eva Robin’s herself and film historian Alex Mendíbil, and a nicely-illustrated 24-page liner notes booklet with a comprehensive essay by Ismael Fernandez, who also has plenty to say about this pair of silly, yet unmistakably rebellious and fearless exploitation films, which, like Mondo Macabro itself, are in a class by themselves. Read Review.
THE FIREWORKS WOMAN [1975] (Quality X) – Despite Wes Craven’s own dislike for this little-seen film, which he made between LAST HOUSE ON THE LEFT (1972) and THE HILLS HAVE EYES (1977), this fascinating curio emerges as a fairly engrossing bit of adult entertainment. The minimal story focuses on siblings Peter (Eric Edwards) and Angela (Jennifer Jordan) who enjoy each other’s company a little too much, but when Peter goes off to seminary school, Angela embarks on a destructive journey of sexual exploration. Featuring Craven himself as the odd, recurring figure in a top hat who may or may not be the devil, Craven handles this strangely mesmerizing oddity with plenty of style and introspective philosophical ruminations on religion, and while the sex scenes may be the least appealing ingredient for many viewers, they serve as an integral part of the film as Angela is forced to deal with her highly forbidden obsession. Directing as the aptly-named “Abe Snake,” Mélusine sub-label Quality X have finally released this odd blip in Craven’s career in a very attractive 4K scan, which is nicely complimented by some wonderful special features including two trailers for the film, an essential visual essay from Craven biographer Joseph Maddrey, and an on-camera interview with STREET TRASH (1987) writer / producer Roy Frumkes who talks about his time with Craven during this tumultuous period in the director’s career. Largely forgotten, this superb release comes highly recommended for cinematically broad-minded viewers.
FUNERAL SINIESTRO / TRIÁNGULO DE ORO – LA ISLA FANTASMA [1978 – 1985] (Petroglyph Media) – Outside of José Mojica Marins, genre films from South America get little to no exposure in the U.S. or Canada, so this debut release from Petroglyph Media should definitely be commended. The one-man industry behind these films, Jairo T. Pinilla blazed a path as the first writer / director of genre films in Colombia, a career that began with FUNERAL SINIESTRO, a pared-down, slow-burn nightmare, which is considered “the first Colombian horror film.” Struggling to recover from her father’s death, Isabel (Costanza Rincón) is forced to stay with her cruel stepmother (a terrifying Derly Diaz), who unleashes a torrent of horror on the poor girl, and while it’s definitely very rough-hewn and a little overlong, the film remains potent and highly atmospheric. Taken from a “35mm exhibition film print,” this is a solid 2K restoration, which beautifully renders the surrounding countryside and the terrifying, shadowy interior of the hacienda where much of the film unfolds. While the disc doesn’t offer much in the way of special features, it does include Pinilla’s 1985 film TRIÁNGULO DE ORO, an altogether minor, but entertaining riff on the Indiana Jones films, which has been transferred from “a 1” tape master from Mr. Pinilla’s private collection.” Anyone even remotely curious about obscure genre cinema should definitely snap this up!
THE GREAT CHASE [1975] (Neon Eagle Video) – Directed by pinky violence specialist Norifumi Suzuki, Etsuko Shihomi stars as Shinobu Yashiro, a professional race car driver who moonlights as a secret agent in the employ of the Japanese Defence Agency. For her latest assignment, she is to infiltrate a vast criminal empire, which she believes may also be responsible for her father’s murder. Visually very savvy, Suzuki rightly concentrates on shooting action and danger (including a fiery, explosive-filled climax in a sprawling rock-quarry) with little time for exposition and Shihomi is definitely up to the task. Alongside liberal doses of risqué sleaze, which may divide some audiences looking for straight ahead martial arts fighting, this swift and slick picture definitely holds its own alongside the best of Suzuki’s work. In keeping with Neon Eagle’s high standards, this new 2K restoration looks sensational, and while the special features aren’t overly extensive, they are first-rate, which includes an interview with Japanese film critic Tatsuya Masuto about Shihomi’s very interesting career, and a superb audio commentary with These Fists Break Bricks co-author Chris Poggiali and The Hong Kong Filmography, 1977-1997 author John Charles, which is as engaging and detailed as you would hope. This is easily one of the most surprising, must-have releases of the year!
HARDBOILED: THREE PULP THRILLERS BY ALAIN CORNEAU [1976-1981] (Radiance Films) – Intelligently scripted and emotionally intense, this trio of exemplary French crime films, which include POLICE PYTHON 357 (1976), SÉRIE NOIRE (1979) and CHOICE OF ARMS (1981) all combine the appeal of American film noirs with the slick, quiet progression of fellow countryman Jean-Pierre Melville. Hard-hitting and unsparingly violent, which lend new meaning to the term “hardboiled,” Corneau keeps his films tightly controlled and of equal spartan efficiency, but what makes these films such valid contributions within the genre is Corneau’s ability to go one step further beyond the violence and also analyze the social and political motivations behind it. Outside of their superb restorations, Radiance have included several archival and newly-produced supplements to help better appreciate these solid and hugely-entertaining crime dramas.
HIGH TENSION [1989] (Severin Films) – Featuring another quartet of TV Terrors from director Lamberto Bava, Severin Films have miraculously resurrected these highly-watchable, and at times gleefully violent pictures on Blu-ray, which should definitely help develop and cement their stature among fans of Italian horror. Featuring new 2K restorations taken from their original camera negatives, Severin’s box set comes loaded with a multitude of insightful audio commentaries and supplements, as well as a Bava / Boswell Compilation soundtrack CD, which only sweetens this already pivotal – and must-have - collection of criminally-neglected films. Highly recommended! Read review.
A HYENA IN THE SAFE [1968] (Celluloid Dreams) – Mixing together a classic caper film with the visual aesthetics of a giallo, a group of multinational thieves gather together to split the loot from an earlier heist, but unlike the comic campiness of similar films from the period, director Cesare Canevari’s unconventional structure and confounding tangle of characters – not to mention an unseen killer who gradually erodes most of the robbers – keep things fresh and innovative. Along with Gianfranco Reverberi’s excellent jazz score, Canevari also injects flashes of creative brilliance into this claustrophobic milieu like disorientating camera angles and a psychedelic climax, which neatly foreshadows many ’70s gialli. As with their earlier releases like THE CASE OF THE BLOODY IRIS (1972), CD’s new restoration really brings out the best in the film’s visual flair and pop sensibilities, while the bounty of special features lends added appreciation (including a superb audio commentary from CD’s Guido Henkel) to the film, which makes this one of Canevari’s more entertaining efforts in his small but impressive filmography. An essential purchase for Eurocult fans.
THE LAST SHARK [1981] (Treasured Films) – Following the worldwide success of Steven Spielberg’s JAWS (1975), killer shark pictures became a popular box-office draw the world over, but Enzo G. Castellari’s THE LAST SHARK, which was released in the U.S. by Film Ventures as GREAT WHITE, was the last straw for Universal Studios who eventually filed an injunction against the film after it exhibited promising box office in the spring of 1982. Although it will never garner a release in the U.S. or Canada, U.K. based label Treasured Films dove headfirst into the water with this outstanding Blu-ray, which not only boasts a “new high definition master,” but a wealth of newly-filmed interviews (including one with director Castellari) from the indefatigable Eugenio Ercolani. Other, no less substantial extras include a couple of video essays, a new audio commentary from authors and Italian cinema experts Troy Howarth and Ercolani, trailers, TV spots, and a nicely-illustrated booklet. While the film is nothing more than a blatant and unashamed copy of Spileberg’s blockbuster, this new disc from Treasured Films makes it feel like an essential watch, particularly with all of the wonderful, and highly-informative special features.
MARLEY’S REVENGE: THE MONSTER MOVIE [1989] (VHShitfest) – This altogether minor horror comedy doesn’t even receive so much as a passing mention in most reference books, but over the years, it has earned quite a reputation for itself among VHS collectors. Shot on 16mm in North Carolina, the offbeat storyline involves Gary (Alvin Johnson) who, with the help of his dopey friend Alan (Donnie Broom), attempts to smuggle his Aunt Maena and Uncle Marley into the United States. However, they are subsequently mixed-up with vigilante rednecks, voodoo curses, flesh-eating zombies, and a “14-foot monster from hell” in this very unusual and humble regional oddity whose chutzpah and irresistible energy is very infectious. Loaded with special features, it’s impossible not to get excited about little-seen pictures such as this, especially in the hands of companies like VHShitfest.
THE MOVIE ORGY [1968] (AGFA) – Regarded as the first ever “found footage mash-up video,” Joe Dante’s and Jon Davison’s freeform love-letter to film history, pop culture and nostalgia is perhaps is one of the more energetic and irresistibly dizzying confections ever put together. At 276 minutes long, it could easily have worn out its welcome, but Dante and Davison keep everything moving at a fast clip ensuring that this bit of “mashed-up significance” never runs out of steam. With an introduction by Dante, and a thick booklet that also includes an interview with the director, it goes without saying that any serious film obsessive should seek this one out!
NIGHT OF THE JUGGLER [1980] (Kino Lorber Studio Classics) – James Brolin is Sean Boyd, a divorced ex-cop and current truck driver whose teenage daughter (Abby Bluestone) is abducted by a New York nutjob (a completely unhinged Cliff Gorman), simply for being at the wrong place at the wrong time. Skillfully designed and featuring some breathtaking stuntwork including a memorable foot / car chase through the bustling streets of Manhattan, this thoroughly engaging big-budget exploitation picture also has something to say about a bankrupt and highly corrupt New York City (a timely snapshot of its era which all but eclipses the basic story) and the gaping sociopolitical riff dividing the Haves and Have-Nots. Initially conceived by director Sidney J. Furie, who has proven himself a master of various genres, here directs with total conviction, a fact which is well preserved even after he walked off the film and was replaced by busy TV director Robert Butler. Long available in only murky VHS rips or TV broadcasts, this fan favourite finally made its worldwide UHD and Blu-ray debut and looks superb herein, capturing all of the gritty NYC locations with a clarity unseen in previous analog dupes. Although, it should be pointed out that the disc(s) do contain one authoring error where one brief scene at the 31-minute mark is repeated, which is unfortunate, but should deter one’s enjoyment of the film. Complimented by a nice assortment of special features including excellent sit-down chats with Brolin and actor Julie Carmen (one of the film’s many colourful supporting players) and a terrific, highly-detailed audio commentary with Nathaniel Thompson and Steve Mitchell, the disc’s most interesting extra is Pandemonium Reflex, a wonderful piece on Furie’s involvement with the film from author and Furie expert, Daniel Kremer, which makes Kino’s new disc of this former cinephile holy grail all the more noteworthy.
THE PUNISHMENT [1973] (Mondo Macabro) – Reportedly based on the autobiographical book and real-life events of Xavière, a young woman who became ensnared by powerful Parisian pimps, this 1971 book eventually served as the basis for this notorious film. Centered around softcore (and future hardcore) star Karin Schubert as the rebellious prostitute who is subsequently imprisoned and punished for her indiscretions, Pierre Alain-Jolivet’s seldom-seen picture continues to court controversy and is oftentimes as unpleasant as it is compelling. Previously available via Tokuma Home Video’s Japanese VHS videocassette, which was in French with Japanese subtitles, and digitally censored to boot, MM’s newly restored 4K presentation is a real eye-opener, which includes the usual assortment of essential special features including an audio commentary with Samm Deighan, interviews with the film’s actor and composer Bookie Binkley, camera operator Noel Very, writer Jean-Luc Marret, and an excellent 24-page booklet from writer Jacques Spohr detailing the film’s history and still controversial nature.
SAGA EROTICA: THE EMMANUELLE COLLECTION [1969 – 1977] (Severin Films) – Just Jaeckin’s hugely-profitable EMMANUELLE (1974) not only made its star Sylvia Kristel a phenomenon the world over, but also spawned several sequels and dozens of knock-offs like the incredibly prolific BLACK EMANUELLE (notice the single “m” spelling) films starring Laura Gemser. Based on the anonymous publication and same-titled book from 1959 (which was eventually revealed to be written by Marayat Rollet-Andriane, a Eurasian wife of a French diplomat living in Bangkok), Jaeckin’s film and its official sequels embrace all the expected soft-focus photography of naked flesh, exotic locales, voyeurism and pseudo-intellectual posturing (“It wouldn’t be true love if you could measure it.”), but in the hands of Jaeckin, he conjures up plenty of evocative imagery while Pierre Bachalet’s gentle and sumptuous score contributes immeasurably to the film’s entertainment value. Housed in a beautifully-designed box, this very thorough 11-disc UHD/BD collection also contains the other films from the original trilogy that include Francis Giacobetti’s EMMANUELLE II (1975) and Francois Letterier’s GOODBYE EMMANUELLE (1977), while Cesare Canevari’s fascinating and unofficial first-film I, EMMANUELLE (1969) starring the always captivating Erika Blanc in also included! Despite the availability of the original trilogy in previous editions, these are massive upgrades that are well-worth the double-dip, all of which are anchored by a bevy of substantial archival and newly-produced special features (including a beautifully illustrated 128-page book and two soundtrack CDs), which are sure to enhance one’s pleasure of these iconic and irresistibly entertaining films.
SHAWSCOPE VOLUME 4 [1975 – 1983] (Arrow Video) – With so many Shaw Brothers collections being put out on a regular basis, it’s easy to get a little overwhelmed or possibly burnt-out at the prospect of owning each and every one of them. Then again, even moderate fans of the studio’s output will surely get excited about this fourth volume in Arrow’s impressive run of box sets. Featuring most of the studio’s best remembered horror and fantasy-oriented wuxia films such as Ho Meng-hua’s BLACK MAGIC (1975) and THE OILY MANIAC (1976), Kuei Chih-hung’s HEX (1980), Hua Shan’s INFRAMAN (1975) and PORTRAIT IN CRYSTAL (1983), Yang Chuan’s outrageous SEEDING OF A GHOST (1983) and Cheung Kwok-ming’s wonderfully weird TWINKLE, TWINKLE LITTLE STAR (1983), this is a deliriously diverse and handsomely-packaged box set. Once again, Arrow Video outdoes itself with a vast array of audio commentaries and special features for each film, which makes this collection a must-have for fans of the sleazier and more esoteric side of this once formidable studio.
SORCERER [1977] (Criterion Collection) – After the worldwide success of THE EXORCIST (1973), director William Friedkin definitely felt comfortable to finally tackle his take on Georges Arnaud’s 1950 novel The Wages of Fear, which had already been superbly filmed before by director Henri-Georges Clouzot in 1953. Uncompromising in his vision, Friedkin had no qualms pushing his cast and crew past the brink of exhaustion to try and obtain perfection, but his efforts certainly paid off with this pulse-pounding masterpiece about four down-and-out men forced by circumstance to transport nitro-glycerin through treacherous jungle roads. Often remembered for its nail-biting “bridge sequence,” (which also featured on much of the film’s promotional material), Friedkin’s insistence on total autonomy and high standards was a costly undertaking, and even though it was a critical and commercial flop, it has proven its durability over the years. Now held in high regard, Criterion have lovingly restored Friedkin’s epic vision in 4K, which reveals the tiniest of details without losing that filmic touch. Alongside the usual archival extras, Criterion have also included Francesco Zippel’s feature-length documentary FRIEDKIN UNCUT (2018) as a bonus. If you don’t already own it, this new release gives you the perfect excuse to add it to your collection.
V-CINEMA ESSENTIALS: BULLETS & BETRAYAL [1989-1994] (Arrow Video) – By the late-’80s, a shift occurred in the Japanese cinema-going culture thanks to the proliferation and popularity of home video. From the ashes of a dwindling theatrical market sprang V-Cinema, a direct-to-video initiative formed in the late-’80s under the auspices of the Toei Company, which focused on producing low-budget pictures specifically tailored for the small-screen. Usually featuring yakuza hitmen, hardboiled cops, femme fatales, and high doses of sex and violence, these small-scale action sagas became a thriving genre unto itself, which were also a proving ground for younger directors and even many genre luminaries that included Yasuharu Hasebe, Masaru Konoma, and Teruo Ishii whose yakuza-themed revenge film, THE HITMAN: BLOOD SMELLS LIKE ROSES (1991) is one of the highlights of this set. In all, 9 films are represented herein, which are bolstered by dense supplemental material, which thoroughly explore the genesis and cultural impact of these wire-tight and generally overlooked films.
WAKE IN FRIGHT [1971] (Umbrella Entertainment) – While director Ted Kotcheff has never been regarded as a visionary, this unforgettable Aussie film would definitely make you think otherwise. A film that pulls no punches with its sheer brutality and cynicism, this finally got the restoration and special edition it so richly deserves with this stunning UHD/BD box set, which solidifies its reputation as one of the most significant Aussie films ever made.
And let’s forget about the following HONOURABLE MENTIONS, which are also very worthy of your time and hard-earned cash!
Arrow Video had an exceptionally rich year of releases, which also included the worldwide BD debut of Peter Manoogian’s siege thriller ENEMY TERRITORY, and several UHD debuts and upgrades including William Friedkin’s controversial and visually evocative CRUISING (1980), Pupi Avati’s nightmarish slice of horror all’italiana THE HOUSE WITH LAUGHING WINDOWS (1975), John Carpenter’s rather audacious IN THE MOUTH OF MADNESS (1994), Abel Ferrara’s MS. 45 (1981), Peter Hyams’ OUTLAND (1981), an outstanding edition of Lucio Fulci’s ZOMBIE FLESH-EATERS (a.k.a. ZOMBIE, 1979), and of course, Sergio Leone’s Dollars Trilogy that comprise A FISTFUL OF DOLLARS(1964), FOR A FEW DOLLARS MORE (1965) and THE GOOD, THE BAD AND THE UGLY (1966).
The Criterion Collection also had a busy year, which saw UHD debuts of Ken Russell’s ALTERED STATES (1980), Sean Baker’s critically lauded ANORA (2024), Mike Nichols’ CARNAL KNOWLEDGE (1971) and David Cronenberg’s A HISTORY OF VIOLENCE (2005), while Eurocult specialists Cauldron Films put out a stunning 4K restoration of Erwin C. Dietrich’s and Paul Grau’s insane Eurotrash classic MAD FOXES (1981), and decked-out BDs of Angelo Pannaccio’s EXORCIST rip-off CRIES AND SHADOWS (1975) and Tulio Demicheli’s extremely-violent Eurocrime picture, RICCO, THE MEAN MACHINE (1973).
Distribpix Inc. in conjunction with Something Weird Video also continued to generate more interest in American sexploitation films with their impressive double features that included a pair of standouts: Herbert S. Altman’s and Robert Worms’ CONFESSIONS OF A PSYCHO CAT (1968) and Harold Lea’s THE FAT BLACK PUSSYCAT (1968), and THE ADULT VERSION OF JEKYLL & HIDE (1972) and THE EROTIC ADVENTURES OF ZORRO (1972), a pair of softcore epics from David F. Frieddman, which are sure to raise more than just a few eyebrows. And speaking of Friedman, Don Edmonds’ notorious, squirm-inducing ILSA, SHE-WOLF OF THE SS (1975), a film he produced pseudonymously, also made its worldwide UHD debut thanks to Kino Lorber’s Kino Cult line; other must-have Kino UHDs included Mario Bava’s DANGER: DIABOLIK (1968) in a much-improved edition, and William Friedkin’s RAMPAGE (1987) with both cuts of the film.
As is par for the course, Severin Films also produced several other must-have collections this past year, which also included DANZA MACABRA VOLUME 4 – THE ITALIAN GOTHIC COLLECTION, which included UHD debuts of Massimo Pupillo’s TERROR-CREATURES FROM THE GRAVE (1965) and its original Italian version 5 GRAVES FOR THE MEDIUM, Filippo Walter Ratti’s once-elusive NIGHT OF THE DAMNED (1971), Luigi Batzella’s THE DEVIL’S WEDDING NIGHT (1973) and Corrado Farina’s BABA YAGA (1973). And let’s not forget about their amazing restoration of Lee Frost’s black-and-white roughie THE PICK-UP (1968) and brand new 4K restorations of Bruno Mattei’s HELL OF THE LIVING DEAD (1980) and Ruggero Deodato’s streamlined and highly-effective home invasion thriller HOUSE ON THE EDGE OF THE PARK (1980).
Vinegar Syndrome also continued to turn heads with a wide array of fantastic releases, some of which included BLOODSTAINED ITALY, a 3-disc set with a trio of largely-forgotten Italian horror pictures including Giulio Petroni’s once difficult-to-see OBSCENE DESIRE (1978), the eighth volume (!) in their ongoing FORGOTTEN GIALLI box sets, and beautiful UHD upgrades of John Hancock’s LET’S SCARE JESSICA TO DEATH (1971), Terence Fisher’s THE MAN WHO COULD CHEAT DEATH (1959), and Lucio Fulci’s MURDER-ROCK: THE DANCING DEATH (1984). Other noteworthy titles also included Lam Ngai-Choi’s tough-as-nails crime film MEN FROM THE GUTTER (1983) and THE FILMS OF HISAYASU SATÔ VOLUME 1, a 3-film collection, which is the first release in VS’s newly-established Pink Line. As for OCN Distribution, they issued a dizzying number of Partner Labels, but none of them could compare to the insanity of Bleeding Skull’s BACKYARD BLOODBATHS, a “movie marathon from the eighth dimension” that collects several underground feature-length and short horror films from the ’80s, ’90s and ’00s, which makes this one of the more unusual and entertaining discs in BS’s catalogue. Earlier in the year, Swedish film collective Klubb Super 8 joined the VS family as a partner label, and their second release of Arne Mattsson’s “horror drama” THE DOLL (1962) was a significant and very welcome restoration as well, while fellow newcomer Bizarro issued the worldwide UHD debut of Eugenio Martin’s Euro-horror favourite, A CANDLE FOR THE DEVIL (1972).
British-based label Eureka Entertainment slowly continued to distribute titles in North America including two outstanding box sets devoted to Artur Brauner’s German studio CCC, which included MABUSE LIVES! DR. MABUSE AT CCC: 1960 – 1964 and TERROR IN THE FOG: THE WALLACE KRIMI AT CCC, while 88 Films not only focused their attention of several Hong Kong films, but also issued a limited edition UHD of Sergio Garrone’s infamous video nasty SS EXPERIMENT CAMP (1976) in a truly eye-popping restoration, and Joe D’Amato’s late-entry erotic thriller THE HYENA (1997) that is sure to become some sort of mini-classic for those that actually watch it.
The folks at Terror Vision had no illusions about giving fans what they wanted with their fully-loaded 2-disc set of David A. Prior’s SOV slasher SLEDGEHAMMER (1983), but their ever-growing catalogue also saw the UHD release of Kim Ki-young’s stylish Korean horror picture SUDDENLY IN THE DARK (1981), and Renato Savino’s sleazy Eurocrime film, THE CHILDREN OF VIOLENT ROME (1975). On the opposite end of the spectrum, Fun City Editions put out WELCOME TO FUN CITY (2024), a mammoth 2-disc trailer collection devoted to films shot and based in New York City, John Sayles’ BABY IT’S YOU (1983) and Richard Benjamin’s RACING WITH THE MOON (1984).
Lastly, Ignite Films delivered a marvelous 3-disc UHD/BD of Stuart Gordon’s RE-ANIMATOR (1985), which is sure to be the last word on the film. And finally, Tom Savini’s solid NIGHT OF THE LIVING DEAD (1990) remake of George A. Romero’s pioneering classic also made its UHD debut thanks to Sony Pictures, which includes a stunning new restoration of both the theatrical cut and Savini’s preferred – and slightly longer – director’s cut and a terrific, newly-recorded audio commentary with Savini moderated by Red Shirt Pictures’ Michael Felsher.
