UNPOPPED CINEMA'S TOP 30 BEST DISCS OF 2020

As we continue to grapple with the on-going global pandemic, several boutique home video labels this past year continued to unearth, preserve and release a cavalcade of cinematic riches on disc week after week. Labels such as 88 Films, AGFA, Arrow Video, Blue Underground, Camera Obscura, Cauldron Films, The Criterion Collection, Dark Force Entertainment, Garagehouse Pictures, Kino Lorber, Mondo Macabro, Scorpion Releasing, Scream Factory, Second Sight, Severin Films, Synapse Films, and Vinegar Syndrome need to be praised and applauded for their unwavering dedication to what was, undoubtedly, one strange year. The vast array of titles released in 2020 have once again been incredible, to say the least. So, let’s take a look at some of my favourite releases and honourable mentions.  

AL ADAMSON: THE MASTERPIECE COLLECTION [1960 - 2019] (Severin Films) – Anchored by David Gregory’s superb documentary BLOOD AND FLESH: THE REEL LIFE AND GHASTLY DEATH OF AL ADAMSON (2019), Severin Films have lovingly assembled all 32 of Adamson’s credited films in what is perhaps one of the most impressive collective undertakings on any one film director. Spread out over 14 discs (!) with far too many extras to even mention here; this already jam-packed set also includes The Blood and Flesh Files, a wonderful 120-page book with writing from Amanda Reyes and Bill Ackerman, who discuss each film at length. An unparalleled accomplishment in both content and packaging. 

 

AMERICAN RICKSHAW [1989](Cauldron Films) – One of the loopier and truly unforgettable Italian films you’re ever likely to encounter, Sergio Martino’s genre mash-up made its North American HD debut earlier this year thanks to Cauldron Films, an exciting new specialty label. Featuring an eye-popping new transfer, several worthy extra features (including a fantastic audio commentary from Kat Ellinger and Samm Deighan) and very cool packaging, Cauldron’s new disc is absolutely first-rate and comes highly recommended. Read the review.

 

BAHIA BLANCA [1984] (Severin Films) – One of the more obscure and criminally undervalued titles in Jess Franco’s exhaustive filmography, this was nearly impossible to see outside of shoddy, grey market bootlegs. In Alain Petit’s book, Jess Franco ou les Prosperités du Bis, Franco said this was (quote) “one of my best-looking films,” which Severin shows off in grand style thanks to their new 4K transfer and several illuminating special features.

 

CANNIBAL APOCALYPSE [1980] (Kino Lorber Studio Classics) – Here making its worldwide HD debut, Antonio Margheriti’s hybridization of Vietnam-themed war pictures and Italian cannibal gut-crunchers arrived on Blu-ray looking better than ever, and with a whole gutful of worthy extras to boot, including an excellent audio commentary with Video Watchdog’s Tim Lucas. Read the review.

 

COME AND SEE [1985] (The Criterion Collection) – An agonizing, nightmarish vision of cruelty, this is one of the most devastating anti-war films ever produced. Filled with unforgettable, hallucinatory images (Aleksey Rodionov’s camerawork is without peer) and a haunting performance from then-unknown actor Alexsey Kravchenko, COME AND SEE is a war film like no other. Previously released by Kino Lorber as a 2-disc Special Edition DVD, Criterion’s very welcome HD upgrade includes a brand new 2K restoration provided by Mosfilm, along with a host of archival interviews, making-of documentaries, and a recent interview with ace cinematographer Roger Deakins who acknowledges its many influences on his work. 

 

THE COMPLETE LENZI BAKER COLLECTION [1969 - 1972] (Severin Films) – Usually regarded as a journeyman director, Umberto Lenzi has, thanks to brilliant collections such as this, been finally getting the recognition he so richly deserves. Gathering together four of his collaborations with ex-pat Hollywood star Carroll Baker (which for the record include ORGASMO [a.k.a. PARANOIA, 1969], SO SWEET… SO PERVERSE [1969], A QUIET PLACE TO KILL [1970] and KNIFE OF ICE [1972]), Severin has rightly given prominence to this quartet of sexually-charged gialli, which all look uniformly outstanding in this new set. Lenzi’s once difficult-to-see ORGASMO is a particular revelation as it not only preserves the film’s original 2.35:1 Techniscope framing but includes both the Italian and very different US release version as well! On the extras front, Samm Deighan, Kat Ellinger, Troy Howarth, Alexandra Heller-Nicholas, and Nathaniel Thompson all provide very engaging audio commentaries as they delve into plenty of detail for each film. As if this set wasn’t exhaustive enough, Severin has also included a pair of soundtrack CDs, which even consists of the heretofore unreleased-and complete-Piero Umiliani score for ORGASMO! 

 

DAUGHTERS OF DARKNESS [1971] (Blue Underground) – A popular title within BU’s catalogue, Harry Kümel’s marvelous, one-of-a-kind and dreamy take on the Elizabeth Bathory legend has been beautifully packaged in a new three-disc edition, which not only features a stunning 4K UHD, but a new Blu-ray, and soundtrack CD as well. All of the extra features from previous releases have been thoughtfully ported over, but BU has also included a pair of enticing new trailers, an extensive artwork gallery, and a brand-new audio commentary with Kat Ellinger, who leaves no stone left unturned in her expert, fact-filled talk. 

 

DAWN OF THE DEAD [1978] (Second Sight) – George A. Romero’s masterpiece is the definitive zombie film, and this highly-anticipated 4K UHD box set should now be considered its definitive home video presentation! Supervised by DoP Michael Gornick, all three versions have been immaculately restored from their original camera negatives and are, to put it mildly, stunning in their clarity. Lavishly designed and over-flowing with special features both new and old, Second Sight also adds three separate soundtrack CDs featuring Goblin’s iconic score and the complete De Wolfe library tracks! And to top it all off, a beautiful 160-page (!) hardcover book with all-new writing on the film is also included! This new box set is sure to keep even the most jaded fan entertained for hours on end. 

 

DEADLINE [1980] (Vinegar Syndrome) – Popular horror novelist Steven Massey (Stephen Young) is beginning to lose his grip on reality through a series of vivid and often gory hallucinations, which sinks him further and further into a world of self-delusion and tragedy. Mario Azzopardi’s effective, Canadian-produced shocker never did make the jump to DVD, but thanks to VS, this new 2K scan (taken from the producer’s personal 35mm print) is a significant upgrade in every way, far removed from Paragon Video’s muddy old VHS tape. Extras are limited, but Henry Lass and DoP Manfred Guthe appear in separate on-camera interviews, who discuss the Canadian tax shelter years and working alongside director Azzopardi.

DEMONIA  [1990] (Severin Films) – Despite the film’s litany of production woes, Lucio Fulci’s low-budget Gothic horror film still possesses flashes of style and imagination, but thanks to Severin Films’ major HD overhaul, it’s now an altogether more satisfying viewing experience. As for the extras, Severin includes many newly-produced interviews, but the highlight is a superb and very informative audio commentary from Stephen Thrower, author of Beyond Terror: The Films of Lucio Fulci (FAB Press, 2018), who not only sheds light on the present film but Fulci’s less-talked-about latter-day career as well. Read the review.

 

DIARY OF A MAD HOUSEWIFE [1970] (Kino Lorber Studio Classics) – Coming at the end of their fruitful collaboration, which began with DAVID AND LISA (1962), Frank and Eleanor Perry’s domestic drama focuses on Tina Balser (Carrie Snodgress), a Manhattan housewife who is alienated by her indifferent, socially-minded husband (Richard Benjamin). In the hopes of finding solace in another man’s arms, she begins an affair with a brash young writer (Frank Langella), who turns out to be a lot less than she initially hoped. Based on Sue Kaufman's novel, the film’s themes of isolation, materialism, and misguided ambition are as relevant today as they were fifty years ago. Bypassing DVD altogether, Kino offers a fine transfer of the film, which is nicely complemented by a rewarding audio commentary with screenwriter Larry Karaszewski and film historians Howard S. Berger and Steve Mitchell, who, as usual, find plenty to discuss, including some of the differences between Perry’s film and Kaufman’s book. 

 

FORBIDDEN FRUIT: THE GOLDEN AGE OF THE EXPLOITATION PICTURE (Kino Lorber / Something Weird Video) – Initiated with William Beaudine’s, Kroger Babb produced sex hygiene picture MOM AND DAD (1945), Kino and SWV have embarked on a series of ‘cautionary’ films, which, to date, consist of eight volumes. Of course, each Blu-ray comes loaded with a number of interesting, rarely-seen extras in which SWV is famously generous.

 

FORGOTTEN GIALLI - VOLUME 1 [1973 - 1978](Vinegar Syndrome) – A most welcome box set, this first volume certainly lives up to its title, which contains León Klimovsky’s unusually violent TRAUMA (1978), Javier Aguirre’s Ten Little Indians inspired thriller, THE KILLER IS ONE OF THIRTEEN (1973), and one last, head-scratching obscurity, Helia Columbo’s THE POLICE ARE BLUNDERING IN THE DARK (1975). Loaded with numerous extra features, informative audio commentaries (from the likes of Samm Deighan, Kat Ellinger and Troy Howarth) and a substantial audio essay from Rachael Nisbet, this impressive collection needs to be on the shelf of every self-respecting Eurotrash fanatic! Read the review.

 

FRIDAY THE 13^TH COLLECTION [1980 - 2009](Scream Factory) – Readily available throughout home video's history, this hugely popular slasher franchise has been much-loved among collectors. Yet, it has never received the red-carpet treatment many fans have craved over the years. Well, thanks to Shout Factory’s Scream Factory line, this impressive “Deluxe Edition” box set brings together all twelve films and a huge assortment of special features spread out over 16 Blu-rays! The first four films all come with new 4K scans, while the New Line Cinema titles outside of Ronny Yu’s FREDDY VS. JASON (2003) are all given new 2K scans. While the rest of the films don’t receive the same facelift, at least they are properly restored to their original 1.85:1 framing, which should count for something. Despite the missed opportunity to properly remaster all the films, this is sure to remain the definitive box set for years to come.

 

THE FU MANCHU CYCLE, 1965 – 1969 (Indicator) – This brilliant collection includes all five Fu Manchu adventures (all beautifully remastered from the StudioCanal vaults) and a mountain of extra features, including several audio commentaries, interviews, documentaries, alternate title sequences, and a 118-page (!) booklet, which also includes more fine work from Tim Lucas. Beautifully assembled and incredibly thorough, this easily ranks as one of the best releases of the year!

 

THE FURY OF THE WOLFMAN [1972] (Scorpion Releasing) – A troublesome production with a very scattershot home video release history, Scorpion tried their very best to remedy this situation with their much-improved Blu-ray. Although the transfer still has some damage and speckling, this heavily-flawed Paul Naschy / Waldemar Daninsky werewolf picture has never looked better than it does here. Along with a pair of separate audio commentaries from Troy Howarth and Mirek Lipinski, Scorpion has also included both the theatrical and export versions, the latter of which contains some lesser-quality SD inserts. While not perfect, I can’t imagine this getting a better release anytime soon.

 

GAMERA – THE COMPLETE COLLECTION [1965 - 2006] (Arrow Video) – Much like their earlier, equally impressive Herschell Gordon Lewis SHOCK AND GORE box set, Arrow Video have outdone themselves yet again with this monstrous set dedicated to everyone’s favorite fire-eating giant turtle. Featuring all twelve films comprising both the Showa Era (1965-1980) and the Heisei Trilogy (1995-1999) and then finishing off with Ryuta Tasaki’s rather spineless GAMERA THE BRAVE (2006), Arrow’s oversized¾and beautifully packaged¾rigid slipcase is one very imposing collection. Because of the wide assortment of special features (including intros by genre expert August Ragone) contained herein, it would be virtually impossible to list everything. Still, it’s worth mentioning that an 80-page book with writing from Patrick Macias and a 130-page hardbound book containing reprints from a four-issue Gamera comic book are also generously included. It’s a stunning, incredibly obsessive set that’s well worth your hard-earned cash.

 

GRAVEYARDS OF HONOR [1975 - 2002] (Arrow Video) – Based on Goro Fujitu’s book on real-life post-World War II gangster Rikio Ishikawa, this unflinching, extremely violent portrait unfolds as a typical rise and fall gangster story, but director Kinji Fukasaku’s stylistic flourishes and kinetic pacing are bold and unique with style to spare – it’s a gangster film like to other. Although following a similar storyline, which is just as violent, Takashi Miike’s 2002 remake is an altogether different beast setting the film in then-contemporary ’90s Japan. Housed in one of Arrow’s sturdy slipcases, this 2-disc set also encompasses several immersive extras, including audio commentaries from Mark Schilling and Tom Mes, visual essays from The Projection Booth’s Mike White and Diabolique’s Kat Ellinger, several archival interviews with the cast and crew, and an informative book written by genre expert Jasper Sharp. 

 

THE LIVING DEAD AT MANCHESTER MORGUE        [1974] (Synapse Films) - Released under many alternate titles and numerous different versions, Jorge Grau’s seminal Euro zombie shocker has been steadily available in several ‘special editions’ throughout the digital age thus far. However, the recent 3-disc Limited Edition Steelbook from those perfectionists at Synapse Films easily eclipses every single other release that preceded it. Without going into too many specifics, the image is virtually flawless. Synapse has also commissioned several new special features, including a pair of enthusiastic and highly-enjoyable audio commentaries from Troy Howarth and a co-commentary from Cinema Arcana’s Bruce Holecheck and Mondo Digital’s Nathaniel Thompson. Other extras include a couple of on-camera interviews with Gianetto De Rossi courtesy of Eugenio Ercolani, and a feature-length documentary on director Jorge Grau. Enclosed in an eye-catching Steelbook featuring original cover art by Wes Benscoter (and a slick slipcover), this exemplary set also includes a DVD copy of the Blu-ray and a 15-track (29m59s) soundtrack CD of Giuliano Sorgini’s memorable score. Read the review.

 

LUCIO FULCI 4K X 3 [1979 - 1982] (Blue Underground) – Having re-visited Fulci’s gore classics innumerable times on DVD and Blu-ray, BU has truly outdone themselves with their most recent 4K UHD releases. As impressive as their 3-disc Limited Editions of ZOMBIE (1979), THE HOUSE BY THE CEMETERY (1981), and THE NEW YORK RIPPER(1982) were, these new upgrades are truly remarkable in their clarity and detail without ever sacrificing their natural film-like structure – they are simply stunning. You need these!

 

MACABRE [1980] (88 Films) – Without a doubt, this remains Lamberto Bava’s best film, a languorous Gothic melodrama of obsession and madness, which has finally garnered a very handsome HD upgrade. Touted as a (quote) “new 2K restoration from the original camera negative”, 88 Films’ transfer provides a generous boost in details than earlier DVD releases. As for extras, director Bava appears in an excellent on-camera interview, cheekily entitled, Don’t Lose Your Head. However, the most significant bonus is an audio commentary from author Troy Howarth and Mondo Digital’s Nathaniel Thompson, who provide another one of their absorbing and very entertaining look into the film. 88 Films have also seen fit to include a 12-page booklet with liner notes written by Rachael Nisbet. 

 

MASSACRE AT CENTRAL HIGH [1976] (Synapse Films) – Not so much a slasher film as the title implies, this oddly fascinating film is more of a thought-provoking examination of social class structure, albeit a very violent one. Proving difficult to see since its 1981 VHS release from Electric Video Inc., Synapse’s new Blu-ray is a real sight for sore eyes, which features yet another one of their stellar restorations and a host of newly-produced special features.

 

THE McPHERSON TAPE [1989] (AGFA) – Long before directors Daniel Myrick and Eduardo Sanchez popularized the ‘found-footage’ film with THE BLAIR WITCH PROJECT (1999), Dean Alioto did much the same with this SOV (shot-on-video) production, which he shot for a paltry $6500. Even though it contains all the usual staples associated with found-footage cinema, such as overlapping dialogue, video glitches, and shaky camerawork, it’s the film’s backstory, which proves to be far more fascinating than the film itself. Securing a distribution deal after the film had wrapped, all the master tapes burned down in a warehouse fire, only for the film to mysteriously reappear a few years later where it was traded among UFO conspiracy theorists and pawned off as the real deal! All of this and much more are thoroughly discussed within the numerous special features included on AGFA’s disc, which also includes Alioto’s 2017 director’s cut, UFO ABDUCTION. 

 

POLIZIOTTO SPRINT [1977] (Camera Obscura) - Unfortunately, outside of second or third-generation bootlegs, Stelvio Massi’s anarchic high-speed smash-’em-up was never easy to see, so Camera Obscura’s newest HD restoration is a much welcome release, indeed. Starring Italocrime icon Maurizio Merli without his trademark ’stache, this is much more of a showcase for the talents of veteran stunt arranger Rémi Julienne and his extraordinary stuntwork. As usual, CO’s all-region Blu-ray is yet another gorgeous release, boasting a beautifully-detailed and colourful image, with no digital enhancement of any sort. Although extras are limited, CO does include an excellent—and highly-appreciated—interview with author Roberto Curti. Read the review.

 

RUBEN GALINDO JR. X 2 [1985 - 1989] (Vinegar Syndrome) – Previously released on DVD in less-than-satisfactory condition via BCI/Eclipse, Ruben Galindo Jr.’s CEMETERY OF TERROR (1985) and GRAVE ROBBERS (1989) are a pair of latter-day Mexican horror films, which have never garnered any real attention. Thankfully, VS has come to the rescue of these scrappy—and at times very gory—films with brand-new 4K scans and some fantastic restoration work. Of course, VS doesn’t skimp on the bonus features as well, with numerous audio commentaries and interview featurettes. 

 

SHINING SEX [1975] (Severin Films) - A hypnotic, often bizarro melding of an experimental softcore sex film with science-fiction trappings, Jess Franco’s wholly unique film remains one of the director’s more unapologetically voyeuristic efforts. Only sporadically released on videotape, Severin’s edition of SHINING SEX boasts an all-new transfer taken directly from Eurociné’s original camera negative, which is very impressive. Beginning with a thorough audio commentary from Franco expert Robert Monell and NaschyCast’s Rodney Barrett, Severin also includes many fascinating interviews (including Gérard Kikoïne and Eurocine’s Daniel Lesoeur) and In the Land of Franco Part 3, which documents many of Franco’s shooting locations. The limited-edition release also comes with In the Land of Franco Vol. 1, a very welcome soundtrack comp CD (14 tracks, 54m) featuring music from several Jess Franco films, the present one included. Read the review.

 

SINS OF THE FLESH [1974] (Mondo Macabro) – Rarely-seen outside of France, it’s distinctive titles such as this that makes me better appreciate the work everyone does at MM. Directed by iconoclast Claude Mulot (here employing his familiar Frédéric Lansac pseudonym, which he used for most of his subsequent adult titles), this is a twisted, erotically-charged, exploitation picture, which focuses on Benoît (Francis Lemonnier) and Jean-Pierre (Patrick Penn), a pair of ne’er-do-well’s always on the lookout for trouble. Considering its relative obscurity, MM’s Blu-ray looks terrific and includes a wealth of extra features, including several interviews with many of Mulot’s colleagues, who discuss his career and effectively summarize the burgeoning world of French sex films at the time. Unfortunately, the Limited ‘Red Case’ Edition (which included a set of postcards and a booklet with an essay from Pete Tombs) has since sold out, but the standard retail edition contains the same transfer and extra features.

 

TRAILER TRAUMA 5: 70s ACTION ATTACK [2020] (Garagehouse Pictures) - Yet another contribution to Garagehouse Pictures’ exciting Trailer Trauma series, their latest colossal undertaking is a magnificent, lovingly-put-together tribute to ’70s action pictures, which veers from badass blaxploitation to messily-dubbed, gimmicky martial arts films and everything in-between, even including big-budget Hollywood classics in amongst all the expected “B” and “Z”-grade trash. Mondo Digital’s Nathaniel Thompson and Howard S. Berger also provide a fantastic, comprehensive audio commentary and never fail to wax enthusiastic for each and every film. Read the review.

 

WAR OF THE WORLDS [1953] (The Criterion Collection) – Beautifully restored in 4K, Byron Haskin’s sci-fi classic has never looked better than it does here on Criterion’s spectacular Blu-ray, and it's loaded with tons of bonus features as well. Nuff said!

 

YETI, THE GIANT OF THE 20TH CENTURY [1977](Dark Force Entertainment) – Made hot on the heels of Dino de Laurentiis’ KING KONG (1976) remake, Gianfranco Parolini’s laughably awful giant monster movie has always been a personal ‘bad movie’ favourite. Usually relegated to inferior quality bootlegs, Dark Force’s new Blu-ray looks mighty impressive, and even though it’s a bare-bones affair, the fact it was released at all is cause for celebration. Plus, it’ll look good next to my 14-year old Beat Records CD of Sante Maria Romitelli’s disco-themed score. 

 

 

HIGHLY HONOURABLE MENTIONS

 

THE ALEJANDRO JODOWORSKY COLLECTION (Arrow Video / ABKCO), BEYOND THE DOOR (Arrow Video), THE BLACK CAT (Severin Films), BLUE MONKEY (Dark Force Entertainment), BRIDES OF DRACULA (Scream Factory), BRIGADE OF DEATH (Film Art), CISCO PIKE (Indicator), CRASH (Arrow Video 4K), DANGEROUS CARGO (Mondo Macabro), DEATH WISH 3 (Scorpion Releasing), FLASH GORDON (Arrow Video), THE GHOST BREAKERS (Kino Lorber Studio Classics), HE CAME FROM THE SWAMP: THE WILLIAM GREFÉ COLLECTION (Arrow Video), HUSBANDS (Criterion Collection), AN IDEAL PLACE TO KILL (Mondo Macabro), KISS OF THE VAMPIRE (Scream Factory), MALABIMBA (Vinegar Syndrome), MR. NO LEGS (Massacre Video), MOTHRA (Eureka!), NIGHT TIDE (Indicator), PATRICK STILL LIVES (Severin Films), SHIVERS (Vestron Video / Lionsgate), SLEEPLESS (Scorpion Releasing), THE STRANGE VICE OF MRS. WARDH (Severin Films), SOLDIER BLUE (Kino Lorber Studio Classics), THE TENANT (Scream Factory), THE TORTURE CHAMBER OF DR. SADISM (M Square), UNIVERSAL HORROR COLLECTION VOLUMES 4, 5 & 6 (Scream Factory), THE UNTOLD STORY (Unearthed Films), WHODUNIT? (Vinegar Syndrome).

 

Unfortunately, I could not obtain Vinegar Syndrome’s most recent Black Friday releases to review them in time. There’s no doubt that FADE TO BLACK (1980), THE BEASTMASTER (1982), DON’T PANIC (1988), FORGOTTEN GIALLI – VOLUME 2, and SILENT MADNESS (1983) would have probably snuck onto this list as well.  

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!

THE MUMMY'S REVENGE - BLU-RAY REVIEW

Late, great Castilian horror king Paul Naschy (a.k.a. Jacinto Molina) was at the very height of his popularity when he wrote and starred in Carlos Aured’s THE MUMMY’S REVENGE (1973), an atmospheric and grisly take on Karl Freund’s pivotal Universal horror classic, THE MUMMY (1932). Never one to shy away from a challenge, Naschy takes on the dual roles of Amen-Ho-Tep (in both his human and monster forms) and also plays Assad Bey, his cursed descendent, who, in the interests of attaining (quote) “power, riches and eternal life” resurrects the exceedingly cruel Amen-Ho-Tep. Although this film was once readily available on Betamax/VHS videocassette during the ’80s, Unicorn Video’s master was taken from a censored, heavily-cropped TV print. And now, thanks to Scorpion Releasing’s timely Blu-ray, Naschy’s lone mummy movie has risen mightily to stride the Earth once again.

Ruling with an iron hand alongside the equally-cruel Princess Amarna (Rina Ottolina), the tyrannical Amen-Ho-Tep’s (quote) “savage rule” is vividly displayed in the film’s opening sequence, set during Egypt’s 18^th Dynasty. Through the use of some solemn-but-clunky voiceover narration (at least in the English-dubbed version), we learn that the land was thrown into a (quote) “eternal nightmare of blood and horror”. However, Am-Sha (Fernando Sánchez Polack), the wily high priest of Amon-Ra, leads a plot to overthrow the despotic ruler, who is then mummified alive, to (quote) “wander in the world of the unknown forever.” This seemingly-endless length of time is efficiently rendered through the use of some simple time-lapse photography, a well-worn, but still effective technique, which segues nicely into the discovery of Amen-Ho-Tep’s tomb centuries later by archeologists Nathan Stern (Jack Taylor) and his wife Abigail (María Silva). Upon transporting their find to Sir Douglas Carter (Eduardo Calvo) at the Landsbury Foundation in London, the senior academic is elated at this (quote) “important archeological discovery”. On the downside, it also attracts the interest of the sinister Egyptian Assad Bey and his partner Sanofed (Helga Liné), who, for nefarious purposes, intend to raise Amen-Ho-Tep from the grave via the ritual sacrifice of (quote) “three young virgins”. Unfortunately, once the long-dormant mummy has arisen anew, Bey and Sanofed are then obliged to murder still another seven virgins more in order for the (quote) “dominion of the Pharaohs” to rise to full power again. But the mouldy mummy also has his eyes set on Sir Douglas’ nubile daughter, Helen (Ottolina again), who is—not unexpectedly, as per the hoary ol’ trope—a dead ringer for Amen-Ho-Tep’s long-dead beloved Amarna… 

As helmed by Carlos Aured, THE MUMMY’S REVENGE turned out to be the last film he made with Paul Naschy, capping a fruitful collaboration which had begun with HORROR RISES FROM THE TOMB (1973), another ‘vengeance-from-beyond-the-grave’ shocker that shares quite a few similarities with the current film under review. Unlike most of Naschy’s long list of filmic monsters, which were always approached with a certain empathy (best exemplified in Javier Aguirre’s COUNT DRACULA’S GREAT LOVE [1973], starring Naschy as the lonesome, lovelorn Count), Amen-Ho-Tep on the other hand is a 100% unadulterated murderous monster whose sole motivations are revenge and, ultimately, global domination (“The world will be ours!”). Sporting quite eye-catching makeup, Naschy’s mummy is also one of the most memorably gruesome creations to be found in the star’s entire monster canon, whose ruthless, violent nature is made all-the-more obvious when he viciously—and gorily!—squashes the heads of local virgins he believes are unacceptable for his use.  

While competently lensed across the boards and making the most of its humble origins, this is one of Aured’s best-looking films, which takes full advantage of its familiar London locations, and according to Troy Howarth’s excellent audio commentary, also utilized a number of leftover sets from Charlton Heston’s ANTHONY AND CLEOPATRA (1972) as well; all of which are handsomely captured by Francisco Sánchez’s exquisite scope photography. The wonderful cast also includes a number of Naschy regulars, including the ever-reliable Jack Taylor and María Silva (who was last seen as Countess Elizabeth Báthory in Carlos Aured’s CURSE OF THE DEVIL [1973]), as well as the always-superb Helga Liné, who gives one of the film’s strongest performances. Strikingly beautiful newcomer Rina Ottolina also does a fine job as both Amarna and her reincarnation Helen, and she definitely gives the gorgeous Zita Johann (who played Helen in Universal’s original 1932 version of the oft-told tale) a run for her money as the stunning love interest (much like Johann’s, Ottolina’s own movie career also proved to be short-lived when she retired in the late-’70s). 

Although THE MUMMY’S REVENGE bypassed DVD altogether in North America, Scorpion Releasing’s BD now presents two versions of the film in their attractive edition, one of which includes a scene (missing from the Spanish HD master) involving a newlywed—soon to be newlydead!—couple who get violently offed by the mummy, which was reinserted from an inferior source. Although both versions of the film retain the original 2.35:1 aspect ratio, this (quote) “extended composite cut” also includes both DTS-HD MA mono audio tracks in both English and Spanish languages, with the benefit of properly-translated English subtitles for the latter. While it is nice to have both audio tracks available, it should be mentioned that the Spanish track has far-superior audio fidelity to the tinny—and exceedingly hissy—English audio track, which was probably overdubbed from an old VHS source. The (quote) “shorter version” only comes with English audio.

An audio commentary from Human Beasts: The Films of Paul Naschy (WK Books, 2018) author Troy Howarth is the disc’s sole significant extra, but as usual, it’s a very welcome one. He goes over plenty of details related to the production, including its now-almost-mythic ‘unclothed’ version, which hasn’t turned-up anywhere as yet; the English dubbing on many Spanish films from the era and how they were (quote) “rather difficult to stomach”; much of the film’s pilfered score from the CAM libraries; the obvious onscreen chemistry between Naschy and Liné (this was their final collaboration); Miguel Sesé’s impressive makeup F/X; Carlos Aured’s solid understanding of the (quote) “basic innerworkings” of the genre, and how most of his films with Naschy are (quote) “smoother and refined” compared to the work of Leon Klimovsky; and finally, some background about the film’s distribution woes. It’s most certainly an engaging listen, loaded with plenty of insight into this film and Naschy’s work in general. Excellent stuff, indeed! The film’s rarely-seen Avco Embassy trailer is also included (“A jarring shock every moment!”), as are trailers for José María Zabalza’s THE FURY OF THE WOLFMAN (1972, coming soon from Scorpion) and José Luis Madrid’s THE HANGING WOMAN (1973). In addition, the inner sleeve contains informative liner notes from Naschy expert Mirek Lipinski, who also provides some interesting background info on the mysterious Ms. Ottolina. 

Polished and technically assured, it’s great to have this once-difficult-to-see Naschy title finally available on Blu-ray, which can be ordered from Ronin Flix and DiabolikDVD, both of which include a limited slipcover.