The Bastard (I bastardi) – Oblivion (Blu-ray)

Theatrical Release Date: Italy/France/West Germany, 1968
Director: Duccio Tessari
Writers: Ennio De Concini, Duccio Tessari, Mario di Nardo
Cast: Rita Hayworth, Giuliano Gemma, Klaus Kinski, Margaret Lee, Claudine Auger, Serge Marquand, Umberto Raho, Luis Barboo

Release Date: March 15th, 2024
Approximate running time: 91 Minutes 46 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (Italy)
Sound: DTS-HD Mono Italian, DTS-HD Mono English, DTS-HD Mono German
Subtitles: English, Italian, French
Region Coding: Region Free
Retail Price: 26,90€ (Italy)

"Two outlaw half-siblings vie for both a woman's love and the spoils of a robbery. It will end in a bloodbath." - synopsis provided by the distributor

Video: 2/5

The Bastard (I bastardi) comes on a 25 GB single layer Blu-ray.

Disc Size: 22.7 GB

Feature: 21 GB

When compared to the Warner Archive DVD, this release's transfer has noticeably more source damage, scratches, lines, specs of dirt, and cigarette burns. Also, where the Warner Archive release presented the film in a 1.85:1 aspect ratio, this release is in a 1.66:1 ratio. Colors are inconsistent, image clarity is mostly strong, and black levels are mediocre. Also, there is digital noise reduction throughout.

Audio: 2.5/5 (DTS-HD Mono Italian), 2.75/5 (DTS-HD Mono English)

This release comes with three audio options, a DTS-HD mono mix in Italian, a DTS-HD mono mix in English, and a DTS-HD mono mix in German. The English-language tracks sound more robust than the Italian-language tracks. That said, dialog comes through clearly, and range-wise, these tracks tend to be limited. Also, the English-language track has a few pops, hiss', and audio dropouts. Included are removable Italian, English, and French subtitles. The English subtitles translate the Italian-language track.

Extras:

Extras for this release include an alternate ending (2 minutes 7 seconds,  Dolby Digital mono German, no subtitles), and a featurette with Davide Pulici and Roger A. Fratter titled Inside The Bastards (26 minutes 30 seconds, Dolby Digital stereo Italian, no subtitles).

Summary:

Directed by Duccio Tessari, whose other notable films are The Bloodstained Butterfly, Death Occurred Last Night, Puzzle, and Tony Arzenta (Big Guns).

The narrative revolves around two brothers; one brother betrays and breaks the bond with the other.

Though a jewel heist sets the narrative in motion, the narrative shifts towards the conflict that comes about due to that aforementioned heist. At the heart of this conflict are two half-brothers whose fathers died on the same day. And if it wasn’t for their mother, they would have drifted apart. Their personalities could not be further apart; Adam is the older of the two brothers, and greed is what ultimately drives him. While his younger brother Jason is loyal to a fault.

The role that women play in their lives is significant. The first of these women is their alcoholic mother, Martha, whose obsession with the past prevents her from seeing what is happening to her sons. The second of these women is a seductress named Karen, who easily gravitates toward whoever has the most to offer her. The third of these three women is a rancher named Barbara, who tries to heal Jason’s wounds, both physically and emotionally.

Performance-wise, the cast is all very good, especially Margaret Lee (Venus in Furs) in the role of Karen, a femme Fatale-like character. Rita Hayworth (The Lady from Shanghai), in the role of Martha, the alcoholic mother, delivers a memorable performance. Claudine Auger (A Bay of Blood) in the role of Barbara, Klaus Kinski (Nosferatu the Vampyre) in the role of Adam, and Giuliano Gemma (Tenebrae) in the role of Jason round out this cast of recognizable faces.

From a production standpoint, the positives outweigh the negatives. With this film excelling most during it’s violent moments. Another strength of this film is its visuals and nowhere is this clearer than how they take full advantage of the New Mexico locations featured in this film. Standout moments include, the film’s opening sequence which establishes Jason’s brutality, the scene where Karen betrays Jason and this film’s finale provides a satisfying conclusion to the events that have just unfolded.

From a production standpoint, The Bastard’s (I bastardi) positives outweigh the negatives. Notably, when it comes to the visuals, take full advantage of the New Mexico locations featured in The Bastard (I bastardi). The most memorable moments all involve acts of violence, like the opening sequence, which establishes Jason’s brutality, the scene where Karen betrays Jason, and a finale that serves as a perfect coda for the two brothers. Ultimately, The Bastard (I bastardi) is a well-made Italian crime film that feels like a western set in a modern setting.

The Bastard (I bastardi) gets a lackluster audio/video presentation from Oblivion.

Written by Michael Den Boer

Beauty of Beauties – 88 Films (Blu-ray)

Theatrical Release Date: Taiwan, 1965
Director: Li Han-hsiang
Writer: Tang Shao-Hua
Cast: Chiang Ching, Zhao Lei, Chang Fang-Hsia, Chang Feng, Chu Mu

Release Date: March 11th, 2024 (UK), May 21st, 2024 (USA)
Approximate running time: 155 Minutes 11 Seconds
Aspect Ratio: 2.39:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Mandarin
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $39.95 (USA)

"Told through the story of Xishi (Hsi Shih), one of the 'Four Great Beauties' of Chinese history, the film portrays the war between two Chinese Kingdoms during the Warring States Period (475-221 B.C). After the kingdom of Yue is defeated by the kingdom of Wu, King Goujian of Yue takes pains to prepare for his revenge and rebuild his country. Knowing that King Fucha of Wu is lewd and lustful, he offers Xisi to the court of Wu to serve as Fucha’s concubine, with Fucha unaware that she is also a spy. She uses her charm to draw Fucha away from his office and governance, while King Goujian rallies his forces together to attempt to reclaim his lands." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about the transfer, "Brand new 4K Remaster from the original negatives".

Here is additional information about the transfer, "This film was originally released in 1956, and its digital restoration was completed by Taiwan Film and Audiovisual Institute in 2021 as part of the 'Taiwan Film Classics Digital Restoration and Value-adding Project' commissioned by the Ministry of Culture.

The restoration was based on a 35mm low contrast negative with 4K resolution. The content of the story is the compilation version released at that time. The condition of the film contains instability, warp, flicker, dye fade, molds and dirt. Automatic restoration was used to reduce the instability and flicker and to remove dirt and stains. The frame-by-frame manual process was carried out to remove tears, residual defects and artefacts caused by automatic restoration."

Beauty of Beauties comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.9 GB

Feature: 36.7 GB

The source looks great, flesh tones and colors look correct, image clarity is strong, black levels look good, and there are no issues with compression.

Audio: 3.75/5

This release comes with one audio option, a LPCM mono mix in Mandarin with removable English subtitles. The audio is in good shape; there are no issues with background hiss or distortion. That said, this audio track is limited range-wise; fortunately, the dialog comes through clearly enough to follow.

Extras:

Extras for this release include a theatrical trailer (2 minutes 13 seconds, LPCM mono Mandarin with non-removable English subtitles), a restoration comparison (5 minutes 39 seconds, LPCM mono Mandarin, no subtitles), an interview with Oriental cinema expert Tony Rayns (22 minutes 3 seconds, LPCM stereo English with non-removable English subtitles for Mandarin film clips), reversible cover art, a double walled O-ring slipcover (limited to the first pressing), and a 20-page booklet with an essay titled Hsi Shih: The Beauty of Beauties: A Legendary Production written by Tom Cunliffe.

Summary:

Directed by Li Han-hsiang, whose other notable films are The Enchanting Shadow, The Magnificent Concubine, and Empress Wu Tse-Tien.

Beauty of Beauties is an epic melodrama that is based on Chinese history. The narrative revolves around the kingdom of Wu and the kingdom of Yue, two kingdoms at war. And in the case of the latter, who lost the war, their plot was to exact revenge against the other.

The look and scope of Beauty of Beauties have all the grandeur of the epic films Hollywood made during the 1950s and 1960s. Beauty of Beauties was originally released in two parts, each around two hours in length. A digest version with a two-and-a-half-hour length was released a few years after the original two-part version. Sadly, the longer, two-part version no longer exists.

The opening setup does a great job showing the vast difference between the Yue and their oppressors, the Wu. In the case of the latter, even in victory, their cruelty has no boundaries, as they needlessly kill. And though the ruler of Yue is determined to keep his people safe by remaining subservient to Wu oppressors, the people of Yue quickly became frustrated, forcing the king of Yue to come up with a plan to free his people.

When it comes to the performances, as good as everyone is in the roles, especially Chiang Ching in the role of Xisi, a Yue woman who goes undercover as a concubine who spies on the King of Wu.

Despite opening in the aftermath of a bloody battle, there is actually very little action in Beauty of Beauties. With its main action set piece not happening until the last 20 minutes. That said, Beauty of Beauties has a dialog-driven narrative that builds tension through characters actions related to overthrowing the Wu. Also, the production design is impressive, and the cinematography is breathtaking. Ultimately, Beauty of Beauties is a riveting melodrama that greatly benefits from Li Han-hsiang’s direction.

Beauty of Beauties gets a solid release from 88 Films that comes with a strong audio/video presentation and a pair of insightful extras, recommended.

Written by Michael Den Boer

Black Mask: Limited Edition Set – Eureka Video (Blu-ray)

Theatrical Release Date: Hong Kong, 1996
Director: Daniel Lee
Writers: Tsui Hark, Koan Hui, Teddy Chan, Joe Ma
Cast: Jet Li, Lau Ching-wan, Karen Mok, Françoise Yip, Patrick Lung, Anthony Wong Chau-sang 

Release Date: April 22nd, 2024 (UK), April 23rd, 2024 (USA)
Approximate running times: 99 Minutes 58 Seconds (Hong Kong Version), 87 Minutes 14 Seconds (U.S. Version), 100 Minutes 57 Seconds (Alternate Taiwanese Cut), 102 Minutes 18 Seconds (Extended Version)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Versions)
Rating: 18 (UK), NR (USA)
Sound: DTS-HD 5.1 Cantonese (Hong Kong Version), LPCM Stereo Cantonese (Hong Kong Version, Extended Version), LPCM Stereo Mandarin (Alternate Taiwanese Cut), LPCM Stereo English - Original Dub (U.S. Version), LPCM Stereo English - U.S. Release Dub And Soundtrack (U.S. Version)
Subtitles: English
Region Coding: Region A,B
Retail Price: £19.99 (UK), $44.95 (USA)

"Tsui Chik (Li) is a librarian who leads a quiet, unassuming life – or, at least, that’s what he wants people to believe. In truth, he was once a member of the 701 Squad, a group of elite combatants produced by a failed super-soldier project. In kind with his former comrades, his central nervous system has been altered to render him impervious to pain. When several of his fellow test subjects resurface and embark on a crimewave under the leadership of their former commander Hung Kuk (Patrick Lung), Tsui is forced to use his extraordinary abilities once more. Donning a costume, he sets out to face his past – as the vigilante known as the Black Mask." - synopsis provided by the distributor

Video: 4.25/5 (Hong Kong Version), 4/5 (U.S. Version, Extended Version), 3.75/5 (Alternate Taiwanese Cut)

Here’s the information provided about this release's transfer, "Fully uncut Hong Kong version presented in 1080p from a 2K restoration. Original U.S. version presented in 1080p from a 2K restoration."

Black Mask Hong Kong version and U.S. version come on a 50 GB dual layer Blu-ray.

Disc Size: 45.3 GB

Feature: 21.6 GB (Hong Kong Version), 17.9 GB (U.S. Version)

Black Mask alternate Taiwanese cut and extended version come on a 50 GB dual layer Blu-ray.

Disc Size: 43.9 GB

Feature: 21.1 GB (Alternate Taiwanese Cut), 22.6 GB (Extended Version)

Of these four versions, the Hong Kong version and the U.S. version have stronger sources than the alternate Taiwanese cut. The alternate Taiwanese cut incorporates footage that is exclusive to this version from a standard definition source, while the extended version is a compilation of sources. Another difference is that the U.S. version looks brighter than the Hong Kong version. Though there is some softness, the image generally looks crisp, flesh tones look healthy, and colors look very good. Black levels are strong, compression is solid, and there does not appear to be any digital filtering of the image.

Audio: 4.5/5 (All Audio Tracks)

The Hong Kong version comes with two audio options, a DTS-HD 5.1 mix in Cantonese and a LPCM stereo mix in Cantonese. The U.S. version comes with two audio options, a LPCM stereo mix in English (original dub) and a LPCM stereo mix in English (U.S. Release Dub and Soundtrack). The alternate Taiwanese cut comes with one audio option, a LPCM stereo mix in Mandarin. The extended version comes with one audio option, a LPCM stereo mix in Cantonese. Included are removable English subtitles for the Cantonese and Mandarin language tracks. Quality-wise, all audio tracks sound excellent, dialog comes through clearly, everything sounds balanced, and action sequences sound robust.

Extras:

Extras on Blu-ray disc one include Hong Kong theatrical trailer (1 minute 59 seconds, Dolby Digital stereo Cantonese with removable English subtitles), U.S. theatrical trailer #1 (59 seconds, Dolby Digital stereo English, no subtitles), U.S. theatrical trailer #2 (1 minute 54 seconds, Dolby Digital stereo English, no subtitles), U.S. home video trailer (1 minute, Dolby Digital stereo English, no subtitles), an archival Making of featurette (19 minutes 32 seconds, Dolby Digital stereo Cantonese with burnt-in English subtitles),  an interview with Leon Hunt, author of Kung Fu Cult Masters: From Bruce Lee to Crouching Tiger (17 minutes 56 seconds, Dolby Digital stereo English, no subtitles), an interview with film critic Andrew Heskins (8 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an interview with stuntman Mike Lambert (29 minutes 53 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Asian film expert Frank Djeng (NY Asian Film festival) for the Hong Kong version, and an audio commentary with action cinema experts Mike Leeder and Arne Venema for the U.S. export version.

Limited to this release is a second disc that comes with two alternate versions: an alternate Taiwanese cut and an extended version.

Other extras include reversible cover art, a limited-edition O-Card slipcase (2000 copies) and a 32-page booklet with cast & crew credits, an essay written by James Oliver and information about the transfer titled Notes on Viewing.

Summary:

Directed by Daniel Lee, whose other notable films are Till Death Do Us Part and 14 Blades. Adapted from the Manhua (Chinese comic book) created by Pang Chi-ming and Li Chi-tak, Black Mask’s protagonist was influenced by Bruce Lee’s portrayal of Kato from The Green Hornet.

The narrative revolves around a survivor of an elite group of super soldiers who tries to assimilate into a regular life as a librarian.

Black Mask is a film whose far-fetched premise—super soldiers who have turned to a life of crime after narrowly escaping extermination at the hands of the government—often defies logic. And yet, the end result is a highly entertaining mix of action and mayhem.

The narrative quickly dives in with a spectacular pre-credits opening that does a great job setting the stage for what follows. That said, despite leaning more towards action than exposition. In the case of the latter, it does a good job when it comes to the characters backstories.

Though there are martial arts in Black Mask, when compared to his other films from this era, there is more gunplay than hand-to-hand fighting. Fortunately, when it comes to action set pieces, they do not disappoint. Yuen Woo-ping (Drunken Master) choreographed the action sequences.

Black Mask has a solid cast that is all great in their roles. There is enthusiasm in the performances, especially Anthony Wong Chau-sang (Untold Story) in the role of a drug lord who collects body parts. No one in Hong Kong cinema has portrayed psychopaths better than Anthony Wong Chau-sang.

Jet Li (Once Upon a Time in China) is very good in the role of the hero. That said, Jet Li more than holds his own when it comes to action sequences, while for more dramatic moments, he is adequate. Other notable performances are by Françoise Yip (Rumble in the Bronx) in the role of a female super soldier assassin, and Karen Mok (So Close), whose character provides most of the comic relief.

Besides being a superhero film, Black Mask also has futuristic elements. One area where Black Mask sets itself apart from most Jet Li films is its ridiculously high body count. Also, when it comes to moments of onscreen carnage, characters have body parts severed. That said, Black Mask is a textbook example of how effectively 1990s Hong Kong mixed genres. Ultimately, Black Mask more than any Jet Li film divides its audience; you either love or loathe it.

Black Mask gets a solid release from Eureka Video that comes with a strong audio/video presentation, four versions of the film, and informative extras, highly recommended.

Note: This limited edition two-disc set is limited to 2,000 copies.

                                                Hong Kong Version Screenshots.

Written by Michael Den Boer

The Cat and the Canary: Limited Edition – Eureka Video (Blu-ray)

Theatrical Release Date: USA, 1927
Director: Paul Leni
Writers: Robert F. Hill, Alfred A. Cohn, Walter Anthony, Edward J. Montagne
Cast: Laura La Plante, Creighton Hale, Forrest Stanley, Tully Marshall, Gertrude Astor, Flora Finch, Arthur Edmund Carewe, Martha Mattox, George Siegmann, Lucien Littlefield

Release Date: April 22nd, 2024 (UK), April 23rd, 2024 (USA)
Approximate Running Time: 86 Minutes 50 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: PG (UK), NR (USA)
Sound: DTS-HD 5.1 With English Intertitles
Subtitles: N/A
Region Coding: Region Free
Retail Price: £17.99 (UK), $39.95 (USA)

"Twenty years after the death of millionaire Cyrus West, his surviving relatives are called together in a decaying mansion on the Hudson River. There, they gather to hear West’s lawyer Roger Crosby (Tully Marshall) read his last will and testament and discover that West has left everything to his niece Annabelle (Laura La Plante). That is, at least, on the condition that she is judged to be legally sane. As the family settles in for the evening, tensions rise when they are informed that a murderer nicknamed the Cat has escaped from a nearby asylum and is suspected to be somewhere on the grounds. Crosby soon disappears in mysterious circumstances, which proves to be just the first in a series of horrifying events that will punctuate a long, dark night of terror – during which Annabelle’s sanity will be called into question again and again." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, “a 4K digital restoration of the original negatives supplied by MoMA.”

The Cat and the Canary comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.4 GB

Feature: 25.9 GB

Considering the limitations of the sources used for this transfer, it looks extremely good. Image clarity, contrast, and black levels look strong throughout, and there are no issues with compression.

Audio: 5/5

This release comes with one audio option, a DTS-HD 5.1 mix with English intertitles. This audio track sounds excellent.

Extras:

Extras for this release include an extra titled Lucky Strike – Paul Leni gives a full-throated endorsement to the product that got him through filming The Cat and the Canary (55 seconds, LPCM stereo English, no subtitles), an extract from John Willard’s original play titled A Very Eccentric Man (3 minutes 11 seconds, LPCM stereo English, no subtitles), an extract from John Willard’s original play titled Yeah, a Cat! (2 minutes 15 seconds, LPCM stereo English, no subtitles), an interview with film critic Phuong Le titled Phuong Le on The Cat and the Canary (9 minutes 11 seconds, LPCM stereo English, no subtitles), an interview with writer and film critic Pamela Hutchinson titled Pamela Hutchinson on The Cat and the Canary (13 minutes 4 seconds, LPCM stereo English, no subtitles), a video essay by David Cairns and Fiona Watson titled Mysteries Mean Dark Corners (29 minutes 2 seconds, LPCM stereo English, no subtitles), an audio commentary with Kim Newman and Stephen Jones, an audio commentary with Kevin Lyons and Jonathan Rigby, a limited-edition O-Card slipcase (2000 copies) and a 32-page booklet with cast & crew credits, an essay written by Richard Combs, an essay written by Craig Ian Mann, and an essay written by Imogen Sara Smith and information about the transfer titled Notes on Viewing.

Summary:

Directed by Paul Leni, whose other notable films include Waxworks (Das Wachsfigurenkabinett), The Last Warning, and The Man Who Laughs.

The heirs of an eccentric millionaire gather on the 20th anniversary of his death for the reading of his will.

The Cat and the Canary was the first of four films Paul Lani directed in Hollywood before his untimely death at the age of 44. The Cat and the Canary was the first film adaptation of John Williard’s play of the same name. There have been numerous film adaptations since Paul Leni's film.

The Cat and the Canary is an early example of what is now known as Old Dark House films. These types of films involve some sort of gathering at an old, neglected house. And though these films rely on things that go bump in the night, humor also plays a role. The Cat and the Canary has the core elements that one would expect from an Old Dark House film: an escaped lunatic, secret corridors, and a monster with a hairy arm.

The Cat and the Canary’s greatest asset is not the story that unfolds but the way the visuals tell that story. German expressionist cinema played a significant role for German filmmakers who made the transition to Hollywood cinema. That said, it is easy to see how German expressionist cinema influenced the look of The Cat and the Canary.

Though there were some inventive camera techniques employed in the early days of cinema, more often than not, it was stationary shots that cut from character to character. The Cat and the Canary’s camera is more active than in most silent films; there are shots that glide down corridors and shots of the camera zooming in on characters. The striking use of superimposing and juxtapositioning people and objects is another area where the visuals stand out.

From a production standpoint, there is no area where The Cat and the Canary does not excel. The well-executed narrative does an excellent job building tension towards a phenomenal finale. The production design is exquisite, and the eye for detail is astonishing. Ultimately, The Cat and the Canary is an extraordinary film and cinematic achievement that is one of silent cinema’s highwater marks.

The Cat and the Canary gets an exceptional release from Eureka Video that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

Waxworks (Das Wachsfigurenkabinett) – Eureka Video (Blu-ray)

Theatrical Release Date: Germany, 1924
Director: Paul Leni
Writer: Henrik Galeen
Cast: Emil Jannings, Conrad Veidt, Werner Krauss, William Dieterle, Olga Belajeff, Paul Biensfeldt, John Gottowt, Georg John, Ernst Legal

Release Date: November 9th, 2020
Approximate Running Time: 81 Minutes 31 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: U (UK)
Sound: DTS-HD 5.1 With English Intertitles, DTS-HD Stereo With English Intertitles
Subtitles: French, German, Italian, Portuguese, Spanish, Arabic, Mandarin, Russian
Region Coding: Region Free
Retail Price: £14.99 (UK)

"The three separate episodes of ​Waxworks ​are united by the character of a young poet (William Dieterle), who is hired by the owner of a wax museum to create backstories for a trio of the museum’s figures: Caliph Harun al-Rashid (Emil Jannings), Ivan the Terrible (Conrad Veidt), and Jack the Ripper (Werner Krauss). The stories are depicted in succession (one per episode), the poet casting himself—as well as the daughter of the wax museum’s owner—at the center of each tale. Though the poet and the daughter play different characters in the corresponding plots, they are always lovers whose relationship is threatened by the personages of the wax figures." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, “As there is no surviving original negative of ​Waxworks​, this newly restored edition—a joint effort by the Deutsche Kinemathek and Cineteca di Bologna, L’Immagine Ritrovata (with funding from the German Commission for Culture and the Media)—is composed of contemporary prints and additional film materials from archives around the world. The elements, including English intertitles, were scanned in 4K resolution and then restored in 2K.”

Waxworks (Das Wachsfigurenkabinett) comes on a 50 GB dual layer Blu-ray.

Disc Size: 31.3 GB

Feature: 22.3 GB

Considering the limitations of the sources used for this transfer, it looks extremely good. Image clarity, contrast, and black levels look strong throughout, and there are no issues with compression.

Audio: 5/5

There are two new scores to accompany the film: one by the Ensemble Musikfabrik (commissioned by ZDF/ARTE), and the second by composer Richard Siedhoff. Each score comes with two audio options, a DTS-HD 5.1 mix with English intertitles and a DTS-HD stereo mix with English intertitles. All audio tracks sound excellent. Included are removable French, German, Italian, Portuguese, Spanish, Arabic, Mandarin, and Russian subtitles.

Extras:

Extras for this release include Paul Leni’s Rebus-Film Nr. 1-8 – Courtesy of Kino Lorber, these Leni-helmed cinematic crossword puzzles were originally screened in 1920s German cinemas as featurettes accompanying the main film, each of these animated shorts was split into two parts—a clue and an answer—and presented before and after the visual presentation (15 minutes 24 seconds, DTS-HD stereo with English intertitles, no subtitles), an interview with journalist, film critic, and fiction writer Kim Newman titled Kim Newman on Waxworks (17 minutes 14 seconds, Dolby Digital stereo English, no subtitles), an interview with Julia Wallmüller (Deutsche Kinemathek) based on her presentation after the premiere of the restored film at Il Cinema Ritrovato festival in Bologna 2020 titled In search of the original version of Paul Leni’s ​‘Das Wachsfigurenkabinett’ (20 minutes 29 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film and arts critic Adrian Martin. a limited-edition O-Card slipcase (2000 copies) and a 32-page booklet with cast & crew credits, an essay titled Paul Leni: A Career Cut Sadly Short written by Phillip Kemp, an essay titled Waxworks: Three Times a Romance written by Richard Combs, Waxworks: The Restoration written by Julia Wallmüller and information about the transfer titled Notes on Viewing.

Summary:

Directed by Paul Leni, whose other notable films include The Man Who Laughs, The Last Warning, and The Cat and the Canary (1927).

Content-wise, Waxworks (Das Wachsfigurenkabinett) is a fantasy/horror hybrid film that has all the elements that have become synonymous with German expressionism. And nowhere is this clearer than when it comes to architecture and sharp visual angles that contrast reality.

Structurally, Waxworks (Das Wachsfigurenkabinett) narratives consist of three stories (actually two when you factor in the third story’s connection to the wrap-around moments). That said, the first story that revolves around Caliph Harun al-Rashid has a whimsical tone that’s in contrast to the other two stories, which have a sinister tone. Also, the first story is the longest of the three; its running time is longer than the other two stories combined. The last story that revolves around Jack the Ripper is the most satisfying of the three. Ironically, the last story is the shortest of the three.

Performance-wise, the cast is very good in their respective roles, especially Emil Jannings (Varieté, Tartuffe) in the role of Caliph Harun al-Rashid and Conrad Veidt (The Man Who Laughs, Casablanca) in the role of Ivan the Terrible. Emil Jannings and Conrad Veidt were two of German silent cinema’s biggest stars, and with Waxworks (Das Wachsfigurenkabinett), they both delivered commanding performances.

Waxworks (Das Wachsfigurenkabinett) has gained a reputation as one of silent cinema’s best horror films. Calling Waxworks (Das Wachsfigurenkabinett) a horror film actually does Waxworks (Das Wachsfigurenkabinett) a disservice since it lacks most of the elements that one now expects from a horror film. There are no jump scares, even when it comes to the third story, the most menacing part of the Waxworks (Das Wachsfigurenkabinett). That said, despite its lack of menacing moments, Waxworks (Das Wachsfigurenkabinett) is a visual feast for the eyes that fans of German expressionism should thoroughly enjoy.

Waxworks (Das Wachsfigurenkabinett) gets an exceptional release from Eureka Video that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

Patrick – Indicator Series (4k UHD)

Theatrical Release Date: Australia, 1978
Director: Richard Franklin
Writer: Everett De Roche
Cast: Susan Penhaligon, Robert Helpmann, Rod Mullinar, Bruce Barry, Julia Blake, Helen Hemingway, María Mercedes, Robert Thompson

Release Date: March 25th, 2024 (UK), March 26th, 2024 (USA)
Approximate Running Times: 112 Minutes 33 Seconds (Original Australian Theatrical Version), 101 Minutes 57 Seconds (Italian-Language Version), 96 Minutes 32 Seconds (U.S. Theatrical Cut)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Original Australian Theatrical Version, Italian-Language Version), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (U.S. Theatrical Cut)
Rating: 15 (UK), NR (USA)
Sound: DTS-HD Mono English (Original Australian Theatrical Version), LPCM Mono English (U.S. Theatrical Cut), DTS-HD Mono Italian (Italian-Language Version)
Subtitles: English SDH (Original Australian Theatrical Version, U.S. Theatrical Cut), English (Italian-Language Version)
Region Coding: Region Free
Retail Price: £24.99 (UK), $49.95 (USA)

"Murderer Patrick (Thompson) is kept in a comatose state between life and death, under the watchful eye of the eccentric Dr Roget (Helpmann). When he is assigned a caring new nurse, Kathy (Penhaligon), he becomes possessive, and uses telekinetic powers to torment anyone who comes between them." - synopsis provided by the distributor

Video: 4.5/5 (Patrick - Original Australian Theatrical Version, Patrick - Italian-Language Version), 4/5 (U.S. Theatrical Cut)

Here’s the information provided about the transfer, "Patrick was scanned in 4K from the original 35mm negatives, preserved at the National Film and Sound Archive (NFSA0 of Australia, by Fixafilm. Picture restoration and color correction work were carried out by Renasci Films in the UK. Thousands of instances of dirt were removed, scratches, stains and other imperfections eliminated, and damaged frames repaired. No grain management, edge enhancement or sharpening tools were employed to artificially alter the image in any way.”

Patrick comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.9 GB

Feature: 66.3 GB (Original Australian Theatrical Version, Italian-language Version), 16.7 GB (U.S. Theatrical Cut)

This release uses seamless branching for the original Australian theatrical version and the Italian-language version. The sources used for these three versions are comparable. That said, I would give a slight edge to the original Australian theatrical version and the Italian-language version over the U.S. theatrical cut because the two latter have Dolby Vision and HDR. Flesh tones look healthy, colors look very good, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look. When compared to Patrick’s previous home video release, these new transfers are a marked improvement in every way.

Audio: 5/5 (DTS-HD Mono English - Original Australian Theatrical Version, LPCM Mono English - U.S. Theatrical Cut, DTS-HD Mono Italian -Italian-Language Version)

There are three versions: the original Australian theatrical version comes with a DTS-HD mono mix in English with removable English SDH; the U.S. theatrical cut comes with a LPCM mono mix in English with removable English SDH; and the Italian-language version comes with a DTS-HD mono mix in Italian with removable English subtitles. All audio tracks sound excellent; the dialog comes through clearly, everything sounds balanced, and range-wise, they both sound robust when they should.

Extras:

Extras for this release include image galleries: original promotional material (132 images) and behind the scenes (185 images), TV spot #1 (31 seconds, Dolby Digital mono English, no subtitles), TV spot #2 (11 seconds, Dolby Digital mono English, no subtitles), TV spot #3 (11 seconds, Dolby Digital mono English, no subtitles), Australian theatrical trailer (3 minutes 19 seconds, Dolby Digital mono English, no subtitles), U.S. theatrical trailer (1 minute 47 seconds, Dolby Digital mono English, no subtitles), French title sequence comparison (2 minutes 21 seconds, Dolby Digital mono), an appreciation by the academic and Australian cinema specialist Stephen Morgan titled Shock Tactics (26 minutes 6 seconds, Dolby Digital stereo English, no subtitles), ‘Not Quite Hollywood’ Interviews from 2008: actress Susan Penhaligon (11 minutes 9 seconds, Dolby Digital stereo English, no subtitles), actor Rod Mullinar (7 minutes 50 seconds, Dolby Digital stereo English, no subtitles), director Richard Franklin (15 minutes 5 seconds, Dolby Digital stereo English, no subtitles), screenwriter Everett De Roche (6 minutes 52 seconds, Dolby Digital stereo English, no subtitles) and producer Antony I. Ginnane (21 minutes 3 seconds, Dolby Digital stereo English, no subtitles), an archival interview with Antony I. Ginnane titled A Coffee Break (17 minutes 56 seconds, Dolby Digital stereo English, no subtitles), an on-stage interview with Richard Franklin from 2001 (8 minutes 21 seconds, Dolby Digital stereo English, no subtitles), an on-set interview with Richard Franklin from 1978 (9 minutes 23 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with Richard Franklin and Everett De Roche for the original Australian theatrical version, and an 80-page booklet with cast & crew information, an essay titled Australian Psycho: An Appreciation of Patrick written by Alan Miller, an exclusive extracts from Richard Franklin unpublished memoirs titled Richard Franklin on Patrick, an exclusive extracts from Antony I Ginnane unpublished memoirs titled Memories of Patrick, an archival interview with Everett De Roche by Paul Davis, an archival interview special effects expert Conrad Rothman by Dennis Nicholson, Peter Bradley and Scott Murray, , and information about the restoration.

Summary:

Directed by Richard Franklin, whose other notable films include Fantasm, Psycho II, Cloak & Dagger, and F/X2. “Three presentations of Patrick: the original Australian theatrical version; the shortened, re-dubbed US theatrical cut; and the Italian-language version, featuring an alternative score by prog-rock legends Goblin, presented with English subtitles for the first time.”

Patrick has been in a coma since he murdered his mother and her lover. His new nurse, Kathy, quickly becomes his object of affection. Kathy has her own problems in a marriage that is on shaky ground. Patrick quickly becomes jealous of any man who shows Kathy attention. How far will Patrick go to prove his love for Kathy?

There are two films that Patrick draws from: Carrie and Psycho. Patrick, like Norman Bates, had an abusive relationship with his mother, and just like Carrie, he has telekinetic powers. Patrick also has a few moments that will give you a feeling of Déjà vu. Ironically, Patrick, which drew inspiration from other films, would inspire an Italian knockoff of Patrick Still Lives.

A comatose person who uses telekinesis is an interesting premise. And yet, it is not without its drawbacks. Notably, when it comes to the moment in between Patrick's outbursts, fortunately, the narrative does a good job building momentum towards the finale. That said, the final act is easily the strongest section.

The performances range from adequate to good. And though the strongest performance is by Susan Penhaligon (The Confessional) in the role of Kathy. It is hard to overshadow Robert Thompson’s (Thirst) scene-stealing portrayal of Patrick. With no dialog and minimal movement, he is able to convey so much.

From a production standpoint, Patrick is a film that exceeds the sum of its parts. Richard Franklin’s solid direction does a phenomenal job of building tension. When it comes to the violence, things are more in line with a thriller than a horror film. That said, onscreen carnage is not that gory. Ultimately, Patrick somehow succeeds despite a deliberately paced narrative that takes some patience.

Patrick gets an excellent release from Powerhouse Films, highly recommended.

Note: This release is a limited edition of 10,000 numbered units (6,000 4K UHDs and 4,000 Blu-rays) for the UK and US.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a VLC player and lossless PNGs.

Written by Michael Den Boer