Opera – Severin Films (4k UHD/Blu-ray/CD Combo)

Theatrical Release Date: Italy, 1987
Director: Dario Argento
Writers: Dario Argento, Franco Ferrini
Cast: Cristina Marsillach, Ian Charleson, Urbano Barberini, William McNamara, Antonella Vitale, Barbara Cupisti, Coralina Cataldi-Tassoni, Daria Nicolodi

Release Date: July 14th, 2024
Approximate Running Times: 107 Minutes 27 Seconds (Director's Cut), 95 Minutes 40 Seconds (U.S. Cut - Terror at the Opera)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Director's Cut), 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (U.S. Cut - Terror at the Opera)
Rating: NR
Sound: DTS-HD 5.1 English (All Versions), DTS-HD Stereo English (All Versions), DTS-HD Mono English - Cannes, DTS-HD Stereo Italian (Director's Cut)
Subtitles: English (Director's Cut), English SDH (U.S. Cut - Terror at the Opera)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $74.95

"When a young opera singer (Cristina Marsillach, in her career-defining performance) is stalked by a masked psychopath, she will be forced into a grisly aria of murder, memories and unimaginable torment." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about this release's transfer, "newly scanned in 4K from the original camera negatives at Cinecittà."

Opera, the director's cut, and the U.S. cut come on a 100 GB triple layer 4K UHD.

Disc Size: 85.3 GB

Feature: 81.1 GB

Though originally released with the wrong color space, Severin Films has corrected this issue, and now the colors look amazing. The source looks phenomenal; this is easily the best this film has looked on home media. Flesh tones look healthy, color saturation, image clarity, contrast, black levels, and compression are solid, and the image always looks organic. This release uses seamless branching for the two versions. 

Opera, the director's cut, and the U.S. cut come on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 34.8 GB

The Blu-ray included as part of this release uses the same source that was used for the 4K UHD’s transfer. This release uses seamless branching for the two versions.

Opera 1.85:1 aspect ratio comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.7 GB

Feature: 34.8 GB

The Blu-ray included as part of this release uses the same source that was used for the 4K UHD’s transfer.

Audio: 5/5 (DTS-HD 5.1 English, DTS-HD Stereo English, DTS-HD Stereo Italian), 4/5 (DTS-HD Mono English - Cannes)

The director’s cut comes with four audio options, a DTS-HD 5.1 mix in English, a DTS-HD stereo mix in English, a DTS-HD stereo mix in Italian, and a DTS-HD mono mix in English (Cannes audio track). Subtitles for the director's cut include removable English SDH for DTS-HD 5.1 English, DTS-HD stereo English, removable English SDH for DTS-HD mono English (Cannes audio track), and removable English subtitles for the Italian language track.

The U.S. cut comes with two audio options: a DTS-HD 5.1 mix in English and a DTS-HD stereo mix in English. Included are removable English SDH.

The Cannes audio track is the weakest; there is background hiss throughout that varies in degree of severity. All of the other audio tracks sound excellent; dialog always comes through clearly, and everything sounds balanced. Range-wise, all of these tracks really take full advantage of the sound spectrum; ambient sounds are well-represented, and the score sounds appropriately robust.

Extras:

Extras on the 4K UHD disc include a theatrical trailer for Terror at the Opera (1 minute 42 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer for Opera (1 minute 49 seconds, DTS-HD stereo English, no subtitles), an audio commentary with actress Cristina Marsillach and Ángel Sala, head of programming at The Sitges Film Festival for the director’s cut, in Spanish with removable English subtitles, an audio commentary with Alan Jones, author of Profondo Argento, and Kim Newman, author of Anno Dracula for the director’s cut and an audio commentary with Mondo Digital's Nathaniel Thompson and Troy Howarth, author of Murder by Design: The Unsane Cinema of Dario Argento for the director’s cut.

Extras for Blu-ray disc one include a theatrical trailer for Terror at the Opera (1 minute 42 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer for Opera (1 minute 49 seconds, DTS-HD stereo English, no subtitles), an interview with Cristina Marsillach titled The Eyes of Opera (19 minutes 15 seconds, Dolby Digital stereo Spanish with removable English subtitles), an interview with screenwriter Franco Ferrini titled Arias of Death (37 minutes 24 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with director Dario Argento titled The Eyes and the Needles (22 minutes 42 seconds, Dolby Digital stereo Italian with removable English subtitles), an audio commentary with Cristina Marsillach and Ángel Sala for the director’s cut, in Spanish with removable English subtitles, an audio commentary with Alan Jones and Kim Newman for the director’s cut and an audio commentary with Nathaniel Thompson and Troy Howarth for the director’s cut.

Extras for Blu-ray disc two include an interview with film historian Fabrizio Spurio titled Don't Close Your Eyes (37 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival featurette titled Conducting Dario Argento’s Opera, featuring Interviews with Dario Argento, cinematographer Ronnie Taylor, actress Daria Nicolodi, actor Urbano Barberini, FX artist Sergio Stivaletti And composer Claudio Simonetti (35 minutes 46 seconds, Dolby Digital stereo Italian and English with removable English subtitles for Italian), a Q&A with Dario Argento, Franco Ferrini And Lamberto Bava at Cinema Farnese from 2006 titled Terror at the Opera (26 minutes 36 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Alan Jones titled The Opera and Mr. Jones (12 minutes 42 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Cristina Marsillach and Ángel Sala for the director’s cut, in Spanish with removable English subtitles, an audio commentary with Alan Jones and Kim Newman for the director’s cut and an audio commentary with Nathaniel Thompson and Troy Howarth for the director’s cut.

Extras on Blu-ray disc three include a behind-the-scenes video created from archival footage titled Opera Backstage (44 minutes 35 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with 4K color correction supervisor Karim Hussain titled Preserving Opera (5 minutes 52 seconds, Dolby Digital stereo English, no subtitles), an interview with press agent Enrico Lucherini titled 800 Sons (14 minutes 8 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with steadicam operator Nicola Pecorini titled The Gliding Camera (19 minutes 23 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with make-up artist Franco Casagni titled Blood and Latex (13 minutes 25 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Sergio Stivaletti titled Flight of the Crow (18 minutes 24 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with camera operator Antonio Scaramuzza titled The Eye Behind the Camera (35 minutes 27 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Claudio Simonetti titled Blood Red Piano (31 minutes 2 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Daria Nicolodi titled The Perfect Death (3 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Antonella Vitale titled In Any Language (8 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Urbano Barberini titled To Catch A Killer (15 minutes 19 seconds, Dolby Digital stereo Italian with removable English subtitles) and an interview with actress Coralina Cataldi-Tassoni titled OPERA Runs in the Blood (18 minutes 3 seconds, Dolby Digital stereo Italian with removable English subtitles).

Disc 4 is a CD with Opera’s 15-song soundtrack.

Other extras include a slipcase, and a 80-page booklet with an essay titled “All is the Fear and Nothing is the Love”, The Phantom of the Auteur in Dario Argento’s Opera written by Claire Donner, and archival images.

Summary:

Dario Argento being referred to as the Italian Alfred Hitchcock is an apt comparison. Both of them used their camera eye in a way that makes a viewer a voyeur instead of a passive observer. And even the way that Dario Argento frames his compositions to enhance fear comes back to the foundations laid out by Alfred Hitchcock.

When a young opera singer is thrust into the spotlight, a crazed fan stalks and kills those close to her, forcing her to watch.

In 1987, Dario Argento would direct what many of his fans consider his last great film opera. During this period of his life, Dario Argento experienced significant personal upheaval, the death of his father, and the end of his relationship with actress Daria Nicolodi. Opera is one of Dario Argento’s best-written screenplays of his career. It is a meticulously constructed narrative where all the events unfold like a Shakespearean tragedy.

Macbeth, the cursed play depicted in the opera, lends itself to the various mishaps that happen along the way. The music of Giuseppe Verdi, along with Claudio Simonetti’s score and heavy metal, amplify the murder sequences. Though Dario Argento is known for his visually arresting moments, all of his films owe a great debt to their composers, who have, through the various stages of his career, supplied him with music that is menacing, haunting, and most importantly, unforgettable.

When it comes to framing compositions, there are no accidents in a Dario Argento; he always chooses the most visually arresting option, which heightens the mood. Another area where his visuals excel are colors and the significant role they play in the cinema of Dario Argento. That said, Opera visually features some of Dario Argento’s most stylish and daring compositions.

With Opera, Dario Argento is at the top of his game in regards to the murder set pieces. The murders in Opera are the most graphic and disturbing of Dario Argento’s career. Always an innovator, Dario Argento comes up with an inventive way in which the killer forces the protagonist to watch the carnage. Opera has an abundance of brutal, stylized murder set pieces, including Dario Argento’s most inventive murder ever conceived, a gunshot through a peephole that takes out a phone after traveling through an eye. That said, one must not overlook how Dario Argento uses the crows, especially when it comes to identifying the killer.

When it comes to the performances, Opera is a film where they grow on you the more you revisit them. Most of the criticism of the performances is directly linked to the English dubbing, especially when it comes to Urbano Barberini (Demons) in the role of  Inspector Alan Santini. That said, the performance that's most unfairly maligned is Cristina Marsillach’s portrayal of the protagonist, Betty. Despite her character playing a passive role for the majority of the film, she still delivers the right amount of emotion. The best performance is Ian Charleson’s (Chariots of Fire) portrayal of Marco, the director of the opera.

Dario Aregnto’s films often get criticized for focusing more on style than narrative, and with Opera he finds a perfect balance. Flashbacks are a tool that Dario Argento has used effectively throughout his career, and in the case of Opera, they provide a clear picture of the killer's deviant mind. Ultimately, Opera is a tour de force in filmmaking where Dario Argento takes everything he’s learned up to that point and creates a bloodbath of sadism that goes for your jugular.

Severin Films gives Opera its best home media release to date; the film has never looked or sounded better, and there is a wealth of insightful extras. Highly recommended.

                                                Blu-ray Screenshots Director's Cut.

Written by Michael Den Boer

Village of Doom – Unearthed Films (Blu-ray)

Theatrical Release Date: Japan, 1983
Director: Noboru Tanaka
Writers: Bo Nishimura, Takuya Nishioka
Cast: Masato Furuoya, Misako Tanaka, Kumiko Ôba, Isao Natsuyagi, Midori Satsuki, Shino Ikenami, Izumi Hara, Renji Ishibashi, Hatsuo Yamaya

Release Date: October 22nd, 2024
Approximate Running Time: 105 Minutes 40 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $39.95

"A classic Japanese true crime story, Village of Doom is a chilling reenactment of the infamous Tsuyama Massacre, a revenge killing spree that occurred on the night of 21 May 1938 in the rural village of Kamo near Tsuyama in Okayama Prefecture. Mutsuo Toi, an emotionally distraught 21-year-old man who had been ostracized by his fellow villagers, went on a violent killing spree that took the lives of 30 people, including his own grandmother. Before finally killing himself, Toi visited his revenge upon the village using a shotgun, Japanese sword and axe. It remains the deadliest mass murder spree in Japanese history." - synopsis provided by the distributor

Video: 4.5/5

Village of Doom comes on a 50 GB dual layer Blu-ray.

Disc Size: 31.9 GB

Feature: 30.1 GB

The source is in excellent shape; flesh tones look healthy, colors look correct, image clarity and compression are solid, and there are no issues with digital noise reduction. That said, though black levels generally look solid, there are a few moments they are not as strong.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in great shape; dialog always comes through clearly, everything sounds balanced, and range-wise ambient sounds are well-represented.

Extras:

Extras for this release include an image gallery with music from the film playing in the background, a theatrical trailer (1 minute 19 seconds, LPCM mono Japanese with removable English subtitles), Dark Asia with Megan: Case #57 Japan's Darkest Night, Tsuyama Massacre (15 minutes 3 seconds, LPCM stereo English, no subtitles), an audio commentary with Asian film experts Arne Venema and Mike Leeder and a slipcover (limited to the first pressing).

Summary:

Noboru Tanaka, known for directing Nikkatsu romantic pornography films, directed the Village of Doom. He is also known for making A Woman Called Sada Abe, The Watcher in the Attic, and Angel Guts: Nami.

Based on a true story, Village of Doom’s narrative revolves around a young man named Tsugio, who is rejected from military service because of poor health, and he becomes a pariah in his village when they learn he has tuberculosis. He spends his time aimlessly roaming his village and occasionally comforting lonely women whose husbands are away because of war. Most of the women he encounters leave him cold, until one day when he meets a young woman that he becomes fond of, only to be ultimately rejected by her.

From the moment we are introduced to Tsugio, it's clear he’s not an emotionally centered person. When he was young, he lost both his parents, an experience that significantly shaped him. When his illness led to his isolation, it pushed him to the brink. When it comes to time to unleash his rage, instead of killing himself, he must exterminate those who are the source of his pain.

Though there is nothing wrong with any of the performances, they all pale in comparison to Masato Furuoya’s portrayal of Tsugio. He delivers an utterly convincing performance that perfectly captures his character's loneliness and rage. And in a case of art imitating life, he would die tragically, committing suicide like Tsugio in Village of the Doom.

For Noboru Tanaka’s first feature outside of Nikkatsu romantic pornography films, he does a superb job crafting a riveting melodrama. A lengthy, carnage-filled finale is a tour de force example of creating visually arresting moments, but there are a few other striking moments as well. That said, the 20-plus minute finale is a grueling and unflinching exercise in brutality. Another visually striking moment is a man's corpse hanging from a tree. Also, though Village of Doom is a transitional film for Noboru Tanaka, there is still an abundance of soft-core erotica.

From a production standpoint, Village of Doom is a film that exceeds the sum of its parts. Its slow-burn narrative does a superb job holding your attention and building momentum, culminating with a carnage-filled finale. Tsugio is primarily portrayed in a sympathetic light throughout the narrative. This perspective intensifies the impact of his eventual transformation. Also, Village of Doom is a beautifully photographed film that takes full advantage of its scenic surroundings. Ultimately, Village of Doom is a well-crafted drama that hits you like a freight train after slowly drawing you in, and its final image lingers on in your mind.

Village of Doom gets a first-rate release from Unearthed Films that comes with a solid audio/video presentation and a pair of informative extras, highly recommended.

Written by Michael Den Boer

Cruel Britannia: Three Killer Thrillers From The UK – Vinegar Syndrome (Blu-ray)

Theatrical Release Dates: UK, 1974 (Craze), UK, 1973 (Penny Gold), UK, 1971 (Crucible of Terror)
Directors: Freddie Francis (Craze), Jack Cardiff (Penny Gold), Ted Hooker (Crucible of Terror)
Cast: Jack Palance, Diana Dors, Julie Ege, Edith Evans, Hugh Griffith, Trevor Howard, Michael Jayston, Suzy Kendall, David Warbeck (Craze), James Booth, Francesca Annis, Nicky Henson, Joss Ackland, Richard Heffer, Sue Lloyd, Joseph O'Conor, Una Stubbs (Penny Gold), Mike Raven, James Bolam, Mary Maude, Ronald Lacey, Betty Alberge, John Arnatt, Beth Morris, Judy Matheson, Melissa Stribling, Kenneth Keeling, Me Me Lai (Crucible of Terror)

Release Date: September 24th, 2024
Approximate Running Times: 95 Minutes 53 Seconds (Craze), 90 Minutes 46 Seconds (Penny Gold), 90 Minutes 31 Seconds (Crucible of Terror)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: R
Sound: DTS-HD Mono English (All Films)
Subtitles: English (All Films)
Region Coding: Region Free
Retail Price: $59.98

Craze: "By day, Neal Mottram operates an unassuming antique shop, while at night, he is the high priest of a small cult worshipping the idol Chuku. After accidentally killing one of his fellow worshipers, Neal offers Chuku her body as a sacrifice, shortly after which he finds himself bestowed with good fortune. Believing that the idol is responsible for his luck, Neal finds more sacrificial victims." - synopsis provided by the distributor

Penny Gold: "When a young woman is slain by a trench coat-wearing and razor-wielding killer, there’s no shortage of suspects, including her twin sister, boyfriend, and plentiful shady acquaintances. As the mystery unfolds and more people vanish or are murdered, a detective begins to suspect that the crimes might be connected to a prized stamp." - synopsis provided by the distributor

Crucible of Terror: "a group of hippyish youths staying at the seaside home of a reclusive and mysterious sculptor. Their holiday fun is short-lived as they begin falling prey to a vicious mystery killer who’s determined to protect a deadly secret hidden deep in the cliffside caverns." - synopsis provided by the distributor

Video: 4.5/5 (Craze, Penny Gold), 4/5 (Crucible of Terror)

Here’s the information provided about this release's transfers, "Penny Gold and Craze scanned and restored in 4K from their 35mm original camera negatives. Crucible of Terror scanned and restored in 2K from a 35mm vault positive."

Craze comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.3 GB

Feature: 25.6 GB

Penny Gold and Crucible of Terror come on a 50 GB dual layer Blu-ray.

Disc Size: 44.6 GB

Feature: 22.2 GB (Penny Gold), 22.1 GB (Crucible of Terror)

The sources for all three films look great; any print debris that remains is minimal. That said, source-wise, Crucible of Terror is not as strong as the other two films. Flesh tones look healthy, colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4/5 (All Audio Tracks)

Each film comes with one audio option, a DTS-HD mono mix in English with removable English SDH. All audio tracks sound clear and balanced. That said, they are limited range-wise.

Extras:

Extras on disc one include an archival career-spanning interview with actor Michael Jayston (49 minutes 39 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Richard Heffer titled In for a Pound (10 minutes 42 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Judy Matheson titled Happy Gatherings (9 minutes 59 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with writers/film critics Kim Newman and Stephen Jones for Craze, and an audio commentary with filmmaker David DeCoteau and film historian David Del Valle for Craze. 

Extras on disc two include an audio commentary with Kim Newman and Stephen Jones for Penny Gold and an audio commentary with Kim Newman and Stephen Jones for Crucible of Terror.

Other extras include a hard slipcase + slipcover combo (limited to 5,000 units), and a 40-page perfect bound book (limited to 5,000 units) with an essay titled Crazy for Craze written by Simon J. Ballard, Crucible of Terror an interview with Mary Maude conducted by Adrian Smith, and an essay titled Going Postal Placing Penny Gold Into Context written by John Dear.

Summary:

Craze: A deranged antiques dealer sacrifices women to an African idol that he believes brings him good fortune.

Freddie Francis directed The Craze. He also helmed Paranoiac, The Skull, and Girly as his other notable works. Besides directing, Freddie Francis has an extensive resume as a cinematographer. His notable credits as a cinematographer include Time without Pity, Sons and Lovers, The Innocents, and The Elephant Man.

Craze is a textbook example of how casting can make or break a film. The weight of Craze rests on the shoulders of finding the right actor to portray its protagonist, Neal Mottram, a down-on-luck antiques dealer. Cast in the role of the protagonist is Jack Palance (Compañeros), an actor who made a career out of portraying maniacs. He delivers an utterly believable performance that brings the intensity he’s known for.

Besides Jack Palance, Craze’s other notable asset is director Freddie Francis, whose direction does a superb job evaluating everything involved and maximizing his limited resources. Though Freddie Francis’ as a director was a work for hire filmmaker, when compared to other low-budget horror films made by his contemporaries, his films always had something extra about them. That said, when it came to his instincts as a filmmaker, he was second to none.

From its opening moments, Craze does an excellent job pulling you in, and a well-executed narrative always holds your attention. Another strength of the narrative is how it balances exposition with moments of violence. Also, John Scott’s (Doomwatch) score does a phenomenal job reinforcing the uneasy mood. The most surprising aspect of Craze is how graphic the scenes are where the protagonist kills women. Ultimately, Craze is a film that lives up to its name.

Penny Gold: A detective’s only clue into a woman’s murder is a rare stamp.

Jack Cardiff directed Penny Gold. He also helmed Intent to Kill, Sons and Lovers, The Girl on a Motorcycle, and The Freakmaker as his other notable works. Besides directing, Jack Cardiff has an extensive resume as a cinematographer, notably his collaborations with Michael Powell and Emeric Pressburger. His other notable credits as a cinematographer include Under Capricorn, Pandora and the Flying Dutchman, The African Queen, and The Barefoot Contessa.

Penny Gold is a film about misdirection; in its opening moments, a black glove killer murders a woman after she leaves the shower. Though this sequence does a superb job setting the foundation for what follows, there are no other moments that replicate the tone of this scene. That said, what follows is a straight-forward whodunit that has a few well-placed red herrings and a whopper of a twist ending.

Once the narrative settles in, the first of a few plot twists reveals that the murdered woman has a twin sister. Though they are twins, the two women could not be more unalike. After this strong setup, the narrative does a great job filling in the backstory of the murdered woman via a series of flashbacks.

Penny Gold is a film that relies heavily on its cast's performances, especially Francesca Annis (Dune - 1984), who portrays twin sisters Delphi and Diane. She does an amazing job creating two unique characters. Another performance of note is James Booth (Inn of the Frightened People) in the role of Matthews, the lead detective investigating the murder.

Despite the narrative doing a fantastic job hiding the motive behind the murder, it does move at a leisurely pace that some will find slow. If you can look past pacing issues, there are not many areas where Penny Gold does not come out on top. Another strength of Penny Gold is its visuals, which take full advantage of its locations. The score by John Scott (Symptoms) should not be neglected; it effectively reinforces the mood. Ultimately, Penny Gold is a well-made crime drama that fans of whodunit films should thoroughly enjoy.

Crucible of Terror: A reclusive sculptor's obsessions drive him mad.

Crucible of Terror is a classic example of low-budget cinema; most of its cast and crew have limited film credits; for its director, this would be the only film he directed. That said, despite Crucible of Terror's negatives outweighing its positives, it does have one saving grace: Michael Raven's (Lust for a Vampire) portrayal of the crazy sculptor.

In the opening moments of Crucible of Terror, a woman is covered in gold and transformed into a statue. This memorable moment does a good job setting the foundation for what follows. Unfortunately, the narrative is not without shortcomings; there are a few lulls and no big surprises before the finale.

Besides Michael Raven, the only other performance that stands out is Betty Alberge, who portrays the sculpture's deranged wife, who dresses up like a little girl. She delivers an equally delirious performance that rivals Michael Raven’s. That said, when it comes to the rest of the cast, their performances are merely serviceable.

Based solely on premise, Crucible of Terror should have been a much better film than it is. And yet, the result is a film that feels like a missed opportunity instead of a success. Ultimately, Crucible of Terror is an underwhelming experience that never fully realizes its potential.

Cruel Britannia: Three Killer Thrillers From The UK is another solid release from Vinegar Syndrome, highly recommended.

Written by Michael Den Boer