The General: Masters of Cinema – Eureka Video (UHD)

Theatrical Release Date: USA, 1926
Directors: Buster Keaton, Clyde Bruckman
Writers: Al Boasberg, Clyde Bruckman, Buster Keaton, Charles Smith
Cast: Buster Keaton, Marion Mack, Glen Cavender, Jim Farley, Frederick Vroom, Charles Smith, Frank Barnes, Joe Keaton, Mike Donlin, Tom Nawn

Release Date: May 18th, 2026
Approximate Running Time: 79 Minutes 45 Seconds
Aspect Ratio: 1.37:1 Aspect Ratio / 2160 Progressive / HEVC / H.265 / HDR10
Rating: U (UK)
Sound: DTS-HD 5.1 With English Intertitles
Subtitles: N/A
Region Coding: Region Free
Retail Price: £24.99 (UK)

"Western & Atlantic Railroad train engineer Johnnie Gray (Keaton) loves two things: his sweetheart Annabelle Lee (Marion Mack) and his prized locomotive, The General. When the Civil War breaks out, Johnnie intends to enlist in the Confederate Army, but is rejected – ending his budding relationship with Annabelle. As the war rages on, though, spies working for the Union steal Johnnie’s beloved engine and inadvertently kidnap Annabelle, leading him to doggedly pursue them both across enemy lines." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "4K (2160p) UHD Blu-ray presentation from a 4K digital restoration, presented in a new and exclusive Dolby Vision HDR (HDR 10 compatible) grade."

The General comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.1 GB

Feature: 56.7 GB

For a film that is 100 years old, the source looks remarkable. Grey and black levels are strong throughout, image clarity and compression are solid, and the image retains an organic appearance.

Audio: 5/5

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

Extras:

Extras for this release include home-movie footage (1 minute, no sound), an archival featurette with locomotive expert Harper Harris titled Video Tour of The General; he discusses the real General train and Buster Keaton’s film The General (18 minutes 5 seconds, LPCM stereo English, no subtitles), an archival featurette with John Bengston, author of Silent Echoes titled Filming Locations, topics discussed are Cottage Grove, Oregon the location where The General was filmed (4 minutes 29 seconds, LPCM stereo English, no subtitles), an archival introduction by Gloria Swanson filmed for television (2 minutes 13 seconds, LPCM mono English, no subtitles), an archival introduction by Orson Welles filmed for television (12 minutes 21 seconds, LPCM mono English, no subtitles), an archival interview with film scholar Peter Kramer (40 minutes 4 seconds, LPCM stereo English, no subtitles), a video essay by film critic and editor Luke Ryan titled A Brave Engineer: Buster Keaton’s Last Ride, he discusses locomotives in the films of Buster Keaton (52 minutes 20 seconds, LPCM stereo English, no subtitles), a video essay by Imogen Sara Smith, author of Buster Keaton: The Persistence of Comedy titled Bound for Glory (25 minutes, LPCM stereo English, no subtitles), an audio commentary with film historian David Kalat, a O-Card slipcase (limited to 2,000 copies), and a 40-page booklet (limited to 2,000 copies) with cast & crew information, an essay titled Buster Keaton: The Fred Astaire of Slapstick written by Phillip Kemp, an essay titled Shaun the Sheep: Buster Keaton Reborn? written by Richard Haynes, contemporary reviews, and information about the transfers titled Notes on Viewing. 

Summary:

The General was co-directed by Clyde Bruckman and Buster Keaton. Notable films directed by Clyde Bruckman include Feet First, Movie Crazy, and Man on the Flying Trapeze. Besides directing, Buster Keaton co-wrote the screenplay and was the star of The General. Along with Charlie Chaplin and Harold Lloyd, Buster Keaton is widely regarded as one of the masters of silent cinema.

A train engineer is rejected when trying to enlist because he’s more valuable to the war effort in his current role. Determined to help in some way, the engineer inadvertently plays an instrumental role in foiling the enemies' plan to sabotage a bridge.

While many sound films from Hollywood’s Golden Era have gained a reputation that has led subsequent generations to discover them, the same cannot be said about the majority of silent films. The advent of sound shifted a lot of the focus away from what we see to what we hear in cinema. When one watches a silent film for the first time, they quickly discover how much of a role their eyes play since there is no spoken dialogue. That said, where so many filmgoers have become passive in their watching, silent cinema requires 100% of your attention.

This brings us to Buster Keaton’s The General; the things that immediately grabbed me while watching this film were its minimal intertitle cards and perpetual motion that rarely lets the action remain still. Another standout aspect of The General, compared to other silent films, is how much of it was actually shot on location instead of in the controlled environment of a sound stage. That said, Buster Keaton’s instincts as a filmmaker and the way he used the camera, notably constantly moving, were way ahead of their time, especially in an era where most of his contemporaries relied heavily on master shots.

Another way that silent cinema differs from sound cinema is its performances. In contrast to sound cinema, which utilized voices to express emotions, silent cinema relied solely on physical movements to convey feelings. Fortunately, Buster Keaton was someone who could say more with just a single body movement than someone could convey with 100 words. While he was most known for his comedic talents, notably deadpan humor, he was also someone who delivered when it came to deeper moments that resonate. That said, there is humor throughout that works seamlessly with the story. The two moments that stand out most are a scene where Buster Keaton’s character, who’s hiding under a table, overhears a sabotage plot and the finale where a bridge is blown up while a train goes across. Ultimately, The General is an exceptional film that’s withstood the hands of time, making it Buster Keaton’s crowning achievement as a filmmaker.

The General gets a definitive release from Eureka Video. Highly recommended.

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 MPC-HC player and lossless PNGs.

 

Written by Michael Den Boer

Ichi the Killer – Well Go USA (Blu-ray)

Theatrical Release Date: Japan, 2001
Director: Takashi Miike
Writers: Sakichi Satô, Hideo Yamamoto
Cast: Tadanobu Asano, Shin'ya Tsukamoto, Paulyn Sun, Susumu Terajima, Shun Sugata, Jun Kunimura

Release Date: March 20th, 2018
Approximate Running Time: 129 Minutes 40 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD 5.1 Japanese, Dolby Digital Stereo Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: $29.98

"This visceral, bloody, and often hilarious film follows Kakihara (Tadanobu Asano), a notoriously sadistic yakuza enforcer whose search for his boss' killer brings him into the orbit of a demented costumed assassin known as Ichi (Nao Ohmori)." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "Takashi Miike's cult film has endured as one of the most influential pieces of genre filmmaking of the last two decades, and now it returns in a stunning all-new 4K restoration approved by Miike himself.

Ichi the Killer was shot originally on 16mm, telecined in HD video for post-production, before being filmed out on 35mm inter-negative for the making of release prints.

A full digital restoration of the director's cut of Ichi the Killer was undertaken by Emperor Motion Pictures in 2017. A new transfer was created in 4K resolution from a 35mm inter-negative at L'Immagine Ritrovata in Bologna, Italy. It was then digitally restored and color graded in 4K resolution."

Ichi the Killer comes on a 25 GB single layer Blu-ray.

Disc Size: 21.3 GB

Feature: 19.4 GB

The source has never looked better, and Well Go USA's transfer is a marked improvement over Tokyo Shock’s 2010 Blu-ray release. Ichi the Killer has a deliberately unnatural look and color saturation; this transfer does a solid job replicating its intended look. Image clarity and black levels are strong; there are some mild compression-related issues, and there are no issues related to digital noise reduction.

Audio: 4.5/5 (DTS-HD 5.1 Japanese), 3.5/5 (Dolby Digital Stereo Japanese)

This release comes with two audio options, a DTS-HD 5.1 mix in Japanese and a Dolby Digital stereo mix in Japanese. The DTS-HD 5.1 tracks sound clear, balanced, and robust when they should. The Dolby Digital stereo track, while not as robust, sounds clear and balanced. Included are removable English subtitles.

Extras:

Extras for this release include a stills gallery, a newly created trailer (1 minute 29 seconds, Dolby Digital stereo Japanese with text in English, no subtitles), and an audio commentary with director Takashi Miike and Manga artist/writer Hideo Yamamoto in Japanese with removable English subtitles.

Other extras include trailers for Gintama, The Villainess, and Phantasm.

Summary:

Takashi Miike directed Ichi the Killer. His filmography stretches over 45 years and encompasses over 120 entries, including notable films like The Bird People of China, Agitator, Visitor Q, Audition, The Happiness of the Katakuris, Gozu, and Lesson of the Evil.

A Yakuza boss disappears with 300 million yen and is presumed dead. Kakihara, a sadistic killer and the missing boss’ right-hand man, is tasked with finding out what happened and dealing with those involved. Things run smoothly until Kakihara crosses paths with Ichi, a psychopath that a retired cop is using to carry out vigilante justice against those who have slipped through the cracks of the system.

If you are familiar with Takashi Miike, then you have seen Ichi the Killer and his most memorable film to date, Audition. Like all great artists, you know their work immediately; this is definitely true with the cinema of Takashi Miike, who often shows you something you have seen before or imagined. Adapted from a manga, Ichi the Killer is arguably the closest any filmmaker has come to bringing to life in a live-action film what's on the written page.

Ich The Killer has been talked about and analyzed thousands of times over. And yet each new person who sees this unique file comes away with something that is wholly their own. On the surface, Ichi the Killer is filled with blood, guts, and brutality equal to men and women and an occasional shot of semen. While below the surface, it is laced with a dark sense of humor, making all the imagery that Takashi Miike is bombarding us with all the more disturbing.

While most are drawn to Ichi the Killer's hyperrealistic carnage, one must not overlook how impressive the performances are, especially Tadanobu Asano (Gemini) in the role of Kakihara. His imposing performance is greatly enhanced by his character's scared face, which includes cuts on each side of his mouth, making an enraged smile. That said, he delivers a kind of intensity that often misfires in cinema and yet he manages to walk dangerously close to the edge without ever going too far.

A lot of what makes Ichi the Killer so special is not its violent tone but the way that Takashi Miike deals with violence in general. And if you go into Ichi the Killer with a sense of humor and looking for more than just sadism or gore, then you are sure to enjoy this film. My favorite moment in the film is the scene where Kakihara cuts off his tongue to prove his loyalty. What I found most ironic about this scene is how all the yakuza in the room turn their heads and cringe at the sight of his tongue being sliced off. Ultimately, Ichi the Killer is an orgy of carnage that hits all the right notes and makes all the right incisions.

While lacking in extra content that previous home media releases had, Well Go USA does give Ichi the Killer a strong audio/video presentation, and it comes with an insightful audio commentary. Recommended.

Written by Michael Den Boer

Human Lanterns – Vinegar Syndrome (4k UHD/Blu-ray Combo)

Theatrical Release Date: Hong Kong, 1982
Director: Sun Chung
Writers: Ni Kuang, Sun Chung
Cast: Lau Wing, Chen Kuan-Tai, Lo Lieh, Tanny Tien Ni, Linda Chu, Sun Chien, Susan Yam-Yam Shaw, Lin Hsiu-Chun

Release Date: June 3rd, 2026
Approximate Running Times: 100 Minutes 45 Seconds (Original Version), 98 Minutes 16 Seconds (Export Version)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 (Both Versions)
Rating: NR
Sound: DTS-HD Mono Mandarin (Both Versions), DTS-HD Mono Cantonese (Both Versions)
Subtitles: English (Both Versions)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $69.98

"Equally wealthy Master Tan and Master Lung are both competing to be honored at the upcoming festival of lanterns. When Tan presents Lung with his ornately crafted lantern, Lung realizes that to best his rival, he must create an even more beautiful lantern. Lung engages the strange craftsman Chao Fang, imploring him to create the most sensational lantern ever seen. Fang agrees on the condition that his work be conducted in complete secrecy. Soon, panic sets in throughout the region as beautiful young women start to go missing, their skinned corpses discovered thereafter. Is Chao Fang, in fact, a deranged maniac, or has an even more diabolical plot been put into effect?" - synopsis provided by the distributor

Video: 5/5 (4K UHD), 4.5/5 (Blu-ray)

Here’s the information provided about the transfers, "Vinegar Syndrome is delighted to bring this one-of-a-kind thriller to 4K UHD, newly and exclusively restored from its original camera negative and presented in its longest and most complete version ever on video, including extended gore sequences never before available on disc, along with a never-on-video alternate ending present only in the Cantonese export version!"

Here's additional information about the transfers, "While inspecting a 35mm print of Human Lanterns, we discovered significant additional footage not present on any previous home video version, including an alternate ending and previously unreleased Cantonese language dub.

We used the 35mm print to construct the longest and most complete version of the film ever available on home video. While we made every effort to restore the footage sourced from the print so as to minimize quality jumps between it and the original negative, periodical instances of damage remain.

For the first time ever, you will be able to watch Human Lanterns with either ending, in both Mandarin and Cantonese."

Human Lanterns comes on a 100 GB triple layer 4K UHD

Disc Size: 70.7 GB

Feature: 68.1 GB

The bulk of the footage, which comes from the original negative, looks excellent, while there is a dip in quality for the footage taken from a 35mm print. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image retains an organic appearance. This release uses seamless branching for the two versions.

Human Lanterns comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.4 GB

Feature: 30.2  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.

Audio: 4.5/5 (All Audio Tracks)

Each version comes with two audio options, a DTS-HD mono mix in Mandarin and a DTS-HD mono mix in Cantonese. The four tracks sound similar; dialogue always comes through clearly, and everything sounds balanced and robust when it should. Included are removable English subtitles for the Mandarin language tracks and removable English subtitles for the Cantonese language tracks.

Extras:

Extras on the 4K UHD include an audio commentary with Kenneth Brorsson and Phil Gillon of the Podcast on Fire Network for the original version and an audio commentary with film historian Samm Deighan for the original version.

Extras on the Blu-ray disc include a theatrical trailer (1 minute 39 seconds, Dolby Digital mono Mandarin with removable English subtitles), an interview with actor Lau Wing titled The End Justifies the Means (24 minutes 25 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with actress Linda Chu titled A Fairy in Hell (14 minutes 52 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with actress Susan Shaw titled A Shaw Story (13 minutes 46 seconds, Dolby Digital stereo Cantonese with removable English subtitles), a video essay by film programmer Kenji McGuire titled A Skinning Team: Peeling Back the Layers of Action (10 minutes 6 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Kenneth Brorsson and Phil Gillon for the original version and an audio commentary with Samm Deighan for the original version.

Other extras include a reversible cover art, a spot gloss hard slipcase + slipcover combo (limited to 8,000 units), and a 40-page perfect-bound book (limited to 8,000 units) with an essay titled Human Lanterns: When Wuxia Meets Horror, Face Becomes Fatal written by Hsieh Chia-chin, an essay titled From Kung Fu Comedy to Cruelty: Human Lanterns as the Anti-Encounters of the Spooky Kind written by Keith Allison, and an essay titled The Skin You Live In: Class and Identity in Human Lanterns and Horror Cinema written by Erica Schultz.

Summary:

Chung Sun directed Human Lanterns. His notable films include Big Bad Sis, The Avenging Eagle, The Deadly Breaking Sword, The Kung Fu Instructor, To Kill a Mastermind, and City War.

A kung fu master wanting to beat his rival at the upcoming festival of lanterns hires a deranged craftsman to make him a lantern. Unknown to the kung fu master, the craftsman uses the flesh of beautiful women to make his lanterns.

The Shaw Brothers are most remembered for their martial arts files, specifically their Wuxia files. When it comes to their contributions to the horror genre, these films are not your run-of-the-mill horror files. A case in point is Human Lanterns, a film that is just as much a horror file as it is a Wuxia file, combining the best of these two genres.

From its opening moments, Human Lanterns establishes a foreboding tone that becomes bleaker as the narrative reaches its climax. The premise is full of gruesome possibilities that are exploited for all their worth. While there is an abundance of atmosphere and gruesome moments, when it comes to the action sequences, Human Lanterns far exceeds expectations and is in line with other martial arts films from this era.

The heart and soul of Human Lanterns is Lo Lieh’s (King Boxer) portrayal of Chao Chun-Fang, a renowned craftsman who makes lanterns from human flesh. He delivers a diabolic performance that fully immerses him in his character's madness. While the rest of the cast pale in comparison, there is only so much they can do since their performances are overshadowed by Lo Lieh.

Human Lanterns is a textbook example of the Shaw Brothers' 1980s output, where they often made films that went against their legacy. The further they drifted from martial arts films and leaned more into exploitative and horror elements, they more often than not delivered some truly one-of-a-kind films like Human Lanterns. While the exploitation and horror elements are the main draw of Human Lanterns, its narrative actually finds a very satisfying balance between action, horror, and exploitation while never skimping on exposition. Ultimately, Human Lanterns is a highly entertaining wuxia horror film that quickly draws you in and does a phenomenal job holding your attention as it builds to an unforgettable finale.

Human Lanterns gets an exceptional release from Vinegar Syndrome that comes with a solid audio/video presentation, two versions of the film, and informative extras. Highly recommended.

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 MPC-HC player and lossless PNGs.

Written by Michael Den Boer

Troll – MVD Rewind Collection (Blu-ray)

Theatrical Release Date: USA, 1986
Director: John Carl Buechler
Writers: Ed Naha, Oliver Gonzalez
Cast: Noah Hathaway, Michael Moriarty, Shelley Hack, Jenny Beck, Sonny Bono, Phil Fondacaro, Anne Lockhart, Julia Louis-Dreyfus, Gary Sandy, June Lockhart

Release Date: June 30th, 2026
Approximate Running Time: 82 Minutes 36 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: PG-13
Sound: LPCM Stereo English|
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $34.95

"Long ago the earth was inhabited by trolls, fantastic beings who lived a fairytale existence. Torok’s goal is to transform all humans into these mystical beings to regain the power that all trolls once possessed. Little Wendy Potter is Torok’s first victim—he inhabits her body and uses her guise to carry out his mission. As Wendy, Torok works his evil magic on the residents of the Mockingbird Lane Apartments, transforming each human into a troll and each dwelling into a magical kingdom. Wendy’s brother, Harry, is on to Torok. Now it’s up to him and a 2000-year-old sorceress to save his sister, his family and the world!” – Synopsis provided by the Distributor

Video: 3.75/5

Here’s the information given about the transfer, “High Definition (1080p) presentation of the main feature in 1.85:1 aspect ratio."

Troll comes on a 25 GB single layer Blu-ray.

Disc Size: 22.4 GB

Feature: 16.5 GB

The source used for this transfer is the same one used by Eureka Video for their 2018 Blu-ray release. Besides some very minor print debris, the source is in excellent shape. Flesh tones and colors look correct, image clarity and black levels are strong, and there are no issues with compression or digital noise reduction.

Audio: 4/5

This release comes with one audio option, a LPCM stereo mix in English with removable English subtitles. The track sounds clean, clear, balanced, and robust when it should.

Extras:

Extras for this release include a stills gallery with music from the film playing in the background, a theatrical trailer (2 minutes 48 seconds, LPCM stereo English, no subtitles), an archival making-of featurette featuring director John Carl Buechler, producer Charles Band, screenwriter Ed Naha, and composer Richard Band (50 minutes 7 seconds, LPCM stereo English, no subtitles), reversible cover art, a collectable mini-poster, and a slipcover (limited to the first pressing).

Summary:

John Carl Buechler directed Troll. Although John Carl Buechler is best known for his work in special effects, notable films he’s directed include The Dungeon Master, Cellar Dweller, and Friday the 13th Part VII: The New Blood. Notable make-up effects credits are Trancers, Re-Animator, Ghoulies, TerrorVision, and From Beyond.

A troll with a mystical ring transforms the inhabitants of an apartment building into fairy tale creatures.

Troll is a textbook example of the film released by Empire Pictures, a company formed by Charles Band, who would go on to form Full Moon Productions. The majority of Empire Pictures films were either horror or sci-fi and, in some instances, a hybrid of these two genres. Other things that Charles Band’s films are known for are their limited budgets and casts filled with recognizable faces.

Troll has many elements that firmly date it with 1980s fantasy and sci-fi films. The most notable element is its heavy reliance on special effects, which are a combination of practical and CGI effects. Although most of the special effects are dated by today's standards, the practical effects fare much better than the CGI effects.

The cast is a virtual who's who of recognizable faces who all deliver enthusiastic performances. The standout performance is June Lockhart (Lost in Space) in the role of a 2000-year-old sorceress. Her daughter Anne (Joyride) portrays a younger version of her character. Another performance of note is Phil Fondacaro, a frequent collaborator of Charles Band; he’s cast in two roles, the troll wreaking havoc and a professor.

Other notable cast members are Sonny Bono (Hairspray) in the role of a swinger, Julia Louis-Dreyfus (Seinfeld) in the role of an inspiring actress, Gary Sandy (WKRP in Cincinnati) in the role of a military veteran, and Michael Moriarty (Pale Rider) and Shelley Hack (The Stepfather) as the parents of the little girl whose identity the troll takes over. The most surprising aspects of the two child actors' performances are Noah Hathaway (The NeverEnding Story), who portrays Harry Potter Jr. (an oddly familiar name) and Jenny Beck (Tightrope), who portrays his sister Wendy.

From a production standpoint, Troll is a film that often exceeds the sum of its parts. The opening setup quickly draws you in, and things move briskly, never giving you a chance to catch your breath. Other strengths are Richard Band’s (Re-Animator) exemplary score, which perfectly underscores the mood and cinematographer Romano Albani's (Inferno, Phenomena) photography, which gives Troll a more polished look than most of Empire Pictures films. Ultimately, Troll is a highly entertaining film that is a lot better than its reputation.

Troll returns to Blu-ray via a strong release from the MVD Rewind Collection. Recommended.

 

Written by Michael Den Boer

Black Rabbit, White Rabbit: Standard Edition – Deaf Crocodile (Blu-ray)

Theatrical Release Date: Tajikistan/United Arab Emirates, 2025
Director: Shahram Mokri
Writers: Nasim Ahmadpour, Shahram Mokri
Cast: Babak Karimi, Hasti Mohammai, Kibriyo Dilyobova, Bezhan Davlyatov

Release Date: August 25th, 2026
Approximate Running Time: 139 Minutes 9 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Stereo Tajiki and Russian
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"The latest film from Iranian master Shahram Mokri (Fish & Cat, Careless Crime) is another mysterious M.C. Escher-like meditation on reality and illusion, doubles and doppelgängers and uncanny synchronicities, involving stories-within-stories set during production of a film by a director named “Shahram” – already blurring the lines between film and reality.  Guns play a strange and mystical part in Black Rabbit:  on the film set, we meet armorer Babak, played by the great Iranian actor Babak Karimi (Fish & Cat, A Separation). This production marks his 40th, and he’s paranoid he won’t get through the day without a terrible accident (his mentor was killed in an explosion on his 40th film.)  "I've discovered something important:  there's a revolver here hell bent on revenge,” he murmurs.  The other major storyline involves Sara (Hasti Mohammaï), who is kept as a prisoner inside her house by her husband while she recovers from a near-fatal car accident.  She's wrapped in bandages like Elsa Lanchester in Bride of Frankenstein and gives off a foul odor from her wounds.  Slowly, fantastical elements begin to bleed through, like waking dreams intruding on the conscious world:  an enormous prop Coffee Cup moves about the set by itself; inanimate objects talk amongst themselves about the Italian gun that's arrived to take revenge; and an aspiring actress gives an audition in which she does magic, causing a white rabbit and a black rabbit to appear." - synopsis provided by the distributor

Video: 5/5

Black Rabbit, White Rabbit comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 39.8 GB

The source looks excellent; flesh tones and colors look correct, and image clarity, black levels, and compression are solid.

Audio: 5/5

This release comes with one audio option, a DTS-HD 5.1 mix in Tajiki and Russian with removable English subtitles. Dialogue always comes through clearly; everything sounds balanced and ambient sounds are well-represented.

Extras:

Extras for this release include trailer #1 (1 minute 34 seconds, Dolby Digital stereo Tajiki and Russian with non-removable English subtitles), trailer #2 (1 minute 51 seconds, Dolby Digital stereo Tajiki and Russian with non-removable English subtitles), a video essay by Stephen Broomer titled The Maze: Entrances and Exits in Black Rabbit, White Rabbit, an audio commentary with film programmer and critic Tori Potenza, and three short films directed by Shahram Mokri: The Dragonfly Storm (15 minutes 46 seconds, 1.37:1 aspect ratio, Dolby Digital stereo Farsi with removable English subtitles), Ando-C (16 minutes 10 seconds, 1.37:1 aspect ratio, Dolby Digital stereo Farsi with removable English subtitles), and Limits of the Circle (15 minutes 45 seconds, 1.78:1 aspect ratio, Dolby Digital stereo Farsi with removable English subtitles).

The Dragonfly Storm: A man arrives home and discovers the power is out and when he resets a fuse, he causes an accident that kills his wife.

Ando-C: A series of events on a wedding day makes a bride question her existence in the world.

Limits of the Circle: A man walks through a building, encountering people, and as time unfolds, it becomes clear that he is trapped in a time loop.

Summary:

The story revolves around three characters: a film armorer with safety concerns, an aspiring actress determined to audition for a director's latest film, and a woman who has been horribly disfigured by a car crash, all of whom have intertwined narratives.

“Everything cycles back to its place," a line spoken by a character perfectly sums up Black Rabbit, White Rabbit, and the cinema of Shahram Mokri. For his latest film, Black Rabbit, White Rabbit, he returns to familiar themes like fate, identity, and the role that history plays in shaping the future.

While all of Shahram Mokri's films blur lines when it comes to reality, with Black Rabbit, White Rabbit, he achieves his most satisfying balance of subjectivity and objectivity. Black Rabbit, White Rabbit is an exploration of truth and resolution. While the latter is ultimately elusive, its finale provides sufficient closure. That said, Black Rabbit, White Rabbit is a multilayered film filled with symbolism and subtext that's never heavyhanded.

Having now worked my way through every short and feature film directed by Shahram Mokri, I have become familiar with his techniques and thematic obsessions. Black Rabbit, White Rabbit once again sees Shahram Mokri use lengthy shots with minimal editing and non-linear narratives with multiple protagonists whose stories intersect in the finale. Like his previous film, Careless Crime, Black Rabbit, White Rabbit employs the film-within-a-film technique. Where the first half of the narrative devotes uninterrupted, lengthy introductions to each character, the latter half takes on a Rashomon-like structure that reconstructs events from different perspectives. Ultimately, Black Rabbit, White Rabbit is a puzzle box film whose mysteries make its moment of truth all the more resonant.

Black Rabbit, White Rabbit gets an excellent release from Deaf Crocodile that comes with a solid audio/video presentation, three short films, and a pair of insightful extras. Recommended.

Note: There is a deluxe release of Black Rabbit, White Rabbit that comes in a slipcase and a 60-page booklet with an essay written by film critic Walter Chaw (Film Freak Central), an essay written by Alexandra Heller-Nicholas, and an essay written by Michelle Kisner.

Written by Michael Den Boer