Mona Lisa: Limited Edition – Arrow Video (4K UHD)

Theatrical Release Date: UK, 1986
Director: Neil Jordan
Writers: Neil Jordan, David Leland
Cast: Bob Hoskins, Cathy Tyson, Robbie Coltrane, Michael Caine, Clarke Peters, Joe Brown, Perry Fenwick

Release Date: May 11th, 2026
Approximate Running Time: 103 Minutes 51 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: 18 (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: £29.99 (UK)

"Five years after The Long Good Friday, Bob Hoskins returned to the gangster genre, but his character George is a mere underling this time, a chauffeur hired by a mesmerizingly slimy gangland kingpin (Michael Caine) to transport a high-class prostitute (Cathy Tyson) from client to client. When she enlists his help in tracking down an old friend, George finds himself exploring a hellish underworld that he never imagined existed." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "Mona Lisa was exclusively restored by Arrow Films. The original 35mm camera negative was scanned in 4K resolution. The film was restored in 4K resolution and graded in HDR10 and Dolby Vision. Scanning, grading, and picture resolution were completed at Silver Salt Restoration, London. All materials for this restoration were made available by Handmade Films via the BFI."

Mona Lisa comes on a 100 GB triple layer 4K UHD.

Disc Size: 82.3 GB

Feature: 72.8 GB

This new 4K transfer is a massive improvement over this film’s previous home media releases. The most noticeable area of improvement is image clarity, especially during darker scenes. Flesh tones look healthy; colors are nicely saturated; contrast, black levels, image clarity, and compression are solid; and the image always retains an organic look.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio sounds excellent; dialogue always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include a theatrical trailer (2 minutes 32 seconds, LPCM mono English, no subtitles), an archival interview with screenwriter David Leland (19 minutes 1 second, Dolby Digital stereo English, no subtitles), an archival interview with producer Stephen Wooley (13 minutes 36 seconds, Dolby Digital stereo English, no subtitles), an archival interview with director Neil Jordan (19 minutes 57 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with actor Bob Hoskins and Neil Jordan, reversible cover art, a slipcover (limited to the first pressing), and a 20-page booklet (limited to the first pressing) with cast & crew information, an essay tilted Mona Lisa written by Mike Sutton, and information about the transfer.

Summary:

Neil Jorden directed Mona Lisa. He’s known for Company of Wolves, The Crying Game, and Interview with the Vampire.

Recently released from prison, George collects a favor from an old friend who gets him a job as a call girl’s driver. What begins as a routine job quickly spirals into chaos when George decides to assist the call girl he has been driving around in her search for a missing friend. Will he manage to find her friend, or will they both become entangled in a dangerous underworld where life holds little value?

If ever there was a film whose title perfectly summarizes what the film is all about, then Neil Jordan’s Mona Lisa would be such a candidate. And just like the painting by Leonardo da Vinci, which bears a smile that has fascinated everyone who has laid their eyes upon it, perception plays an integral role in the story that unfolds in Neil Jordan’s film.

Mona Lisa starts as a tale of a protagonist attempting to escape his old habits, but by the time its shocking conclusion arrives, it transforms into something completely different. The protagonist ultimately realizes that he will continue to fall into the same traps as long as he allows others to exploit him.

Content-wise, Mona Lisa incorporates many elements commonly associated with films about underworld crime. However, these elements serve primarily as superficial embellishments rather than integral components of the film's message. Consequently, the overall effect leans more toward a drama than a thriller.

The cast are excellent in their respective roles; there are three performances in particular standing out above everyone else and equally deserving of recognition. Bob Hoskins (The Long Good Friday) plays the film’s protagonist, George, while Cathy Tyson (The Serpent and the Rainbow) portrays Simone, a high-priced call girl whom George is tasked with driving to her various clients. Later on in the film, her character convinces George to help her find her missing friend, who is also a call girl and underage. The last of these three performances is Michael Caine (Dressed to Kill) in the role of a sleazy crime boss named Mortwell.

From a production standpoint, there is not a single area where Mona Lisa does not excel. The pacing is consistently strong, and the visuals remain impressive throughout. Although Mona Lisa features many visually striking moments, none are as shocking as the explosive finale. Ultimately, Mona Lisa is a captivating melodrama that quickly draws you in and whose finale stays with you.

Mona Lisa gets an excellent release from Arrow Video that comes with a solid audio/video presentation and a wealth of insightful 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

Hi, Mom!: Limited Edition – Radiance Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1970
Director: Brian De Palma
Writers: Charles Hirsch, Brian De Palma
Cast: Charles Durning, Robert De Niro, Allen Garfield, Lara Parker, Jennifer Salt, Paul Bartel, Gerrit Graham

Release Date: May 18th, 2026 (UK), May 19th, 2026 (USA)
Approximate Running Time: 86 Minutes 48 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 15 (UK), R (USA)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), A,B (Blu-ray)
Retail Price: £24.99 (UK), $49.95 (USA)

"Aspiring adult filmmaker Jon Rubin (Robert De Niro, Taxi Driver) returns from a tour of Vietnam and, armed with his film camera, attempts to find meaning and inspiration in the counterculture of New York in 1970. Rubin graduates from surreptitiously filming his neighbors to joining a militant Black experimental theater group before flirting with full-scale domestic terrorism, in this hilariously madcap satire that has still retained its outrageous power to shock, fifty years after initially stunning American audiences." - synopsis provided by the distributor

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

Here’s the information provided about the transfers, "Hi, Mom! was scanned in 4K resolution at Illuminate Hollywood in Studio City, California. The film has been meticulously restored and color graded in 4K HDR (Dolby Vision) at FilmFinity, London, working from a new 4K 16-bit scans of the original 35mm camera negative. FilmFinity's Digital Restoration Specialists used advanced image-processing tools to remove mant thousands of instances of dirt, erase scratches and gently correct age-related imperfections frame by frame. Paired with the new HDR grade, this restoration reveals striking clarity and depth while staying true to the film's original photographic character. No grain management, edge enhancement or artificial sharpening tools were used at any stage, preserving the authentic texture of the cinematography.

Dionysus in 69 is presented from the only available digital source, provided by Richard Schechner."

Hi, Mom! comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.1 GB

Feature: 60.8 GB

This new transfer is a marked improvement over Arrow Video’s 2018 Blu-ray release. The source looks excellent and the encode is solid. Flesh tones and colors look healthy; contrast, black levels, image clarity, and compression are solid, and the image always retains an organic look. That said, grain looks thicker in some scenes than others.

Hi, Mom! comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.6 GB

Feature: 23 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio is in excellent shape; dialogue always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for the 4K UHD disc include an audio commentary with writer Travis Woods.

Extras for the Blu-ray include a theatrical trailer (1 minute 56 seconds, LPCM mono English, no subtitles), an archival interview with producer Charles Hirsch titled Charles Hirsch on Hi, Mom! (9 minutes 41 seconds, Dolby Digital stereo English, no subtitles), an interview with film critic Ellen E Jones (12 minutes 23 seconds, Dolby Digital stereo English, no subtitles), Son of Greetings: a collection of behind-the-scenes footage from the making of Hi, Mom! by filmmaker Peter Davis, featuring candid images of the cast and crew (76 minutes 29 seconds, Dolby Digital mono English, no subtitles), an audio commentary with Travis Woods, and Dionysus in 69—an experimental theater production of Euripides' 'The Bacchae,' filmed by Brian de Palma (85 minutes 27 seconds, 1080 progressive, Dolby Digital mono English, no subtitles).

Dionysus in 69: The structure of Dionysus in 69 is loosely based around Euripides' play, which deals with the myth of Dionysus and his revenge on the city responsible for his mortal mother’s death. The cast's improvisation largely causes the chaos and disjointedness of this version of Dionysus. Dionysus in '69 represents Brian De Palma's initial use of split screen, which he employs to its fullest potential. One camera captures the performance, while the other records the audience's reactions to what they are witnessing. The cast immerses themselves in their characters, contributing to the primal intensity of their performances.

Other extras include reversible cover art, a removable OBI strip leaving packaging free of certificates and markings and a 24-page booklet (limited to 3000 copies) with cast & crew information, an essay titled The Medium is the Message: The Interplay of Ideas in Brian De Palma’s Hi, Mom! written by Matt Zoller Seitz, A Note on Dionysus in 69, and information about the transfers.

Summary:

Vietnam veteran Jon Rubin has developed a peeping tom fetish since returning to New York. He watches his neighbors with his recently acquired camera. Joe Banner is a producer of pornographic films. Jon convinces him to finance a film about the sex lives of his neighbors. A falling out with Joe Banner leads Jon to an unlikely collaboration with one of his neighbors, Gerrit Wood, an avant-garde artist and an extremist Black Power organization. Has Jon found what he’s been looking for, or has he gone off the deep end?

By the late 1960s, the studio in Hollywood was on its last legs, and several ambitious filmmakers decided it was time to push the envelope. During this period of his career, Brian De Palma's cinema was heavily influenced by new French directors like Jean-Luc Godard and the films of Alfred Hitchcock. There are several similarities in Hi, Mom! that trace back to the cinema of Alfred Hitchcock. Jon Rubin likes L. B. Jefferies in Alfred Hitchcock’s Rear Window. Both characters like to explore their voyeuristic side through the lens of a camera as they watch their neighbor's every move.

Hi, Mom! Like most of De Palma’s earliest films, it is overflowing with biting dark humor and a distrust of authority. No scene in Brian De Palma’s filmography epitomizes subversive humor and distrust of authority more than the Be Black, Baby! sequences. Be Black, Baby! is a series of black-and-white scenes centered around a theater troupe that exposes a white audience to the experience of being Black. Additionally, the narrative focuses on Jon Rubin’s obsession with filming the sexual habits of his neighbors.

Where Greetings relied heavily on improvisation, Hi, Mom! features a more defined narrative structure. Visually, Hi, Mom! showcases greater experimentation with camera techniques compared to its predecessor. Robert De Niro returns in the role of Jon Rubin, and this time around he delivers a more fleshed-out performance. Eric Kaz delivers another solid score that is in line with his score for Greetings. Ultimately, Hi, Mom! effectively captures the essence of the late 1960s and serves as a platform for showcasing the talents of Brian De Palma and Robert De Niro before they achieved widespread recognition.

Hi, Mom! gets a definitive release from Radiance Films. 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.

                                                Dionysus in 69 Blu-ray Screenshots.

Written by Michael Den Boer

Panic in Year Zero: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: USA, 1962
Director: Ray Milland
Writers: Jay Simms, John Morton
Cast: Ray Milland, Jean Hagen, Frankie Avalon, Mary Mitchel, Joan Freeman, Richard Bakalyan, Rex Holman, Neil Nephew

Release Date: November 18th, 2024
Approximate Running Time: 92 Minutes 2 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region B
Retail Price: OOP

"When Harry Baldwin (Ray Milland, The Lost Weekend) takes his family on a fishing trip, their holiday is brutally interrupted as a catastrophic atomic war breaks out, destroying their suburban Los Angeles home. What remains of the United Nations announces on the radio that society has broken down, and the Baldwins realize that they must quickly learn how to navigate this new ‘year zero’, and do whatever it takes in order to survive." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “Panic in Year Zero was delivered to Radiance Films as a high-definition digital file by Park Circus. The film was transferred from a 35mm fine-grain positive.”

Panic in Year Zero comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.3 GB

Feature: 25.2 GB

Although this new release from Radiance Films likely shares the same HD source that Kino Lorber used for their Blu-ray release, Radiance's release is the clear winner, as it has a substantially better encode. Flesh tones look healthy; contrast, black levels, image clarity, and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio is clean, clear, and balanced, with a good representation of ambient sounds.

Extras:

Extras for this release include a theatrical trailer (2 minutes 23 seconds, LPCM mono English, no subtitles), an interview with author and film critic Kim Newman (20 minutes 55 seconds, LPCM stereo English, no subtitles), an archival interview with filmmaker Joe Dante titled Atomic Shock! (9 minutes 10 seconds, LPCM stereo English, no subtitles), an archival interview with actor Ray Milland filmed at the university of London in 1972 (30 minutes 31 seconds, LPCM mono English, no subtitles), an archival audio commentary with film Richard Harland Smith, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 3000 copies) with cast & crew information, an essay titled Five Good Ones: Panic in Year Zero and the Real Nuclear Family written by Christina Newland, and information about the transfer.

Summary:

Panic in Year Zero was directed by and stars Ray Milland, who as an actor reached his peak during the 1940s and '50s, starring in films like The Uninvited, Ministry of Fear, Lost Weekend, and Dial M for Murder. In addition to Panic in Year Zero, he directed four other theatrical films: A Man Alone, Lisbon, The Safecracker, and Hostile Witness. Panic in Year Zero is based on two short stories by Ward Moore titled Lot and Lot’s Daughter.

A family going on a camping trip leaves Los Angeles moments before a hydrogen bomb destroys the city. In the aftermath, chaos ensues, and the patriarch of the family does everything in his power to keep his family safe.

While the premise tapped into a real fear, nuclear annihilation, that gripped those living in the 1950s and 1960s, when viewed through the conflicts of today's world, it has not lost any of its potency. The opening setup does a phenomenal job establishing the tone, and from there the narrative is extremely effective at creating tense moments that build upon each other. Fear and paranoia are at the forefront in the unfolding narrative, as lawlessness takes over in the absence of societal institutions to support the citizens.

The most surprising aspect of Panic in Year Zero was the performances, which do a remarkable job conveying the characters' state of mind. The standout performance is Joan Freeman (Tower of London) in the role of Marilyn Hayes, a young woman who's being held prisoner by three young men who cause destruction and death everywhere they go. Other performances of note are Ray Milland in the role of the father taking his family on a camping trip and Jean Hagen (The Asphalt Jungle) in the role of his wife. Where Ray Milland’s character keeps calm and is decisive in his actions, Jean Hagen’s is the opposite.

For a post-apocalyptic film, Panic in Year Zero demonstrates that significant achievements are possible even with limited resources. This is particularly evident in its impressive production design, which lends the film a much grander scope than what its budget would suggest. While the narrative is primarily dialogue-driven, the visuals also significantly contribute to enhancing the mood. Ultimately, Panic in Year Zero is a well-crafted film that explores human instincts for survival when confronted with overwhelming challenges.

Panic in Year Zero gets an excellent release from Radiance Films that comes with a solid audio/video presentation and insightful extras. Highly recommended.

 

Written by Michael Den Boer

Jack the Ripper: Limited Edition – Cauldron Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: West Germany, 1976
Director: Jesús Franco
Writer: Jesús Franco
Cast: Klaus Kinski, Andreas Mannkopff, Josephine Chaplin, Andreas Mannkopff, Herbert Fux, Lina Romay

Release Date: April 28th, 2026
Approximate Running Time: 92 Minutes
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: Dolby Digital Mono English, DTS-HD Stereo English, DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $54.99

"During the late 1800’s, the Whitechapel area of London was gripped in fear as Jack the Ripper (Klaus Kinski — Code Name: Wild Geese) literally tore through the prostitutes of the area.  Desperately trying to solve the grisly murders and placate the panicking residents, Inspector Selby (Andreas Mannkopff) finds himself obsessed with finding the killer and protecting his girlfriend (Josephine Chaplin — The Canterbury Tales) who may be next…” – Synopsis provided by the Distributor

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

Here’s the information provided about this release's transfer, "Jack the Ripper was scanned in 4K from the original camera negative & best available film materials by Ascot Films. Grading and restoration by Gamma Ray Digital. SDH subtitles, additional grading restoration by Outer Realm Studio. Authoring and Dolby Vision HDR grade by Duplitech."

Jack the Ripper comes on a 100 GB triple layer 4K UHD

Disc Size: 68.2 GB

Feature: 60.4 GB

The source is in excellent shape; flesh tones and colors look correct, image clarity, contrast, and compression are solid, black levels are strong, and the image always looks organic.

Jack the Ripper comes on a 50 GB dual layer Blu-ray. 

Disc Size: 45.5 GB

Feature: 26.5 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.25/5 (DTS-HD 5.1 English), 4/5 (DTS-HD Stereo English), 3.75/5 (Dolby Digital Mono English)

This release comes with three audio options, a DTS-HD 5.1 mix in English, a DTS-HD stereo mix in English, and a Dolby Digital mono mix in English. All tracks sound clean, clear, and balanced, and ambient sounds are well-represented. The DTS-HD 5.1 track is the strongest of the three. Included are removable English SDH.

Extras

Extras on the 4K UHD disc include an audio commentary with Ryan Verrill and Dr Will Dodson.

Extras on the Blu-ray disc include a theatrical trailer (2 minutes 57 seconds, Dolby Digital mono German with removable English subtitles), a deleted gore scene (15 seconds, no sound), a video essay by Eugenio Ercolani titled Whitechapel Shadows (17 minutes 7 seconds, Dolby Digital stereo English, no subtitles), a video essay by Troy Howarth titled Klaus the Ripper (21 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Andreas Mannkopff titled He Caught Jack the Ripper (26 minutes 47 seconds, Dolby Digital stereo German with non-removable English subtitles), an archival featurette titled Erwin C. Dietrich's Tribute to Jess Franco’s Jack the Ripper (22 minutes 31seconds, Dolby Digital stereo German with non-removable English subtitles), and an audio commentary with Ryan Verrill and Dr Will Dodson.

Other extras include reversible cover art, a rigid slipcase (limited edition only), a double-sided poster (limited edition only), and a 40-page booklet (limited edition only) with cast & crew information, an essay titled Jess and Erwin: A Match Made in Switzerland written by Troy Howarth, an essay titled Jess Franco’s Jack the Ripper written by Dr Stella Marie Gaynor, and information about the transfer.

Summary:

Jack the Ripper was one of eighteen films that Jess Franco made with producer Erwin Dietrich over a three-year period. Their collaboration began with Downtown and ended with Girls After Midnight.

The story of Jack the Ripper, the most infamous killer whose identity to this day has not been uncovered, has been told countless times. Many films about Jack the Ripper have taken liberties with the known evidence surrounding his crimes. Some of these films merely use his notorious acts as a foundation for their stories, while a select few attempt to remain closer to the actual events. While Jess Franco’s Jack the Ripper falls somewhere in between, it does lean more to the latter.

Over the course of his 18 film collaborations with Jess Franco, producer Erwin Dietrich takes advantage of Jess Franco’s three greatest assets: his ability to work quickly, his ability to overcome anemic budgets, and his knack for crafting exploitation cinema that perfectly blends erotica and horror. Although Jack the Ripper incorporates all of these elements, it stands out as the most resource-intensive project that Jess Franco collaborated on with Erwin Dietrich. Additionally, Jack the Ripper distinctly differs from their other 17 collaborations by being the most mainstream film among the 18 they produced together.

Known for his frequent collaborators, Jess Franco works with Klaus Kinski (Nosferatu the Vampyre) for the fourth and last time. Klaus Kinski is frequently cast in roles that demand limited screentime, but in the role of Jack the Ripper, he is given his most substantial part among his four collaborations with Jess Franco. He has a natural intensity and menace to him that makes his casting a perfect choice.

When it comes to the rest of the performances, they are very good, especially Hans Gaugler in the role of a blind man who’s the police’s only witness to Jack the Ripper’s identity. The rest of the cast is rounded out by Josephine Chaplin in the role of the inspector’s girlfriend, who uses herself as bait for Jack the Ripper, and Jess Franco’s muse, Lina Romay (Female Vampire); she has a brief role as a dancer who becomes one of Jack the Ripper’s victims.

The opening setup effectively draws you in, but after this initial hook, Jess Franco’s characteristic slow pacing begins, which some viewers may find overly drawn out. While the film includes the essential elements typical of a Jack the Ripper story, it is far less graphic than one might anticipate from Franco's work. The most notable moments that reflect Jess Franco's style include a scene in which Jack the Ripper experiences hallucinations and a lively can-can dance sequence set in a nightclub. Ultimately, Jack the Ripper stands out as one of Jess Franco’s more accessible films.

Cauldron Films gives Jack the Ripper a first-rate release that comes with a solid audio/video presentation and a wealth of 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