Thursday, March 19, 2026

The Swordsman Trilogy: Hong Kong Cinema Classics – Shout! Factory (UHD/Blu-ray Combo)

Theatrical Release Dates: Hong Kong, 1990 (Swordsman), Hong Kong, 1992 (Swordsman II), Hong Kong, 1993 (Swordsman III: The East Is Red)
Directors: King Hu (Swordsman), Ching Siu-tung (Swordsman, Swordsman II, Swordsman III: The East Is Red), Tsui Hark (Swordsman), Raymond Lee (Swordsman, Swordsman III: The East Is Red)
Cast: Samuel Hui, Cecilia Yip, Jacky Cheung, Sharla Cheung, Fennie Yuen, Lau Siu-ming (Swordsman), Jet Li, Brigitte Lin, Rosamund Kwan, Michelle Reis, Waise Lee, Fennie Yuen (Swordsman II), Brigitte Lin, Joey Wong, Yu Rongguang, Wang Ching-ying, Eddy Ko, Lau Shun, Kingdom Yuen, Lam Ching-ying, Lee Ka-ding (Swordsman III: The East Is Red)

Release Date: March 3rd, 2026
Approximate Running Times: 117 Minutes 46 Seconds (Swordsman), 108 Minutes 48 Seconds (Swordsman II), 97 Minute 26 Seconds (Swordsman III: The East Is Red)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision (Swordsman), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: NR
Sound: DTS-HD Mono Cantonese (All Films), DTS-HD Mono English (Swordsman, Swordsman II)
Subtitles: English (All Films), English SDH (Swordsman, Swordsman II)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $64.99

Swordsman​: "A kung fu manual known as the sacred scroll is stolen from the Emperor's library. An army detachment is sent to recover it. Meanwhile, a young swordsman and his fellow disciple are accidentally drawn into the chaos.​" - synopsis provided by the distributor

Swordsman II: "Ling Wu Chung (Jet Li) decides to hide from the chaotic world. Before leaving, he visits his friends, a tribe of snake-wielding women warriors. However, he finds that the tribe have been attacked, and their leader Yam Ying Ying, has been abducted.​" - synopsis provided by the distributor

Swordsman III: The East is Red​: "A royal official accompanies a Portuguese warship to the Black Cliffs to see the site of the defeat of the evil Invincible Asia, who attained supernatural abilities by following the sacred scroll and castrating himself. As Invincible Asia seeks to destroy all they deem "imposters," the Portuguese sailors, a mysterious Japanese warlord, and others search for them in turn." - synopsis provided by the distributor

Video: 5/5 (Swordsman - 4K UHD), 4.5/5 (Swordsman - Blu-ray), 4/5 (Swordsman II, Swordsman III: The East Is Red)

Here’s the information provided about Swordsman​'s transfer, "4K Scan from the Original Camera Negative."

Swordsman​ comes on a 100 GB triple layer 4K UHD.

Disc Size: 78.1 GB

Feature: 77.8 GB

This is a solid restoration; flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

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

Disc Size: 45.7 GB

Feature: 32.3 GB

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

​Here’s the information provided about Swordsman II and Swordsman III: The East is Red transfers, "1080p high definition widescreen (1.85:1)."

Swordsman II comes on a 50 GB dual layer Blu-ray.

Disc Size: 32.2 GB

Feature: 29.9 GB

Swordsman III: The East is Red comes on a 50 GB dual layer Blu-ray.

Disc Size: 29 GB

Feature: 25.4 GB

Although the sources look better than these two films' previous home media releases, there is still room for improvement. That said, flesh tones and colors look correct, image clarity and black levels are strong, and there are no issues with compression.

Audio: 5/5 (DTS-HD Mono Cantonese), 4.5/5 (DTS-HD Mono English)

Swordsman and Swordsman II come with two audio options, a DTS-HD mono Cantonese and a DTS-HD mono English. Subtitle options include non-removable English subtitles for the Cantonese language track, non-removable English SDH for the English language track, and non-removable English subtitles for Cantonese text displayed during the English language track. Swordsman III: The East Is Red comes with one audio option, a DTS-HD mono Cantonese with non-removable English subtitles. All of the tracks are in excellent shape; dialogue always comes through clearly, everything sounds balanced, and action sequences sound appropriately robust.

Extras:

Extras on Swordsman’s blu-ray include a theatrical trailer (5 minutes 22 seconds, DTS-HD mono Cantonese with non-removable English subtitles), an interview with author Grady Hendrix titled Hong Kong Confidential: Inside Wuxia (18 minutes 1 second, DTS-HD stereo English, no subtitles), an interview with general manager/executive producer Terence Chang titled Hark's Dynasty: The Early Years of Film Workshop (11 minutes 1 second, DTS-HD stereo English, no subtitles), a career retrospective with editor David Wu titled David Wu: Proud Wanderer (14 minutes 52 seconds, DTS-HD stereo English, no subtitles), an interview with actress Fennie Yuen titled Cult of Personality (6 minutes 49 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), and an interview with co-director Raymond Lee titled A Time of Legends (10 minutes 36 seconds, DTS-HD stereo Cantonese with non-removable English subtitles).

Extras for Swordsman II include a theatrical trailer (2 minutes 52 seconds, DTS-HD mono Cantonese with non-removable English subtitles) and an interview with actress Fennie Yuen titled Phoenix Rising (6 minutes 39 seconds, DTS-HD stereo Cantonese with non-removable English subtitles).

Extras for Swordsman III: The East Is Red include a theatrical trailer (3 minutes 46 seconds, DTS-HD mono Cantonese with non-removable English subtitles) and an interview with Raymond Lee titled A Return to Wuxia (11 minutes 13 seconds, DTS-HD stereo Cantonese with non-removable English subtitles).

Summary:

There are two constants throughout the Swordsman trilogy: director Ching Siu-tung (Duel to the Death) and producer Tsui Hark (Peking Opera Blues). Besides Ching Siu-tung, there were three other filmmakers who are credited as directors: King Hu (Come Drink with Me) and Tsui Hark contributed to Swordsman, while Raymond Lee (Dragon Inn) contributed to Swordsman and Swordsman III: The East Is Red. Although Ching Siu-tung and producer Tsui Hark are the only two who worked on all three films, it is the latter whose creative imprint can be felt throughout.

Swordsman: A kung fu manual known as the Sacred Scroll is stolen from the emperor's library and an army detachment is sent to recover it. Besides the emperor's men, there are others who seek to obtain the manual, which accidentally ends up in the hands of Ling-wu Chung, a gifted young martial artist.

Swordsman II: Ling-wu Chung is drawn back into the fold when a princess is abducted after withdrawing from the martial world. 

Swordsman III: The East Is Red: A martial artist who's obtained supernatural powers comes out of hiding to eliminate all of those who have been impersonating them, as these impersonators threaten the balance of power in the martial world and endanger innocent lives.

Swordsman is an adaptation of Jin Yong's novel The Smiling Proud Wanderer, while its predecessors are loose adaptations of said novel, which mostly use characters from it. Swordsman and the two films that followed it are credited with reviving the wuxia film, a genre that is Hong Kong’s most resilient. King Hu, the original director of Swordsman, is a key figure in the evolution of the wuxia film, making his hiring an obvious choice. That said, it is unfortunate that he left the film midway, since the end result lacks his spirit.

Although there is a linear thread that connects each film to the next, besides directors, there were many cast changes throughout the series. The first two films were centered on Ling-wu Chung and have a stronger connection to Jin Yong's novel, while Dongfang Bubai, aka Invincible Dawn, the protagonist of Swordsman III: The East Is Red, is a minor character in the novel. That said, Invincible Dawn is an interesting character who castrates himself, a prerequisite for studying the Sunflower manual. Where the source novel clearly portrays Dongfang Bubai as a man, in Swordsman II they evolve from a man into a woman through their studying of the Sunflower manual.

Throughout the trilogy, each film was able to draw significant names of Hong Kong cinema, like Jacky Cheung (Bullet in the Head), Sharla Cheung (God of Gamblers), Jet Li (Tai Chi Master), Brigitte Lin (The Bride with White Hair), Rosamund Kwan (Once Upon a Time in China), Michelle Reis (Fallen Angels), Joey Wong (My Heart Is That Eternal Rose), Yu Rongguang (Iron Monkey) and Lam Ching-ying (Mr. Vampire). All around, the cast are excellent in their roles, especially Brigitte Lin’s portrayal of the androgynous Invincible Dawn.

While each film has a strong story that quickly draws you in and holds your attention, the main draw of these three films is their exemplary swordplay and impressive stunt work. There are an abundance of elaborate action set pieces, and each film saves its best for its finales. While Swordsman takes on a serious tone, its two predecessors are very effective when it comes to throwing humor into the mix. There are no issues with pacing or building momentum as each film perfectly balances exposition and action set pieces.

Out of these three films, Swordsman II is the most recognizable because it stars Jet Li, while Swordsman is often regarded as the strongest narrative of the three, which is not surprising since it is the film that remains closest to the source novel. Some may say Swordsman III: The East Red is the odd film among the three; in my opinion, it is the most entertaining of the trio. That said, when considered as a whole, each film offers something uniquely distinct.

The Swordsman Trilogy gets a solid release from Shout Factory that comes with a strong 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.

 











                                           
                                                          Blu-ray Screenshots.



















Written by Michael Den Boer

Wednesday, March 18, 2026

The Priest – Severin Films (Blu-ray)

Theatrical Release Date: Spain, 1978
Director: Eloy de la Iglesia
Writer: Enrique Barreiro
Cast: Simón Andreu, Emilio Gutiérrez Caba, José Franco, Ramón Repáraz, Ramón Pons, Queta Claver, África Pratt, Esperanza Roy

Release Date: February 3rd, 2026
Approximate Running Time: 100 Minutes 6 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Spanish
Subtitles: English
Region Coding: Region Free
Retail Price: $219.95 (Exorcismo: Defying A Dictator & Raising Hell In Post-Franco Spain)

Video: 4.5/5

Here’s the information provided about this release's transfer, “HD master provided by Grupa W. Associates.”

The Priest comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 20.5 GB

The source looks excellent; flesh tones look healthy, colors are nicely saturated, image clarity and black levels are solid, there are no issues with compression, and the image retains an organic look.

Audio: 4.25/5

This release comes with one audio option, a DTS-HD mono mix in Spanish with removable English subtitles. The audio sounds clear and balanced, and ambient sounds and the score are well represented.

Extras:

Extras for this release include an interview with actor Emilio Gutiérrez Caba titled The Socialist Priest (14 minutes 31 seconds, Dolby Digital stereo Spanish with removable English subtitles), an interview with actor Martín Garrido Ramis titled A Provocative Filmmaker (8 minutes 30 seconds, Dolby Digital stereo Spanish with removable English subtitles), and a short film directed by Alejo Loren titled El otro Luis (21 minutes 24 seconds, 1.66:1 aspect ratio, Dolby Digital mono Spanish with removable English subtitles).

El otro Luis: A young straight man hides his secret life of having sex with men for money from his family.

Alejo Loren was a friend and collaborator of Eloy de la Iglesia, who would use cues from the score of El otro Luis for his film Confessions of a Congressman. Thematically, El otro Luis has themes that Eloy de la Iglesia's Quinqui films would explore.

The Priest is currently only available as part of a collection of films titled Exorcismo: Defying A Dictator & Raising Hell In Post-Franco Spain. That release comes with 17 additional films, a documentary about Spanish cinema titled Exorcismo: The Transgressive Legacy of Clasificada "S," and a 168-page book.

Summary:

Eloy de la Iglesia directed The Priest. He's known for The Glass Ceiling, The Cannibal Man, No One Heard the Scream, Murder in a Blue World, The Creature, and El pico.

A priest overwhelmed by his sexual desires goes to his fellow priests for help. When they are unable to offer him solutions, he takes drastic measures to curb his libido.

Eloy de la Iglesia was a filmmaker who always pushed boundaries, even when faced with strict censorship laws. After the passing of Francisco Franco, censorship of cinema would cease to exist and for the decade that followed, cinema in Spanish would have an anything-goes approach to it. While other filmmakers might exploit the premise of a film like The Priest, Eloy de la Iglesia offers a nuanced exploration of a man torn between his commitment to God and his sexual desires.

The narrative excels at developing the protagonist's character. It is propelled by two main factors: his struggle to resolve his inner conflicts and the absence of empathy from those around him. The narrative effectively builds momentum by introducing a series of temptations for the protagonist, which build to a point that pushes him over the edge. That said, when the moment of truth finally arrives, the protagonist has finally become comfortable with who he is and moved on from temptation.

While there is no doubt that Eloy de la Iglesia was an extraordinary filmmaker known for his exploration of the human condition, it is important to acknowledge the contributions of his collaborators. Simón Andreu (The Blood Spattered Bride) is cast in the role of Padre Miguel, a priest unable to control his sexual desires. Over the course of his career, he would work with Eloy de la Iglesia six times. While he delivers a remarkable performance that stands out from the rest of the cast, Esperanza Roy (Battered Flesh) delivers another performance of note in the role of a housewife who becomes emotionally attached to Padre Miguel.

Although Eloy de la Iglesia lets the performance take center stage, there is an ample number of visually arresting moments. The visuals are rich with symbolism, featuring striking moments such as a flashback that reveals why Padre Miguel chose the priesthood, scenes depicting his sexual fantasies, and instances where he self-mutilates to suppress his desires. Another area where The Priest excels is its score, which is mostly made up of classical music. Ultimately, The Priest is an extraordinary exploration of the conflict that arises from earthly desires and spirituality.

Severin Films gives The Priest an exceptional release that comes with a solid audio/video presentation and insightful extras; highly recommended.

 







Written by Michael Den Boer

Tuesday, March 17, 2026

Prison on Fire 1&2: Hong Kong Cinema Classics – Shout! Factory (UHD/Blu-ray Combo)

Theatrical Release Dates: Hong Kong, 1987 (Prison on Fire), Hong Kong, 1991 (Prison on Fire II)
Director: Ringo Lam (Both Films)
Writer: Nam Yin (Both Films)
Cast: Chow Yun-fat, Tony Leung Ka-fai, Roy Cheung, Frankie Ng, Shing Fui-on, William Ho (Prison on Fire), Chow Yun-fat, Chen Sung-young, Yu Li, Tommy Wong, Victor Hon, Elvis Tsui, Wan Yeung-ming (Prison on Fire II)

Release Date: February 24th, 2025
Approximate Running Times: 102 Minutes 15 Seconds (Prison on Fire), 102 Minutes 15 Seconds (Prison on Fire II)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision (Both Films)
Rating: NR
Sound: DTS-HD Mono Cantonese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $39.99

Prison on Fire: "An explosive crime drama that caused a sensation upon its release, Prison on Fire made audiences in Hong Kong both gasp for breath at its uncompromising violence and cry at the brotherly bond between the two leads (Chow Yun-Fat and Tony Ka Fei Leung, riveting as the inmates navigating the prison system)." - synopsis provided by the distributor

Prison on Fire II: "Ching is a prisoner in a Hong Kong jail that has a large population of Mainland Chinese prisoners. When he escapes to see his young son, who's been put in an orphanage, he's set up by the vengeful chief of security, Zau, who arranges for Ching's downfall at the hands of the Mainlanders and their leader, Dragon. Little does he know how much Ching and Dragon have in common." - synopsis provided by the distributor

Video: 4.5/5 (4K UHD), 4.25/5 (Blu-ray)

Here’s the information provided about this release's transfers, "4K Scan from the Original Camera Negative."

Prison on Fire comes on a 100 GB triple layer 4K UHD.

Disc Size: 69.7 GB

Feature: 69.4 GB

This is a solid restoration; flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

Prison on Fire comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.3 GB

Feature: 28 GB

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

Prison on Fire II comes on a 100 GB triple layer 4K UHD.

Disc Size: 77.2 GB

Feature: 76.9 GB

This is a solid restoration; flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

Prison on Fire II comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.4 GB

Feature: 31.2 GB

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

Audio: 4.5/5 (Both Audio Tracks)

Each film comes with one audio option, a DTS-HD mono mix in Cantonese with non-removable English subtitles. Both audio tracks sound clean, clear, balanced, and robust when they should.

Extras:

Extras on Prison on Fire’s 4K UHD disc include an audio commentary with James Mudge, a Hong Kong film critic at easternKicks.

Extras on Prison on Fire’s Blu-ray disc include a theatrical trailer (5 minutes 16 seconds, DTS-HD mono Cantonese with non-removable English subtitles), an archival interview with director Ringo Lam (7 minutes 25 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with author and film critic David West titled Convicts and Convictions (16 minutes 11 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with author Grady Hendrix titled Hong Kong Confidential: Inside Prison on Fire (10 minutes 9 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with production manager Chan Lam titled Burning Ambitions (16 minutes 46 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with post-production manager Tony Chow titled Bravery Behind Bars (13 minutes 16 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), and an audio commentary with James Mudge.

Extras on Prison on Fire II’s 4K UHD disc include an audio commentary with James Mudge.

Extras on Prison on Fire’s Blu-ray disc include a theatrical trailer (2 minutes 58 seconds, DTS-HD mono Cantonese with non-removable English subtitles), an archival audio interview with director Ringo Lam (8 minutes 18 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with David West titled Stars Behind Bars (16 minutes 12 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with Grady Hendrix titled Hong Kong Confidential: Inside Prison on Fire II (7 minutes 26 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with editor Tony Chow titled A Fiery Follow-up (14 minutes 53 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), and an audio commentary with James Mudge.

Summary:

Ringo Lam followed his breakout film City on Fire with Prison on Fire, an unflinching portrayal of the harsh realities faced by inmates in Hong Kong prisons. The screenplay was written by Nam Yin (Ringo Lam’s brother) and it is based on his prison experiences. While Prison on Fire thematically shares many elements with City on Fire, it leans more into melodrama, whereas City on Fire fits firmly in the heroic bloodshed crime genre. That said, Ringo Lam’s one-two punch of City on Fire and Prison on Fire in 1987 is arguably his greatest year as a filmmaker. Both films redefined their genres, and their impact continues to this day.

While there are intermittent moments of violence, the narrative is exposition-heavy, with the bulk of it focusing on everyday and, in many instances, mundane moments. Another strength of the narrative is how much time it devotes to its characters; these are not just stereotypical personas; they feel like real, in-the-flesh people. Flashbacks very effectively flesh out character backstories by detailing how they ended up in prison. The common link among all the key characters is the choices they have made, which continue to derail their lives.

All around, the performances are outstanding, especially the two leads, Chow Yun-Fat (The Killer) in the role of Chung Tin-ching and Tony Leung Ka-fai (Center Stage) in the role of Lo Ka-yiu. While Chow Yun-Fat's performance is going to command a lot of the attention, the heart and soul of Prison on Fire is Tony Leung Ka-fai’s performance. His character, Lo Ka-yiu, is a victim of circumstance; a man accidentally died after he confronted him for robbing his father's business. Another factor contributing to the excellence of Chow Yun-fat's and Tony Leung Ka-fai’s performances is their remarkable onscreen chemistry.

Although Hong Kong cinema is known for its action sequences, Prison on Fire leans more into violent set pieces that have a rawness to them, which adds authenticity. While the majority of the violence is perpetrated by inmates against one another, the most vicious acts are carried out by the prison's head of security, a character known as 'Killer' Hung. He believes that commanding respect and keeping the inmates in line can only be achieved through brute force. The narrative effectively builds tension, culminating in a prison riot where inmates unleash their pent-up rage on their tormentors.

Ringo Lam was a filmmaker who did not like to repeat himself. While he would often work in the same genre, crime/action films, he only made one sequel, Prison on Fire II. The narrative follows a similar path to its predecessor, and it even culminates with a cathartic finale where characters meet their tormentors head-on. Despite any of these similarities, it never feels like a retread and has an ample amount of surprises that breathe new life into a familiar scenario.

Chow Yun-Fat (Hard Boiled) returns in the role of Chung Tin-ching. And this time around, his character's backstory takes on a more prominent role in the story that unfolds. He’s forced to make the difficult choice to send his son to an orphanage when no other relatives are alive to take care of him. Although both films showcase Chung Tin-ching’s empathy for others, it is ultimately the moments with his son where he shines the brightest. Prison on Fire II affords Chow Yun-Fat an opportunity to showcase his comedic talents.

While mostly known as an action director, Ringo Lam proves with Prison on Fire and Prison on Fire II that he was very adept at crafting dramatic moments. Despite their linkage, each film stands incredibly well on its own. Ultimately, Prison on Fire and Prison on Fire II are two exemplary crime dramas that are among Ringo Lam’s best films.

Prison on Fire and Prison on Fire II get an exceptional release from Shout Factory 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

The Swordsman Trilogy: Hong Kong Cinema Classics – Shout! Factory (UHD/Blu-ray Combo) Theatrical Release Dates: Hong Kong, 1990 (Swordsman)...