Cruel Tale of Bushido – Eureka Video (Blu-ray)

Theatrical Release Date: Japan, 1963
Director: Tadashi Imai
Writers: Norio Nanjo, Naoyuki Suzuki, Yoshikata Yoda
Cast: Kinnosuke Nakamura, Eijirō Tōno, Kyōko Kishida, Masayuki Mori, Shinjirō Ehara

Release Date: March 23rd, 2026 (UK), March 24th, 2026 (USA)
Approximate Running Time: 122 Minutes 33 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Japanese, DTS-HD Stereo Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £17.99 (UK), $49.95 (USA)

"Kinnosuke Nakamura (Miyamoto Musashi) stars in multiple roles, playing seven generations of men belonging to the same family. In the modern day, salaryman Iikura is devastated by his wife’s attempted suicide. To distract himself, he begins working through his recently discovered family records. As he traces his personal history across 350 years, he discovers tale after tale of men who have suffered, debased themselves and made untold sacrifices in the name of bushido, or the moral code of the samurai." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "Brand new 2K restoration from the original negative."

Cruel Tale of Bushido comes on a 50 GB dual layer Blu-ray. 

Disc Size: 44 GB

Feature: 35.3 GB

The source looks excellent; flesh tones look healthy; image clarity, contrast, black levels, and compression are solid; and the image retains an organic look.

Audio: 4.5/5 (Both Audio Tracks)

This release comes with two audio options, a LPCM mono mix in Japanese and a DTS-HD 3.0 stereo mix in Japanese. Both tracks sound excellent, dialogue always comes through clearly, everything sounds balanced, and ambient sounds are well represented. Included are removable English subtitles.

Extras:

Extras for this release include a theatrical trailer (3 minutes 11 seconds, LPCM mono Japanese with non-removable English subtitles), an interview with film critic Tony Rayns titled Telling a Cruel Tale (21 minutes 32 seconds, LPCM stereo English, no subtitles), a video essay titled Years of Honour by Jonathan Clements, author of A Brief History of Japan Trailer (16 minutes 25 seconds, LPCM stereo English with non-removable English subtitles for Japanese film clips), an O-card slipcase (limited to 2000 copies); and a 20-page booklet (limited to 2000 copies) with cast & crew information, an essay titled Salaymen Samurai and the Myth of Bushido written by Hayley Scanlon, and information about the transfer titled Notes on Viewing.

Summary:

Tadashi Imai directed Cruel Tale of Bushido. He’s known for Until We Meet Again, An Inlet of Muddy Waters, Darkness at Noon, Rice, and Revenge Revenge (Adauchi).

The narrative revolves around a salaryman named Iikura whose wife attempts suicide. From there he contemplates how his actions played a role in her attempted suicide and reflects on seven generations of his ancestors whose choices greatly affected those they loved. Through an inward journey, he discovers that he and his ancestors all made sacrifices to benefit those whom they served.

Eight intertwined stories actually comprise the narrative, with protagonists who share similar fates due to the choices they've made. The narrative begins and ends with moments set in the present with Iikura, the man who reflects on his ancestors' past. In between these moments are seven stories about samurai who were loyal to a system that would turn on them as soon as they were no longer needed. While some of the stories are more effective than others, the narrative consistently maintains its momentum. That said, the very brief scene about a World War II kamikaze pilot is the weakest.

Although there are an abundance of characters and excellent performances, none shine brighter than Kinnosuke Nakamura (The Yagyu Clan Conspiracy), who portrays eight characters: Iikura, Jirozaemon, Sajiemon, Kyutaro, Shuzo, Shingo, Osamu, and Susumu. He delivers a tour-de-force performance in which he creates eight distinctly nuanced characters.

Although each of the stories works well on its own, as a collective, they have a potency that none of them could achieve by themselves. While the narrative is heavy with dialogue, it is important to note that there are also plenty of visually striking moments. Notably, there is a scene in which farmers punished for standing up to their lord are buried, with only their heads exposed above the ground. Executioners then use saws to behead them. Another scene of note sees a blindfolded samurai proving his loyalty to his lord by cutting off the heads of two people scheduled for execution. When his blindfold is removed, he discovers that he beheaded his daughter and the man she loved. Ultimately, Cruel Tale of Bushido is a damning condemnation of feudal code that presents an unyielding depiction of its darker side instead of the more common romanticization.

Cruel Tale of Bushido gets an excellent release from Eureka Video that comes with a solid audio/video presentation and a trio of insightful extras. Highly recommended.

 

Written by Michael Den Boer

Suicide Club - Umbrella Entertainment (UHD/Blu-ray Combo)

Theatrical Release Date: Japan, 2001
Director: Sion Sono
Writer: Sion Sono
Cast: Ryō Ishibashi, Masatoshi Nagase, Akaji Maro, Saya Hagiwara, Yoko Kamon, Rolly Teranishi, Hideo Sako, Kimiko Yo, Mika Kikuchi, So Matsumoto, Takashi Nomura

Release Date: February 4th, 2026
Approximate Running Time: 99 Minutes 25 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: R (Australia)
Sound: DTS-HD Stereo Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: $59.95 AUD (Australia)

"A wave of unexplainable suicides sweeps across Tokyo after 54 smiling high school girls join hands and throw themselves from a subway platform into an oncoming train. Detective Kuroda (Ryo Ishibashi, Audition) and the rest of the police force are baffled as the bloodbath triggers a wave of further deaths across the city.

When a tip-off appears to be tracking the suicides before they happen, the question becomes, are they really suicides at all? " - synopsis provided by the distributor

Video: 3.5/5 (4K UHD), 4/5 (Blu-ray)

Here’s the information provided about this release's transfer, "HDR presentation of the film."

Suicide Club comes on a 66 GB dual layer 4K UHD.

Disc Size: 60.5 GB

Feature: 59.5 GB

The source is free of any source imperfections; flesh tones look healthy, colors are nicely saturated, image clarity and black levels are strong, and there are no issues with compression. Unfortunately, the transfer is devoid of any organic appearance. That said, the digital noise reduction is not as pronounced on the Blu-ray disc.

Suicide Club comes on a 50 GB dual layer Blu-ray.

Disc Size: 30.2 GB

Feature: 26.2 GB

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

Audio: 5/5

This release comes with one audio option, a DTS-HD stereo mix in Japanese with removable English subtitles. The audio sounds excellent; dialogue always comes through clearly, everything sounds balanced, and ambient sounds and the soundtrack are well-represented.

Extras:

Extras on the 4K UHD disc include a theatrical trailer (1 minute 38 seconds, LPCM stereo Japanese with removable English subtitles) and an audio commentary with film archivist and media professional Ariel Schudson.

Extras on the Blu-ray disc include a theatrical trailer (1 minute 38 seconds, LPCM stereo Japanese with removable English subtitles), an interview with SFX guru Yoshihiro Nishimura titled Dismembered Limbs & Buckets of Blood: "Suicide Club" (8 minutes 3 seconds, LPCM stereo Japanese with removable English subtitles), a video essay with film historian Alexandra Heller-Nicholas titled Just Desserts: Or, How I Learned to Stop Worrying and Love Suicide Club (13 minutes 6 seconds, LPCM stereo English, no subtitles), and an audio commentary with Ariel Schudson.

Other extras include a slipcover (limited to the first pressing).

Summary:

Sion Sono directed Suicide Club. He’s known for Strange Circus, Noriko’s Dinner Table, Exte: Hair Extensions, Cold Fish, and Love Exposure. 

A detective looking into a series of linked suicides becomes personally involved when tragedy strikes his family.

Although Sion Sono had been making films for 17 years prior to the release of Suicide Club, his earlier, more experimental works do not hint at the direction he would ultimately take as a filmmaker. Suicide Club not only reshaped Sion Sono's trajectory as a filmmaker but also initiated what is arguably the most idiosyncratic and subversive series of films by a Japanese director. Suicide Club explores themes of loneliness, isolation, and the societal pressure to succeed. It examines the romanticization of suicide, a concept deeply rooted in Japanese culture, with historical ties to harakiri.

The opening moment of Suicide Club is one of cinema’s most jarring moments. People at a subway station are waiting for the next train to arrive while a mournful song plays over the soundtrack. Although the music foreshadows something tragic is about to happen, the mood of those congregating is upbeat. A group of girls joins hands as they approach the tracks. The arrival of the train prompts them to leap into its path, resulting in a horrifying scene of carnage as blood spills everywhere and body parts scatter.

After this initial setup, the narrative does a phenomenal job building upon each moment as it builds to its moment of truth. The narrative features two intertwining stories that ultimately converge as it approaches the finale. The first of these are a series of group suicides where seemingly happy individuals and, in many instances, strangers gather before leaping to their deaths. The other revolves around a police investigation into these deaths and, in particular, a detective whose family outwardly looks picture-perfect.

There are three noteworthy performances; the standout among them is Ryō Ishibashi (Audition) in the role of Koruda, the lead detective investigating the 'suicide club.' He delivers a remarkable portrayal of a man fixated on solving a mystery, ultimately leading to his destruction. Other notable performances include Saya Hagiwara as Mitsuko, a girl seeking answers following her friend's suicide, and Rolly Teranishi as Genisis, the flamboyant and charismatic leader of the suicide club cult.

While Suicide Club offers profound social commentary, it also inundates viewers with its vivid imagery steeped in Grand Guignol style. There are three moments that stand out the most. The first of these is the scene that introduces Genisis and his gang and their lair, a blowing alley with De Sade-like delights. The second of these is the scene where Koruda’s work and home lives collide. The third of these monets is the finale, which shows that the cycle has not been broken and will continue.

Media manipulation and pop culture are also central to the story that unfolds. In the case of the latter, there is an all-girl pop group called Dessert whose joyful music is present throughout and has its own hidden meanings. Most of the victims were listening to Dessert's music right before their deaths or at some point. Although Suicide Club offers a bleak view of the world where death is preferable to living, it is ultimately a film about remaining true to yourself, making deeper connections with others, and what happens to those connections when you die.

While the transfer is disappointing, Umbrella Entertainment has a collection of substantial extras, and Discotek Media’s release only comes with a trailer. That said, Suicide Club is an important film and I still recommend Umbrella Entertainment’s release because of its insightful extras.

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

Stranger on the Third Floor – Warner Archive (Blu-ray)

Theatrical Release Date: USA, 1940
Director: Boris Ingster
Writers: Frank Partos, Nathanael West
Cast: Peter Lorre, John McGuire, Margaret Tallichet, Charles Waldron, Elisha Cook Jr., Charles Halton, Ethel Griffies

Release Date: February 24th, 2026
Approximate Running Time: 64 Minutes 14 seconds
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $27.98

"Peter Lorre plays the eerie title role in this once-neglected gem about a reporter (John McGuire) whose testimony sentences a small-time loser (Elisha Cook, Jr.) to the electric chair for murder. When the reporter himself is fingered in a second murder, he realizes both crimes are the work of a furtive stranger—but will anyone believe him?" - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "New 4K restoration from the original camera negative."

Stranger on the Third Floor comes on a 50 GB dual layer Blu-ray.

Disc Size: 29.1 GB

Feature: 17.1 GB

Sourced from a brand new 4K restoration, this transfer is a massive improvement over this film’s previous home media releases. Flesh tones look healthy; image clarity, contrast, black levels, and compression are solid; and the image retains an organic look.

Audio: 5/5

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

Extras:

Extras for this release include two Looney Tunes cartoons; Ceiling Hero (8 minutes 49 seconds, 1.33:1 aspect ratio, Dolby Digital mono English, no subtitles) and Wacky Wildfire (7 minutes 40 seconds, 1.33:1 aspect ratio, Dolby Digital mono English, no subtitles), and three radio show episodes starring Peter Lorre: Beyond Good and Evil (28 minutes 58 seconds, Dolby Digital mono English, no subtitles), Crime and Punishment (25 minutes 40 seconds, Dolby Digital mono English, no subtitles), and The Mask of Medusa (29 minutes 1 second, Dolby Digital mono English, no subtitles).

Summary:

A newspaper reporter whose testimony is used to convict a man. He finds himself at the center of another murder. In which he is the lead suspect.

The film shows neither of the two murders on screen, deriving all the suspense from a psychological angle. Plot-wise, everything moves along briskly from one revelation to the next. Visually, Stranger on the Third Floor is a precursor to the style that would later become synonymous with the film noir genre. The cinematographer on Stranger on the Third Floor was Nicholas Musuraca, who would employ a similar visual style in other films he worked on, like Cat People, The Spiral Staircase, and Out of the Past.

The most memorable moment is a Salvador Dalí-like nightmare sequence. The protagonist, a newspaper reporter, lets his imagination run wild. Earlier that evening, he encountered a mysterious man lurking in the hallway outside his room. He fears that this man may have killed his neighbor, with whom he had previously had several arguments. His inability to decide what action to take traces back to earlier in the narrative, where he witnessed another murder. His testimony led to a man's conviction. Furthermore, he worries that his previous arguments with the deceased could lead to his own arrest.

The real backbone of this film is its cast; they are all excellent in their respective roles. Elisha Cook Jr. (The Killing) plays the man convicted based on the testimony of newspaper reporters, while Peter Lorre (Mad Love) portrays the mysterious stranger. Peter Lorre’s role was specifically designed for him, incorporating his unique physical attributes into his character. Reportedly, Peter Lorre had two days on his contract with RKO Pictures. Although his role is merely a cameo, he still received star billing. Fortunately, Peter Lorre makes the most of his limited screen time with a convincingly creepy performance. Ultimately, Stranger on the Third Floor is an exemplary thriller that exceeds the sum of its parts.

Warner Archive gives Stranger on the Third Floor an excellent release that comes with a solid audio/video presentation and a trio of radio episodes starring Peter Lorre. Highly recommended.

Written by Michael Den Boer

Rockers: 2-Disc Collector's Edition – MVD Rewind Collection (4k UHD/Blu-ray Combo)

Theatrical Release Date: Jamaica, 1978
Director: Ted Bafaloukos
Writer: Ted Bafaloukos
Cast: Leroy 'Horsemouth' Wallace, Richard 'Dirty Harry' Hall, Monica Craig, Marjorie Norman, Jacob Miller

Release Date: February 10th, 2026
Approximate Running Time: 99 Minutes 17 seconds
Aspect Ratio: 1.78:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: NR
Sound: LPCM Mono English, DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $49.95

"In the heart of Kingston's music scene, reggae drummer Horsemouth (Leroy Wallace) dreams of making it big by distributing records on his brand-new motorcycle. But when the bike is stolen, Horsemouth rallies a group of legendary musicians to track it down and take on the corrupt elite exploiting their community." - 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 transfer, "2025 4K (2160p) restoration from the original 35mm camera negative, HDR presentation in 1.78:1 aspect ratio."

Rockers comes on a 66 GB dual layer 4K UHD.

Disc Size: 60.4 GB

Feature: 59.9 GB

Outside of some very minor print debris, the bulk of 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.

Rockers comes on a 50 GB single layer Blu-ray.

Disc Size: 43.4 GB

Feature: 24.6 GB

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

Audio: 5/5 (LPCM Mono English), 4.5/5 (DTS-HD 5.1 English)

This release comes with two audio options, a LPCM mono mix in English and a DTS-HD 5.1 mix in English. Both audio tracks sound clean, clear, and balanced, and the music sounds appropriately robust. Included are removable English SDH.

Extras:

Note: "When we first announced the MVD Rewind Collection's Rockers 4K Ultra HD and Blu-ray release, the list of bonus features included “Audio Commentary with Writer/Director Ted Bafaloukos.” This was based on our understanding that a full commentary track existed, as a commentary feature was listed on the 2005 DVD, and our intention was to carry over all available archival supplements.

After taking a closer look, we learned that this material is not a full-length audio commentary but instead a short, select-scene commentary. Once this became clear, we requested that the packaging be updated in August 2025 to remove the reference to a full commentary. Unfortunately, due to a production oversight, the incorrect information still appeared on the final printed packaging. To be clear, all previously available bonus materials were properly carried over to the new 4K Ultra HD and Blu-ray editions. However, these releases do not include a full audio commentary with Ted Bafaloukos."

There are no extras on the 4K UHD disc.

Extras on the Blu-ray disc include a poster gallery with radio spots, a theatrical trailer (2 minutes 13 seconds, Dolby Digital mono English, no subtitles), WEA Rockers music video (4 minutes 10 seconds, Dolby Digital mono English, no subtitles), Waiting for the Bus music video (2 minutes 50 seconds, Dolby Digital mono English, no subtitles), an archival interview with director Ted Bafaloukos (22 minutes 45 seconds, Dolby Digital stereo English, no subtitles), an archival interview with producer Patrick Hulsey (5 minutes 12 seconds, Dolby Digital stereo English, no subtitles), a scene select audio commentary with Ted Bafaloukos (16 minutes 28 seconds, Dolby Digital stereo English, no subtitles), and a documentary titled Jah No Dead: The Making of Rockers, featuring interviews with Eugenie Bafaloukos, Todd Kasow, Kiddus I, Eddie Marritz (119 minutes 37 seconds, LPCM stereo English with removable English SDH).

Other extras include trailers for Mondo New York, Tunnel Vision, and Joysticks, reversible cover art, a collectible “4K LaserVision” mini-poster of cover art; and a slipcover (first pressing only).

Summary:

A reggae musician named Horsemouth, who plays drums in a local band, has his motorcycle stolen by a gang that sells what they steal to a wealthy businessman. When Horsemouth and his friends help him steal his motorcycle back, the gang retaliates and gives him a vicious beating. Horsemouth and his friends are determined to put the gang and their boss out of business, so they empty their homes and warehouse of stolen goods and give them to those in need.

What originally began as a documentary about Jamaican music and Rastafari culture evolved into the narrative feature film. The narrative features a blend of musical moments and limited exposition to drive the story forward. That said, despite its lack of depth in character development, the narrative does an excellent job of building momentum to a very satisfying finale.

The cast is comprised of musicians with no acting experience. Don’t let their lack of experience fool you; there is a rawness to the performances that actually works in the film’s favor. While the cast are likely portraying themselves or variations of themselves, Leroy 'Horsemouth' Wallace, who plays the protagonist, delivers a noteworthy performance.

Rockers is a textbook example of a film maximizing its resources. The main attraction of Rockers is the reggae music featured throughout, and it blends perfectly with the narrative that unfolds. Shot on location, Rockers takes full advantage of Jamaica’s scenic landscape. Whether you are already a fan of reggae or want to experience something from its golden age, Rockers has you covered.

Rockers gets an excellent release as part of the MVD Rewind Collection. 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

Hair High: Standard Edition – Deaf Crocodile (Blu-ray)

Theatrical Release Date: USA, 2004
Director: Bill Plympton
Writer: Bill Plympton
Cast: Eric Gilliland, Sarah Silverman, Dermot Mulroney, Keith Carradine, Michael Showalter, Hayley DuMond, Justin Long, Tom Noonan, Zak Orth, Beverly D'Angelo, Martha Plimpton, Ed Begley Jr., David Carradine, Matt Groening, Don Hertzfeldt

Release Date: April 21st, 2026
Approximate Running Time: 77 Minutes 2 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: R
Sound: DTS-HD Stereo English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $30.95

"Legendary animator Bill Plympton's (The Tune, Mutant Aliens) cheerfully unhinged and wildly hormonal tribute to 1950s teen romance opens on star quarterback Rod (voiced by Dermot Mulroney) and head cheerleader Cherri (voiced by Sarah Silverman) as the unchallenged king & queen of Echo Lake High School. Enter scooter-driving Spud (Eric Gilliland) as the bumbling new kid in school, who quickly runs afoul of Rod and Cherri—but will love unexpectedly blossom between the geek and the prom queen?" - synopsis provided by the distributor

Video: 5/5

Hair High comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.2 GB

Feature: 22.4 GB

Vital Passenger delivers a solid encode; the source looks excellent.

Audio: 5/5

This release comes with one audio option, a DTS-HD stereo mix in English with removable English SDH. The audio sounds clear, balanced, and robust when it should.

Extras:

Extras for this release include two short films directed by Bill Plympton: Shuteye Hotel (7 minutes 24 seconds, 1.78:1 aspect ratio, Dolby Digital stereo, no dialog just screams and sound effects) and Horn Dog (4 minutes 46 seconds, 1.78:1 aspect ratio, Dolby Digital stereo, no dialog just barking and sound effects), "Ani-cam"—Timelapse of Bill's animation table as he drew Hair High (6 minutes 49 seconds, Dolby Digital stereo with music from the film playing in the background), a voiceover session with Sarah Silverman (3 minutes 4 seconds, Dolby Digital stereo English, no subtitles), a voiceover session with Ed Begley Jr. (6 minutes 34 seconds, Dolby Digital stereo English, no subtitles), a storyboard-to-voiceover-to-final-edit breakdown of a scene from Hair High (1 minute 58 seconds, Dolby Digital stereo English, no subtitles), an interview with Bill Plympton and composer Maureen McElheron, moderated by Dennis Bartok of Deaf Crocodile (58 minutes 10 seconds, Dolby Digital stereo English, no subtitles), footage from the film premiere in Poratoland with Bill Plympton, cast and crew (13 minutes 11 seconds, Dolby Digital stereo English, no subtitles), a video essay by film critic Celeste de la Cabra titled Horny High:  Sex, Identity and Animated Anarchy in Hair High (10 minutes 45 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with Bill Plympton, and an audio commentary with animation producer and podcaster Adam Rackoff, podcaster and film critic James Hancock, and filmmaker and podcaster Martin Kessler.

Shuteye Hotel: A film noir-infused murder mystery at a hotel where a lot of guests are dying.

Horn Dog: A horny dog tries to impress a female dog he fancies.

Summary:

Bill Plympton directed Hair High. He’s known for The Tune, Mutant Aliens, I Married A Strange Person!, and Idiots and Angels.

Two teens who were in love and died tragically rise from their final resting place out at sea and return to the prom for their revenge.

Whether it's a film about marriage, aliens, or high school, all of Bill Plympton's have one thing in common: an absurdist humor that’s overflowing with innuendo. In Hair High, Bill Plympton places the narrative in a 1950s setting characterized by a gothic horror aesthetic. However, his distinctive drawing style is consistently detached from reality and is instantly recognizable.

Although the main attraction of a Bill Plympton is his distinct style of drawing, when it comes to the voice acting, he’s able to draw notable names. Hair High features his most impressive cast to date: Sarah Silverman (School of Rock), Dermot Mulroney (Young Guns), Keith Carradine (Nashville), Beverly D'Angelo (National Lampoon's Vacation), Martha Plimpton (The Goonies), Ed Begley Jr. (A Mighty Wind), David Carradine (Kill Bill Volume 2), Matt Groening (The Simpsons), Justin Long (Jeepers Creepers), and Tom Noonan (Manhunter). The voice acting throughout is pitch-perfect, and the cast excels at bringing the characters to life.

Two scenes with a couple on their way to the prom bookend the narrative, which is mostly a lengthy flashback. While sitting in a diner, the owner tells them the story of Cheri and Spud, who died tragically driving off a cliff into the ocean. The narrative remains consistently engaging, successfully building momentum toward its impressive revenge-themed ending. Ultimately, Hair High is easily Bill Plympton, making it a perfect introduction for someone who's never seen one of his films.

Hair High gets an excellent release from Deaf Crocodile that comes with a solid audio/video presentation, two bonus short films, and insightful extras. Highly recommended.

Note: There is a deluxe release of Mutant Aliens that comes in a slipcase and a 60-page book with an essay by film critic Walter Chaw (Film Freak Central) and an essay by longtime Plympton collaborator John Holderried.

Written by Michael Den Boer