Wandering Ginza Butterfly Collection: Limited Edition – Arrow Video (Blu-ray)

Theatrical Release Dates: Japan, 1972 (Wandering Ginza Butterfly, Wandering Ginza Butterfly 2: She-Cat Gambler)
Director: Kazuhiko Yamaguchi (Both Films)
Cast: Meiko Kaji, Tatsuo Umemiya, Tsunehiko Watase, Akiko Koyama, Tomiko Ishii, Kôji Nanbara, Yayoi Watanabe, Mari Mochida, Mieko Aoyagi, Haruo Tanaka (Wandering Ginza Butterfly), Meiko Kaji, Shin’ichi ‘Sonny’ Chiba, Shingo Yamashiro, Fujio Suga, Hiroshi Tachi, Nakajirô Tomita (Wandering Ginza Butterfly 2: She-Cat Gambler)

Release Date: April 6th, 2026 (UK), April 7th, 2026 (USA)
Approximate Running Times: 86 Minutes 27 Seconds (Wandering Ginza Butterfly), 85 Minutes 56 Seconds (Wandering Ginza Butterfly 2: She-Cat Gambler)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Japanese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A,B
Retail Price: £24.99 (UK), $39.95 (USA)

"The first film sees Meiko Kaji's character Nami "The Red Cherry Blossom" returning to her old stomping ground in the seedy Tokyo district of Ginza after a stint in prison for killing a yakuza boss. She soon settles in, living in her uncle's pool hall and working at the local hostess club. But when ruthless yakuza Owada (Koji Nanbara, 11 Samurai) attempts to take control of the club, Nami and her uncle devise a plan to take him down. In the sequel, Kaji is paired up with the equally legendary Sonny Chiba at his most charismatic as the streetwise Ryuji, who takes a shine to Nami and decides to help her on her quest to avenge her father. Together they'll comb through every seedy gambling den and lowlife ruffian of the Ginza underworld until Nami finally zeroes in on her prey." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "The restored high-definition master for Wandering Ginza Butterfly was provided by Toei.

Wandering Ginza Butterfly 2: She-Cat Gambler was restored by Heavenly Movie Company. Source scans were provided by Toei."

Wandering Ginza Butterfly and Wandering Ginza Butterfly 2: She-Cat Gambler come on a 50 GB dual layer Blu-ray.

Disc Size: 46.5 GB

Feature: 18.1 GB (Wandering Ginza Butterfly), 17.8 GB (Wandering Ginza Butterfly 2: She-Cat Gambler)

All of the sources are in excellent shape; flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4.5/5

Each film comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. All tracks are of high quality; dialogue is always clear, the sound is well-balanced, and ambient effects are effectively represented.

Extras:

Extras for this release include a theatrical trailer for Wandering Ginza Butterfly (3 minutes 16 seconds, Dolby Digital mono Japanese with removable English subtitles), a theatrical trailer for Wandering Ginza Butterfly 2: She-Cat Gambler (2 minutes 51 seconds, Dolby Digital mono Japanese with removable English subtitles), an archival appreciation of star Meiko Kaji by Japanese action and pink film expert J-Taro Sugisaku titled Butterfly and Scorpion (10 minutes 59 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival interview with director Kazuhiko Yamaguchi titled Genre Mill Memories (37 minutes 30 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with Patrick Macias and Matt Alt on Wandering Ginza Butterfly 2: She-Cat Gambler titled Back to Back in the Yakuza Multiverse (21 minutes 21 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with Japanese cinema expert Chris D. for Wandering Ginza Butterfly, an audio commentary with Japanese cinema experts Patrick Macias and Matt Alt, hosts of the Pure TokyoScope podcast for Wandering Ginza Butterfly, reversible cover art, a slipcover (limited to the first pressing), and a 28-page booklet (limited to the first pressing) with cast & crew information, an essay titled Wandering Ginza Butterfly: Yakuza Women written by Camille Zaurin, and information about the transfer.

Summary:

Wandering Ginza Butterfly and Wandering Ginza Butterfly 2: She-Cat Gambler were directed by Kazuhiko Yamaguchi. He’s known for Sister Street Fighter, Wolf Guy, Karate Warriors, Karate Bull Fighter, Karate Bear Fighter, Karate for Life, and A Haunted Turkish Bathhouse.

Wandering Ginza Butterfly: After her release from prison, a former gang member named Nami seeks redemption by making amends with the widow of the man whom she killed three years before.

1972 was the year when Meiko Kaji redefined her career, and Wandering Ginza Butterfly was a key film part of it. Besides making two Wandering Ginza Butterfly films, she would appear in two Female Prisoner Scorpion films. In the case of the latter, its protagonist Sasori would lay the foundation for a type of character she would often portray throughout the rest of the 1970s, a strong, rebellious woman who challenges societal norms.

Although Nami in Wandering Ginza Butterfly 2: She-Cat Gambler resembles the Sasori persona, the character's initial inspiration comes from the protagonist of Toei’s long-running Red Pony Gambler series. When Sumiko Fuji retired from acting in 1972, Toei searched for a new actress to take over the void she created. While Sumiko Fuji’s character was an exceptional gambler, Nami started as a pool shark before transitioning into the role of a gambler.

Wandering Ginza Butterfly would mark Mieko Kaji’s debut in a Toei film. She delivers an exemplary performance in the role of Nami, a character burdened by regrets who tries to amend mistakes from her past. Performance-wise, the moment where Nami comes face-to-face with the widow of the man she killed and begs for forgiveness showcases her incredible range as an actress. When it comes to the rest of the performances, they all rise to the occasion, especially Tsunehiko Watase (Violent Panic: The Big Crash) in the role of a hustler named Ryûji who befriends Nami.

Where its sequel, Wandering Ginza Butterfly 2: She-Cat Gambler, would focus more on the world of gambling halls, Wandering Ginza Butterfly is rooted in the world of billiards. The most memorable sequence in Wandering Ginza Butterfly is a billiards duel in which Nami takes on the yakuza’s best billiards player. The use of flashbacks serves as one of the film's visual highlights. In terms of violence, Wandering Ginza Butterfly does not reach the intensity found in its sequel, Wandering Ginza Butterfly 2: She-Cat Gambler. Wandering Ginza Butterfly's most brutal moment is reserved for the bloody finale.

Wandering Ginza Butterfly is firmly a melodrama, while its predecessor Wandering Ginza Butterfly 2: She-Cat Gambler is a straight-up exploitation film. Its opening setup does a superb job drawing you in, and a well-crafted narrative holds your attention by effectively fleshing out backstory and building momentum to an outstanding finale. Ultimately, Wandering Ginza Butterfly is a solid crime drama that’s anchored by Mieko Kaji’s exemplary performance.

Wandering Ginza Butterfly 2: A wandering gambler named Nami searches for the man who murdered her father in all the gambling halls in Ginza.

Wandering Ginza Butterfly 2: She-Cat Gambler feels more like a reboot than a sequel. Although there are other characters besides Nami who return, notably Ryûji, it's like they are meeting for the first time in Wandering Ginza Butterfly 2: She-Cat Gambler. Another way Wandering Ginza Butterfly 2: She-Cat Gambler differs from its predecessor is that Nami’s attire and persona are the complete opposite.

Anyone familiar with Toei’s 1970s output knows that they often leaned into the more exploitative elements of cinema, and Wandering Ginza Butterfly 2: She-Cat Gambler is a textbook example of this. There is plenty of action, including sword fights, stabbings, shootouts, and torture. The best fight scenes include a duel between Nami and yakuza on a bridge and a bloody finale. Besides a fair amount of violence, this one also features some offbeat humor, like the scene where Ryûji is taking a bubble bath and exposes himself to Nami or the scene where Ryûji and Nami first meet at a gambling house and he acts like his hand accidentally touched her chest.

All around, the performances are outstanding, especially Meiko Kaji in the role of Nami. This time around she’s surrounded by a cast of recognizable faces from 1970s Toei films, and none more recognizable than Shin’ichi ‘Sonny’ Chiba (The Street Fighter) in the role of Ryûji, a role portrayed by Tsunehiko Watase in Wandering Ginza Butterfly. Ryûji receives a makeover that highlights Shin’ichi ‘Sonny’ Chiba's strengths as an actor, and he lends the character a stutter. Although Ryûji was recast, Tsunehiko Watase still makes an appearance in a minor role.

The opening setup, Nami saving a woman from the Yakuza forcing her into prostitution, does a phenomenal job setting the foundation for what follows. While Nami is someone who corrects wrongs, she’s also driven by a traumatic moment from her childhood; her father, a gambler, was murdered in front of her. That said, despite its heaping servings of exploitation elements, Nami’s quest for vengeance adds gravitas to the story that unfolds. Ultimately, Wandering Ginza Butterfly 2: She-Cat Gambler is an exemplary exploitation/action film that brings together Meiko Kaji and Shin’ichi ‘Sonny’ Chiba, two of 1970s Japanese cinema’s most iconic stars.

Wandering Ginza Butterfly Collection is an exceptional release from Arrow Video that gives both films solid audio/video presentations and a wealth of insightful extras. Highly recommended.

Written by Michael Den Boer

Saurians: Collector's Edition – Visual Vengeance (Blu-ray)

Release Dates: USA, 1994 (Saurians), USA, 2004 (Dinosaur Chronicles)
Directors: Mark Polonia (Both Films), John Polonia (Dinosaur Chronicles)
Writers: Mark Polonia (Saurians), Billy D'Amato (Dinosaur Chronicles)
Cast: Mark Polonia, Maria Davis, Matthew Satterly, Todd Michael Smith, Dustin Davis, Todd Carpenter (Saurians), Todd Carpenter, Bob Dennis, Dave Fife, John Polonia, Mark Polonia (Dinosaur Chronicles)

Release Date: April 21st, 2026
Approximate Running Times: 77 Minutes 35 Seconds (Saurians), 68 Minutes 26 Seconds (Dinosaur Chronicles)
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Interlaced / MPEG-4 AVC (Both Films)
Rating: NR
Sound: Dolby Digital Stereo English (Both Films)
Subtitles: English SDH (Saurians)
Region Coding: Region Free
Retail Price: $34.95

"When a routine construction blast shakes their sleepy town, a group of locals discover that the explosion has awakened two dinosaurs from a centuries-long slumber, who soon run amok in the local woods on a rampage of terror." - synopsis provided by the distributor

Video: 1.5/5 (Saurians), 2/5 (Dinosaur Chronicles)

Here’s the information provided about Saurians' transfer, "New director-approved SD master from original tape elements."

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

Disc Size: 46 GB

Feature: 17.5 GB (Saurians), 4.4 GB (Dinosaur Chronicles)

The screenshots give you a clear idea of what to expect. Both films look rough and it does not help that they are interlaced. That said, I doubt they will look any better than they do for this release.

Audio: 2.5/5 (Both Films)

Each film comes with one audio option, a Dolby Digital stereo mix in English with removable English SDH. Dialogue comes through clearly, everything sounds balanced, and range-wise this audio track is serviceable.

Extras:

Extras for this release include a Visual Vengeance trailer for Saurians (1 minute 17 seconds, Dolby Digital stereo English, no subtitles), a Visual Vengeance trailer for The Dinosaur Chronicles (57 seconds, Dolby Digital stereo English, no subtitles), a trailer for Saurians 2 (1 minute 10 seconds, Dolby Digital stereo English, no subtitles), Saurians Super 8 raw footage (8 minutes 18 seconds, no sound), Saurians stop-motion outtakes (3 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an interview with Kevin Lindenmuth (7 minutes 30 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Todd Carpenter (4 minutes 11 seconds, Dolby Digital stereo English, no subtitles), a featurette titled Saurians Locations Visit (4 minutes 46 seconds, Dolby Digital stereo English, no subtitles), a featurette titled The Making of Saurians (7 minutes 18 seconds, Dolby Digital stereo English, no subtitles), an alternate, never-released Rae Don Home Video version of Saurians (55 minutes 53 seconds, 1.33:1 aspect ratio, interlaced, Dolby Digital stereo English, no subtitles), an audio commentary with director Mark Polonia and the Visual Vengeance crew for Rae Don Home Video version, an audio commentary with Mark Polonia, moderated by the Visual Vengeance crew for the Visual Vengeance version, a bonus feature film; Dinosaur Chronicles (68 minutes 26 seconds, 1.33:1 aspect ratio, interlaced, Dolby Digital stereo English, no subtitles), a featurette titled The Making of The Dinosaur Chronicles (4 minutes 31 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Mark Polonia, moderated by the Visual Vengeance crew for Dinosaur Chronicles, reversible cover art featuring original Saurians VHS art, 'Stick your own' VHS sticker set, a folded mini-poster with alternate vintage promotional art, an original piece of Super-8 film from the movie (limited to the first pressing), and an O-card slipcover (limited to the first pressing).

Other extras are Visual Vengeance trailers for Dinosaur Valley Girls, Splatter Farm, and Feeders.

Summary:

Saurians: A construction blast disturbs the ground and awakens two dinosaurs, who then proceed to wreak havoc on a small, sleepy town.

Shot on Super 8, Saurians is an early film in the career of Mark Polonia, a filmmaker who to date has directed over 100 films. Even at this early stage, it's clear that he does not let any budgetary limitations get in the way of his cinematic ambitions. His DIY style of filmmaking saw him often work with friends and his twin brother John, and a hallmark of the Polonia Brothers films is their use of stop-motion animation.

While the dinosaurs are the main attraction, the first dinosaur attack does not happen until around the 29-minute mark. Fortunately, once the dinosaurs attack, they leave a lot of carnage in their wake. Although the stop-motion animation is crude, it gets the job done. Ultimately, Saurians is a textbook example of a so-bad-it's-good type of film.

Dinosaur Chronicles: The narrative has two unrelated stories whose only connection is dinosaurs. The first story revolves around the survivors of a cruise ship that sinks during a storm who end up on an island habited by dinosaurs. The second story takes place in a post-apocalyptic world overrun by zombies and dinosaurs. The filmmakers manage to salvage the unfinished film, originally titled Prehistoric Island, by combining it with another dinosaur-themed story. That said, anyone familiar with the Polonia Brothers brand of DIY filmmaking knows what to expect, such as low-budget special effects and unconventional storytelling, while the uninitiated might not appreciate their type of cinema.

Visual Vengeance gives a pair of Polonia Brothers' films their best home media releases to date.

Written by Michael Den Boer

Colony Mutation: Collector's Edition – Visual Vengeance (Blu-ray)

Release Date: USA, 1995
Director: Tom Berna
Writer: Tom Berna
Cast: Joan Dinco, David Rommel, Anna Zizzo, Susan L. Cane, Clayton Simchick, Tammy Andersen, Raymond Bradford, Nancy Brown

Release Date: April 7th, 2026
Approximate Running Time: 76 Minutes 50 Seconds
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: Dolby Digital Stereo English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $34.95

"When genetic scientist Meredith Weaver finds out about her husband's affair, she doses him with an experimental and very unstable serum, which causes his body parts to separate from his torso and take on monstrous lives of their own, all of them now craving human flesh. Soon, he's stalking the streets in search of young women to quench the now insatiable hunger of his evil appendages." - synopsis provided by the distributor

Video: 2.5/5

Here’s the information provided about the transfer, "New, director-supervised 2K transfer and restoration from original Super 8 film elements."

Colony Mutation comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.9 GB

Feature: 17.3 GB (2K Transfer), 9.3 GB (2013 DVD Version), 6.6 GB (1998 VHS Version)

Although the transfer originates from the original Super 8 elements and has undergone some cleaning, there are still inherent limitations in the source material, such as graininess and color fading that cannot be entirely removed. Nevertheless, it is clear that this release is the best the film will ever look on home media.

Audio: 2.5/5

This release comes with one audio option, a Dolby Digital stereo mix in English with removable English SDH. Dialogue comes through clearly, everything sounds balanced, and range-wise this audio track is serviceable.

Extras:

Extras for this release include a Visual Vengeance trailer for Colony Mutation (47 seconds, Dolby Digital stereo English, no subtitles), a producer’s teaser trailer for Colony Mutation (1 minute 5 seconds, Dolby Digital stereo English, no subtitles), an image gallery with music from the film playing in the background, complete original script, an archival public access interview with director Tom Berna titled In the Director’s Chair (11 minutes 44 seconds, Dolby Digital stereo English, no subtitles), an interview with music composer Patrick Nettesheim (12 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an interview with actor David Rommel (30 minutes 15 seconds, Dolby Digital stereo English, no subtitles), an interview with Tom Berna (30 minutes 15 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Tony Strauss of Weng’s Chop Magazine for 2013 DVD version, an audio commentary with Tom Berna for 2K transfer version, alternate original 1998 VHS version of Colony Mutation (82 minutes 42 seconds, 1.33:1 aspect ratio, interlaced, Dolby Digital stereo English, no subtitles), an alternate original 2013 DVD version of Colony Mutation (81 minutes 44 seconds, 1.33:1 aspect ratio, interlaced, Dolby Digital stereo English, no subtitles), reversible cover art featuring original VHS art, 'Stick your own' VHS sticker set, a folded mini-poster, a six-page leaflet (limited to the first pressing) with an essay titled Of Milwaukee Mutations and Men: Tom Berna’s Colony written by Tony Strauss, and an O-card slipcover (limited to the first pressing).

Other extras are Visual Vengeance trailers for Cyclops, A Polish Vampire in Burbank, and Vampire’s Embrace.

Summary:

When a woman discovers her husband's affair, she doses him with an experimental serum that causes a mutation that separates his limbs from his torso.

The premise is an inventive take on the woman-scorned scenario with some body horror elements. While the opening setup effectively establishes the foundation, the narrative excessively focuses on the husband's relationship with his mistress, leaving insufficient attention on his mutation. Additionally, the narrative suffers from being overly talkative, with a lack of surprises throughout.

It’s immediately evident that Colony Mutation operates on a shoestring budget. This is particularly noticeable in its special effects, which are quite comical in their lack of quality. That said, the performances benefit from a cast who give their all by embracing everything thrown at them. Ultimately, Colony Mutation is an ambitious ultra-low-budget horror film that can’t overcome its budget limitations.

Colony Mutation is another solid release from Visual Vengeance that comes with a wealth of extras and presents the film in its best possible audio/video presentation.

 

Written by Michael Den Boer

The Killer: Limited Edition – Arrow Video (4K UHD/Blu-ray Combo)

Theatrical Release Date: Hong Kong, 1989
Director: John Woo
Writer: John Woo
Cast: Chow Yun-fat, Danny Lee, Sally Yeh, Chu Kong, Kenneth Tsang, Shing Fui-On, Ricky Yi Fan-wai, Barry Wong

Release Date: April 19th, 2026
Approximate Running Time: 110 Minutes 58 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: 18 (UK)
Sound: LPCM Mono Cantonese, LPCM Mono English, Dolby Atmos Cantonese
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region B (Blu-ray)
Retail Price: £34.99 (UK)

"Ah Chong (Chow Yun-Fat) is a hitman whose latest job takes a wrong turn when, during a shootout at a lavish nightclub, he accidentally blinds singer Jennie by firing his gun too close to her eyes. Racked with remorse, Ah Chong decides to retire from his life of crime and help Jennie get a cornea transplant. But when Ah Chong's rancorous former boss betrays him, Ah Chong receives an unexpected helping hand from hot-headed police detective Lee Ying (Danny Lee, City on Fire).." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "The film has been restored in 4K resolution and graded in HDR10 and Dolby Vision. The original 35mm camera negative was sourced from the Hong Kong Film Archive and scanned in 4K by Interface Video Production Ltd in Hong Kong."

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

Disc Size: 87.9 GB

Feature: 83.6 GB

Although Arrow Video uses Shout! Factory's master as the foundation of their source, they have performed additional color grading. I didn't have any issues with either release's color timing, though there is some debate over which one is more aesthetically pleasing. That said, the source looks phenomenal; image clarity, contrast, black levels, and compression are solid, and the image always looks organic.

The Killer, the extended cut, comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 26.1 GB (Extended Cut), 24.9 GB (Preview Cut). 17.2 GB (Preview Cut Unrestored)

This disc uses seamless branching for the three versions.

Audio: 5/5 (All Audio Tracks)

This release comes with three audio options, a LPCM mono mix in Cantonese, a LPCM mono mix in English and a Dolby Atmos mix in Cantonese. The two mono tracks are comparable to the Shout! Factory 4K UHD release, while the newly created Dolby Atmos track gives fans of this film a new way to experience it. That said, all of the tracks sound excellent, and the Dolby Atmos does a phenomenal job of expanding the sound spectrum without straying away from the original mono track’s intentions. Included are English subtitles for the Cantonese language track, English SDH for the English language track, and English subtitles for Cantonese text when watching the English language track. Language tracks and subtitles can only be changed via the setup menu and not during playback. It should be noted that Arrow Video has done additional work on their subtitles and they are not the same ones used by Shout! Factory.

Extras:

Extras on the 4K UHD disc include an image gallery (77 images—stills/lobby cards/posters), Hong Kong theatrical trailer #1 (4 minutes 38 seconds, Dolby Digital mono Cantonese with removable English subtitles), Hong Kong theatrical trailer #2 (3 minutes 36 seconds, Dolby Digital mono English, no subtitles), U.S. theatrical trailer #1 (1 minute 26 seconds, Dolby Digital mono English, no subtitles), U.S. theatrical trailer #2 (1 minute 29 seconds, Dolby Digital mono English, no subtitles), deleted and extended scenes (11 minutes 41 seconds, Dolby Digital mono Mandarin with burnt-in English and Cantonese subtitles), alternate English-language credits (3 minutes 43 seconds, Dolby Digital mono), an archival audio commentary recorded for the Criterion Collection with director John Woo and producer Terence Chang, an archival audio commentary with John Woo, an audio commentary with John Woo and film journalist Drew Taylor, and an audio commentary with film critic and author David West.

Extras on a Blu-ray disc include four archival featurettes with John Woo and producer Tsui Hark: The Birth of the Romance Killer (8 minutes 38 seconds, Dolby Digital stereo English with text in French and removable English subtitles), The Loneliness of the Director (7 minutes 5 seconds, Dolby Digital stereo English with text in French and removable English subtitles), Editing and Identification (11 minutes 37 seconds, Dolby Digital stereo English with text in French and removable English subtitles) and The Influence of Jean-Pierre Melville (4 minutes 51 seconds, Dolby Digital stereo English with text in French and removable English subtitles), American Cinematheque 2025 introduction with John Woo (14 minutes 10 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Kenneth Tsang (15 minutes 7 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actress Sally Yeh (14 minutes 57 seconds, Dolby Digital stereo English, no subtitles), an archival interview with cinematographer Peter Pau (14 minutes 7 seconds, Dolby Digital stereo English, no subtitles), an interview with author Grady Hendrix titled Hong Kong Confidential: Inside The Killer (11 minutes 32 seconds, Dolby Digital stereo, no subtitles), an interview with editor David Wu titled Editing the Killer (11 minutes 58 seconds, Dolby Digital stereo, no subtitles), an interview with Terence Chang titled My Kind of Hero (6 minutes 6 seconds, Dolby Digital stereo English, no subtitles), an interview with John Woo titled A Bullet Ballet (44 minutes 45 seconds, Dolby Digital stereo, no subtitles), and a documentary about John Woo titled The Hero of Heroic Bloodshed, featuring interviews with John Woo, stuntman Bruce Law, producer Michael Colleary, writer Mike Werb, and producer Lori Tilkin de (74 minutes 19 seconds, Dolby Digital stereo, no subtitles).

Extras on a 2nd Blu-ray disc include the Taiwanese extended preview cut with additional scenes from the Taiwan VHS release (129 minutes 28 seconds, LPCM mono Mandarin with removable English subtitles, contains standard-definition inserts), the Taiwanese extended preview cut unrestored from a 35mm print (129 minutes 28 seconds, Dolby Digital mono Mandarin with burnt-in English and Cantonese subtitles, in standard-definition), and the extended Taiwanese cut (136 minutes 49 seconds, LPCM mono Mandarin with removable English subtitles, 1080p with standard-definition inserts).

Other extras include a reversible cover art, a double-sided foldout poster, six postcard-sized art cards, a chipboard slipcase, a slipcover, and a 40-page booklet with cast & crew information, an essay titled The Killer, John Woo’s Elegy for Chivalry written by Priscilla Page, an essay titled John Woo’s The Killer, Honour, Melancholy and a Ballet of Bullets written by Frank Djeng, an essay titled Heart Target written by Rafik Djoumi, an interview with John Woo conducted by Stéphane Moïssakis, and information about the transfer.

Summary:

John Woo dedicated his entire career to making The Killer, and following the unprecedented success of A Better Tomorrow and A Better Tomorrow II, he finally had the liberty to craft a film according to his vision. Although The Killer features elements that are in common with his two A Better Tomorrow films, the result is a film that feels more like something that was influenced by the French New Wave. That said, when all was said and done, The Killer solidified John Woo's place as one of Hong Kong cinema's greatest filmmakers.

A hitman agrees to do one last job for a friend, and during the hit he accidentally blinds a nightclub singer. Feeling guilty, the hitman works his way into her life, and when he needs money for an operation to restore her sight, he takes on another contract killer job. Although he kills his target, the person who hired him double-crosses him and sends a hit squad to eliminate him.

The Killer, like John Woo’s two A Better Tomorrow films, is most recognized for its highly stylized action sequences, and yet, like those two films, it is a film that actually connects on an emotional level. While the action sequences rightfully receive significant attention, John Woo’s most overlooked talent as a filmmaker lies in his ability to craft dramatic moments that are just as exhilarating as his explosive action scenes.

The Killer’s flawlessly constructed narrative is filled with tense moments that build upon each other and culminate in an exemplary finale that’s overflowing with symbolism and a hellfire of bullets. The narrative opens big with a nightclub shootout where the protagonist accidentally blinds a woman who gets in the crossfire of the mayhem unfolding. This sequence works on so many levels; it does a superb job setting the foundation for what unfolds, and it quickly establishes what kind of man the protagonist is.

The Killer, like the other five films that make up John Woo’s key six Hong Kong films, is blessed with an outstanding cast. Chow Yun-fat (Hard Boiled) is cast in the role of a hitman named Ah Jong. Ah Jong is fiercely loyal and demonstrates compassion for those he unintentionally harms through his actions. While he shares traits with the characters that Chow Yun-fat portrayed in A Better Tomorrow and A Better Tomorrow II, this portrayal arguably represents the best character he has ever played.

Another performance of note is Danny Lee (City on Fire) in the role of Detective Li Ying. Although his character starts off as Ah Jong’s adversary, by the time the finale rolls around, they have formed an inseparable bond. He delivers an exceptional performance that perfectly counterbalances Chow Yun-fat’s Ah Jong. Rounding out the cast is Sally Yeh (Shanghai Blues) in the role of Jennie, the nightclub singer who loses her sight, and Shing Fui-on (The Blue Jean Monster) in the role of Wong Hoi, the man who hired and double-crossed Ah Jong.

Besides the aforementioned nightclub shootout, there are three other significant action set pieces. The first of these is an ambush at Ah Jung’s apartment and the aftermath in which the police investigate. This sequence features a tracking shot that starts with Detective Li Ying and concludes with Ah Jung seated in the same chair. It is a striking moment that allows the detective to delve into Ah Jung's mindset for a deeper understanding of him. The second of these is a virtually dialogue-free 20-minute sequence where Ah Jung, sitting in a speedboat, kills his target, then flees the scene, is attacked by assassins while being chased by police, and takes a critically injured young girl to the hospital. That said, the biggest and best action set piece is saved for a finale that takes place inside of a church.

The unsung hero of The Killer is its score/soundtrack, which greatly heightens the mood. A trio of songs sung by Sally Yeh and George Frideric Handel's Messiah when a Virgin Mary statue is blown into pieces are the most notable music cues. The Killer is a film in which every element harmoniously comes together, creating a work that far exceeds the sum of its parts. Ultimately, it stands out not only as one of the best action films but also as one of the greatest films ever made.

For their release, Arrow Video has added a substantial amount of new extras and two alternate versions of the film. In comparing the two releases, it is evident that Arrow Video’s version stands out as the superior choice over Shout! Factory’s offering. The Killer gets a definitive release from Arrow 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