Visitor Q: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 2001
Director: Takashi Miike
Writer: Itaru Era
Cast: Kenichi Endō, Shungicu Uchida, Kazushi Watanabe, Fujiko, Jun Mutō, Shōko Nakahara

Release Date: October 19th, 2026 (UK), October 20th (USA)
Approximate Running Time: 84 Minutes 14 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Interlaced / MPEG-4 AVC
Rating: 18 (UK), NR (USA)
Sound: LPCM Stereo Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: £14.99 (UK), $39.95 (USA)

"A struggling news reporter (Kenicho Endo, The Raid 2) keeps pushing boundaries to impress his superiors, finally winding up in a motel room with his estranged daughter. Back home, his bullied son takes his violent rages out on his mother, who turns to heroin to cope but must prostitute herself to afford the habit. Into this scene of severe family dysfunction steps Q, a mysterious stranger with a knack for knowing just what each member needs most, whether it's a rock to the head, a sexual reawakening, or a bout of murder." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about this release's transfer, “The film was shot on a Sony VX-1000 MiniDv digital camera. For this release the original MiniDV master tape was transferred in 2025 by Trusttech Japan Co., Ltd. The new scan presents the film in the highest possible quality, while preserving the inherent limitations of the original source format.”

Visitor Q comes on a 50 GB dual layer Blu-ray.

Disc Size: 27.7 GB

Feature: 16.5 GB

The original source is interlaced and for this release Radiance Films has not changed it, while New Wave Video for their release changed the source to progressive. The result looks considerably better than expected for a film shot on video, a format that has many limitations.

Audio: 4.25/5

This release comes with one audio option, a LPCM stereo mix in Japanese with removable English subtitles. The audio is clean, clear, and balanced, and range-wise, ambient sounds are well-represented.

Extras:

Extras for this release include a theatrical trailer (1 minute 33 seconds, LPCM stereo Japanese with non-removable English subtitles), a video essay by Kat Ellinger titled Mother's Milk: Visitor Q and the Feminine Principle (16 minutes 4 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Kenichi Endo (18 minutes 38 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with actress Shôko Nakahara (20 minutes 49 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with director Takashi Miike (21 minutes 46 seconds, Dolby Digital stereo Japanese with removable English subtitles), an audio commentary with Takashi Miike biographer Tom Mes, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 5000 copies) with cast & crew information, an essay titled Beyond the Real written by Ana Došen, and information about the transfer.

Summary:

Takashi Miike directed Visitor Q. His filmography stretches over 45 years and encompasses over 120 entries, including notable films like The Bird People of China, Agitator, Ichi the Killer, Audition, The Happiness of the Katakuris, Gozu, and Lesson of the Evil. Visitor Q was the sixth and final installment of six straight video films known as the Love Cinema series. 

A mysterious stranger forces his way into a dysfunctional family life and unleashes their libidos.

Takashi Miike never shies away from controversial subject matter. Whether it is taboo subject matter or extreme moments of carnage, his films have no boundaries. That brings us to Visitor Q, who is arguably his most provocative and boundary-pushing film. Before any characters are introduced, Visitor Q begins with a character saying, "Have you ever done it with your dad?” Not only does that one line of dialogue set the stage for what follows, it perfectly encapsulates the essence of Visitor Q, a film that provokes and has no limits to where it might go.

Visitor Q’s premise bears a strong resemblance to Pier Paolo Pasolini's Teorema. Both films revolve around a mysterious stranger who works their way into a family's lives and corrupts them morally. The family in Visitor Q is already dysfunctional before the stranger arrives. The father, a news reporter, has sex with his prostitute daughter, and a bullied son turns his aggression on his mother. While the strangers' intervention accelerates their perversions, he does not introduce something that was not already deep inside of them.

Takashi Miike really leans into elements that make you feel uneasy. Besides the father-daughter sexual encounter that opens with Visitor Q, there is a scene where the father trying to do a news report is sodomized with his microphone by juvenile delinquents and a scene where the stranger milks the mother's breasts. Visitor Q saves its most shocking moment for its finale, where the father kills a co-worker, keeps her corpse, and repeatedly has sex with it. That said, there is an escalation of perversion and carnage that builds to the fever-pitch climax.

Shot in 7 days with a digital camera for 8 million yen ($50,000), it is astonishing what Visitor Q accomplishes. Although there was a basic framework for the narrative, there was a considerable amount of improvising, which allowed the cast and crew a tremendous amount of freedom to create. When it comes to the performances, the cast go all in and their enthusiasm is infectious. Ultimately, Visitor Q is an arthouse film masquerading as an exploitation film.

Visitor Q gets an exceptional release from Radiance Films that gives the film its best audio/video presentation and insightful extras. Highly recommended.

Written by Michael Den Boer

Jan S. Kolár: Czech Silent Rarities: Standard Edition – Deaf Crocodile (Blu-ray)

Theatrical Release Dates: Czechoslovakia, 1921 (The Arrival from the Darkness), Czechoslovakia, 1929 (St. Wenceslas)
Director: Jan S. Kolár (Both Films)
Cast: Theodor Pištěk, Anny Ondra, Karel Lamač, Josef Šváb-Malostranský, Vladimír Majeras Richard, Luigi Hofman, Jan W. Speerger, Alfred Baštýř, Rudolf Myzet (The Arrival from the Darkness), Zdeněk Štěpánek, Jan W. Speerger, Vera Baranovskaya, Dagny Servaes, Josef Loskot, Erna Ženíšková, Jan S. Kolár, Gustav Svojsík, Jindřich Edl, Josef Rovenský (St. Wenceslas)

Release Date: October 13th, 2026
Approximate Running Times: 64 Minutes 35 Seconds (The Arrival from the Darkness), 107 Minutes 38 Seconds (St. Wenceslas)
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: DTS-HD Stereo with Czech Intertitles (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A
Retail Price: $34.95

"The Arrival From The Darkness follows a rare-book collector who revives his sixteenth-century ancestor through an ancient manuscript, unleashing an extraordinary tale involving alchemy, black magic, the Elixir of Life, ruined castles, time travel, and the Black Plague. St. Wenceslas chronicles the struggle between paganism and Christianity in tenth-century Bohemia through the life of Prince Wenceslas, combining political intrigue, betrayal, warfare, and lavish historical spectacle in what became the most expensive Czech film produced during the silent era." - synopsis provided by the distributor

Video: 3.5/5 (The Arrival from the Darkness), 3.75/5 (St. Wenceslas)

Here’s the information provided about The Arrival From The Darkness' transfer, "The NFA collection contains an unassembled original negative and a duplicate negative, both on nitrate, the original nitrate distribution print, and two acetate prints.

The film was reconstructed in 2005-6. All materials were compared and individual parts were assembled. The title is preserved on two polyester prints; the resulting length is 1,752 meters. According to the censorship record. The original length of the film was 2,300 meters; part of the film has not survived."

The Arrival From The Darkness comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 18.6 GB

Here’s the information provided about St. Wenceslas' transfer, "The NFA collection contains a nitrate duplicate image negative with acetate intertitles and further acetate prints and duplicate prints.

The film was reconstructed in 1961-2 by director Jan S. Kolár and a prominent expert in photochemical processing, František Baluška. Part of the reconstruction was the copying of the original intertitles, which were pasted into the bottom and the copy. The total footage is 2,938 meters and the film format is 1.33:1."

St. Wenceslas comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.8 GB

Feature: 31 GB

Both films' sources, similar to many silent films, have their limitations. I have included excerpts from the booklet that details the sources used for each film. Nonetheless, the text and screenshots provided in this review offer a clear idea of what to expect. Blu-ray authoring by Vital Passenger.

Audio: 5/5 (Both Audio Tracks)

Each film comes with one audio option, a DTS-HD stereo track with Czech intertitles and removable English subtitles. The audio sounds clear and balanced.

Extras:

Extras on the disc with The Arrival From The Darkness include an audio commentary with film historian Peter Hames and Czech film expert Irena Kovarova of Comeback Company and five short films: Polykarp’s Winter Adventure (10 minutes 53 seconds, 1.33:1 aspect ratio, DTS-HD stereo with Czech intertitles and removable English subtitles), The Oriental Languages’ Teacher (35 minutes 59 seconds, 1.33:1 aspect ratio, DTS-HD stereo with Czech intertitles and removable English subtitles), The Lady With The Small Foot (32 minutes 9 seconds, 1.33:1 aspect ratio, DTS-HD stereo with Czech intertitles and removable English subtitles), The Torn Photograph (28 minutes 11 seconds, 1.33:1 aspect ratio, DTS-HD stereo with Czech intertitles and removable English subtitles), and The Wedding Shirt (4 minutes 14 seconds, 1.33:1 aspect ratio, DTS-HD stereo with Czech intertitles and removable English subtitles).

Polykarp’s Winter Adventure: Jan S. Kolár’s first film is this charming comedy shot outdoors in the snowy winter in Prague.

The Oriental Languages’ Teacher: Co-directed by Jan S. Kolár and Olga Rautenkranzová, the first Czech female filmmaker.

The Lady With The Small Foot: Directed by Jan S. Kolár. An ambitious mix of Louis Feuillade-style detective thriller / fantasy and comedy.

The Torn Photograph: Directed by Jan S. Kolár. A surreal romantic comedy about four confirmed bachelors who swear they’ll never marry.

The Wedding Shirt: Directed by Josef Kokeisl. The only surviving 4-minute fragment from this haunting silent horror film, co-directed by Theodor Pištěk, who starred in The Arrival From The Darkness.

Extras on the disc with St. Wenceslas include an audio commentary with Peter Hames and Irena Kovarova, a video essay by experimental filmmaker and film scholar Stephen Broomer titled Face of Centuries: Jan S. Kolár and the Afterlives of History (18 minutes 4 seconds, Dolby Digital stereo English, no subtitles), and a short film titled How We Used To Make Movies—a fascinating compilation by Bohumil Veselý of behind-the-scenes footage from Czech silent films shot between 1918 and 1929 (including several by Jan S. Kolár) and assembled in the 1950s (23 minutes 53 seconds, 1.33:1 aspect ratio, DTS-HD stereo with Czech intertitles and removable English subtitles).

Other extras include a 48-page booklet with an essay titled Jan S. Kolár: The First Master of Czech Cinema written by Jan-Christopher Horak, an essay titled The Arrival from the Darkness + St. Wenceslas written by Walter Chaw, and notes on the restorations.

Summary:

The Arrival from the Darkness: A man reading a story about the mystery of the Black Tower unlocks its secrets.

The Arrival from the Darkness is a supernatural horror film that explores love, obsession, and suspended animation. The narrative revolves around Bodhan, a collector of rare books, who comes across a copy of a book about the Black Tower. The book involves a 16th-century alchemist, Jesek, who’s an ancestor of Bodhan. Jesek created an elixir of life after his beloved died, hoping to reunite with her one day. Bodhan’s wife looks exactly like Alena, Jesek's beloved.

The horror elements in The Arrival from the Darkness don’t come from scares; it’s a film that relies heavily on a foreboding atmosphere. Although the visuals lack the expressionist style most silent horror films have, they are more based in reality than fantasy. That said, the visuals do a superb job heightening the mood. The most striking moment visually is a scene that takes place during the Black plague. The narrative does an excellent job holding your attention and building momentum to a finale where the protagonist confronts his alchemist ancestor. Ultimately, The Arrival from the Darkness is a solid example of a silent film that stretches the limits of what was possible at that time.

St. Wenceslas: A family becomes divided when one brother moves away from paganism to Christianity.

St. Wenceslas depicts the historical melodrama of Wenceslaus I, Duke of Bohemia, who fell victim to his brother's assassination, Boleslaus the Cruel. After Wenceslaus's death, he was declared king and patron saint of the Czech state. Jan S. Kolár’s film adaptation of St Wenceslas’ story is an epic film that, at the time of its making, was the most expensive Czech film ever made. Besides large sets, the film is also known for its battle sequence that reportedly featured 5,000 extras.

St. Wenceslas explores faith vs. paganism and peace instead of war, and it is a film that is overflowing with symbolism. The most memorable moment is the scene where Wenceslas is assassinated by his brother in a church. While there are several moments where the visuals look striking, for the most part they just observe what's unfolding. At just under 108 minutes in length, the narrative has many peaks and valleys, and it never fully establishes momentum. A few reasons why the narrative drags: there are few surprises and too much time was spent on characters talking forcibly and taking no action. Ultimately, St. Wenceslas’s positives outweigh its negatives, making it a must-see film for silent cinema fans.

Jan S. Kolár: Czech Silent Rarities gets an exceptional release from Deaf Crocodile, making it a must-purchase for fans of silent cinema. Highly recommended.

Written by Michael Den Boer

The Owl vs Bombo – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1984
Director: Sammo Hung Kam-Bo
Writer: Cheung Lai-ling
Cast: Sammo Hung Kam-Bo, George Lam, Deanie Ip, Michelle Yeoh, James Tien, Philip Chan

Release Date: October 26th, 2026 (UK), November 10th, 2026 (USA)
Approximate Running Time: 101 Minutes 32 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $29.95 (USA)

"Chan (Sammo Hung) and Wong (George Lam) AKA Bumbo and The Owl, believe their criminal days are behind them. However, their pasts come back to haunt them when ex-cop Chung returns to black mail them. At his behest, the pair find themselves teaching at a reform school. But how long can their earlier criminal lives stay in the past." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "a 2K Remaster of the original camera negative."

The Owl vs Bombo comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.1 GB

Feature: 26.2 GB

The source looks excellent; 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

This release comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles. The track sounds clean, clear, and balanced, and the action sequences sound robust.

Extras:

Extras for this release include an image gallery with music from the film playing in the background (stills/poster), a theatrical trailer (4 minutes 48 seconds, Dolby Digital mono Cantonese with removable English subtitles), an interview with Ricky Baker titled Those Who Kam-Bo Teach (18 minutes 40 seconds, Dolby Digital stereo English with removable English subtitles for Cantonese film clips), an audio commentary with Hong Kong film expert David West, a removable U-card leaving the O-Ring free of certificates and markings, a double-sided foldout poster (limited to the first pressing), a doubled-walled O-Ring slipcase (limited to the first pressing).

Summary:

Two notorious thieves are blackmailed into mentoring at a probation center that prepares youths for job placement.

The Owl vs Bumbo is a buddy cop film with an inventive twist, featuring two partnered criminals. The Owl and Bumbo are not your typical criminals; they each possess a distinct set of skills. Their pairing is not by accident; a frustrated police investigator uses them to bring down a crime boss when the system stands in the way of delivering justice. That said, another key component to the narrative that unfolds is how the blackmailers keep The Owl and Bumbo in the dark about their identity.

While Sammo Hung Kam-Bo receives the accolades he deserves as an actor, sometimes it feels like direction does not great the acclaim it should. Where other actors/directors would go out of their way to put the spotlight on themselves, Sammo Hung Kam-Bo is an incredibly generous collaborator who’s direction ensures that everyone rises to the top. A strength about Sammo Hung Kam-Bo’s direction, especially when discussing a film like The Owl vs Bumbo, is how well he handles dramatic moments. A notable example is a scene where The Owl helps the delinquent kids to unlock their repressed feelings.

When it comes to the performances, they are outstanding, especially George Lam (Boat People) and Sammo Hung Kam-Bo (Pedicab Driver) in the roles of The Owl and Bumbo. The Owl is a suave, sophisticated thief, while Bumbo lacks grace and is often the butt of the jokes. George Lam and Sammo Hung Kam-Bo have a tremendous amount of onscreen chemistry. Other notable performances are Deanie Ip (My Name Ain’t Suzie), whose character runs the youth center and Michelle Yeoh (Yes, Madam!) in her first role portraying a teacher.

The Owl vs Bumbo is a hodgepodge of genres that could have only been pulled off in Hong Kong cinema. The narrative spends a lot of time getting to know its characters and placing them in humorous situations. While there is action throughout, most of it is concentrated in the last thirty minutes with an all-out brawl finale where the kids from the youth center show up with bats on BMX bikes. There are two moments of note, both featuring Sammo Hung Kam-Bo: a scene at a restaurant where he tries to retrieve a cherry and what ensues looks like a soccer match, and a scene where Bumbo elegantly dances like Gene Kelly. Ultimately, The Owl vs Bumbo is an emotional rollercoaster that always engages and delivers a lot of laughs.

The Owl vs Bombo gets a solid release from 88 Films that comes with a strong audio/video presentation and a pair of informative extras. Recommended.

 

Written by Michael Den Boer

The Black Cat – Severin Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1981
Director: Lucio Fulci
Writers: Biagio Proietti, Lucio Fulci
Cast: Patrick Magee, Mimsy Farmer, David Warbeck, Al Cliver, Dagmar Lassander, Bruno Corazzari, Geoffrey Copleston, Daniela Doria

Release Date: October 13th, 2026
Approximate Running Time: 91 Minutes 48 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 HDR10
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region Free (Blu-ray)
Retail Price: $49.95

"In a rural English village, an increasingly deranged professor (Patrick Magee of A CLOCKWORK ORANGE and ASYLUM fame in his final lead role) obsessed with the supernatural will instill his pet feline with powers of homicidal mayhem." - 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, "newly restored and scanned in 4K from the original camera negative."

The Black Cat comes on a 66 GB dual layer 4K UHD.

Disc Size: 59.5 GB

Feature: 58.4 GB

While Lucio Fulci’s The Black Cat is a film that has never fared well on home media, Severin Films' release aims to correct that. Although the source still has some minor damage, including a line that appears on the right side of the frame a few times, it has never looked better on home media. Flesh tones and colors look correct, image clarity and black levels are strong throughout, there are no issues with compression, and the image retains an organic appearance.

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

Disc Size: 40 GB

Feature: 27 GB

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

Audio: 4.25/5 (Both Audio Tracks)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. The two tracks are comparable; both tracks are an improvement over previous home media releases. Both tracks sound clear and balanced, and the ambient sounds and the score are well represented. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras on the 4K UHD disc include a theatrical trailer (2 minutes 59 seconds, Dolby Digital mono English, no subtitles).

Extras on the Blu-ray disc with the film include a theatrical trailer (2 minutes 59 seconds, Dolby Digital mono English, no subtitles), an interview with composer Pino Donaggio titled Symphony for a Black Cat (11 minutes 33 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with camera operator Roberto Forges Davanzati titled Nine Lives (16 minutes 37 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with special effects artist Paolo Ricci titled Of Bats and Cats (11 minutes 48 seconds, Dolby Digital stereo Italian with removable English subtitles), and an interview with screenwriter Biagio Proietti titled Mr. Poe and Me (26 minutes 55 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras on a second Blu-ray disc include a career-spanning interview with actress Dagmar Lassander titled Frightened Dagmar (20 minutes 10 seconds, Dolby Digital stereo German with removable English subtitles), an archival interview titled At Home With David Warbeck (70 minutes 20 seconds, Dolby Digital stereo English, no subtitles), an interview with Stephen Thrower, author of Beyond Terror: The Films of Lucio Fulci, titled From Poe Into Fulci: The Spirit of Perverseness (25 minutes 39 seconds, Dolby Digital stereo English, no subtitles) and a locations featurette with Stephen Thrower titled In The Paw-Prints of The Black Cat (8 minutes 28 seconds, Dolby Digital stereo English, no subtitles).

Summary:

A professor with psychic abilities uses telepathy to communicate with a black cat who kills his enemies.

After two decades as a director, Lucio Fulci was hitting his stride in the late 1970s/early 1980s with what is widely regarded as his most celebrated films. The Black Cat, made during this outstanding run of films, is often overlooked when discussing his other horror films from that era. While The Black Cat takes its name from an Edgar Allan Poe story, it is a very loose adaptation that actually borrows elements from other Poe stories.

There are two areas where The Black Cat is noticeably different from Lucio Fulci’s other films from the early 1980s: it is not as gory and how grounded in reality it is. When it comes to the scenes where the black cat attacks, Lucio Fulci employs a POV camera that greatly heightens the mood. The visuals are overflowing with atmosphere and they are infused with a gothic horror style that is reminiscent of the Hammer Horror films and the Roger Corman Edgar Allen Poe films of the 1960s.

Although Lucio Fulci’s films are more known for their mood than their performances, The Black Cat features an outstanding performance from Patrick Magee (A Clockwork Orange), who portrays a professor with psychic abilities. The only performance that disappoints is Mimsy Farmer’s (Four Flies on Grey Velvet) portrayal of a photographer, an outsider visiting  the town. Other notable cast members are Dagmar Lassander (Hatchet for the Honeymoon), Al Cliver (Zombie), and David Warbeck, who worked with Lucio Fulci on his masterpiece The Beyond.

While not as gory as one has come to expect from Lucio Fulci, The Black Cat features several well-crafted moments of carnage. When it comes to the special effects, they hold up well considering their limitations. The most notable moment is a scene where a room is engulfed in fire. Not to be overlooked when discussing The Black Cat is Pino Donaggio’s (Carrie) remarkable mood-enhancing score. Nine years after this film, Pino Donaggio would score his second of two The Black Cat adaptations for Dario Argento’s Two Evil Eyes segment.

One’s opinion of a film can be significantly influenced by the timing of when it is watched, particularly in relation to other films by the same director. This has certainly been true for me, as I viewed The Black Cat after watching all of Lucio Fulci’s other horror films from the late 1970s and early 1980s. Upon reflecting on The Black Cat, I have found that my opinion of it has evolved over the years. Nevertheless, The Black Cat remains a solid horror film that takes familiar story elements and subverts them.

Severin Films gives Lucio Fulci’s The Black Cat its best home media release to date. 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.

                                                 An example of the source damage.

Written by Michael Den Boer