Assault! Jack the Ripper – 88 Films (Blu-ray/DVD Combo)

Theatrical Release Date: Japan, 1976
Director: Yasuharu Hasebe
Writers: Yasuharu Hasebe, Chiho Katsura
Cast: Tamaki Katsura, Yuri Yamashina, Natsuko Yashiro, Yutaka Hayashi, Midori Mori

Release Date: March 24th, 2025
Approximate Running Time: 72 Minutes 1 Second
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (UK)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region B
Retail Price: £16.99 (UK)

"Ken (Yutaka Hayashi), a serious young man working as a cake decorator at an upmarket coffeeshop, finds himself led seriously astray by his feisty waitress coworker Yuri (the unforgettable Tamaki Katsura) after a chance encounter with a disturbed young woman (Yuri Yamashina) fuels their passion for murder and they embark on a vicious killing spree." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "Blu-Ray (1080P) Presentation in 2.35:1 Aspect Ratio."

Assault! Jack the Ripper comes on a 25 GB single layer Blu-ray.

Disc Size: 24.2 GB

Feature: 19.8 GB

The source looks excellent; flesh tones look healthy, colors are nicely saturated, black levels are strong, and image clarity and compression are solid.

Audio: 4.5/5

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

Extras:

Extras for this release include a stills gallery with music from the film playing in the background (stills/poster), a theatrical trailer (2 minutes 1 second, Dolby Digital mono Japanese with removable English subtitles), an interview with Kei Chiba titled Body & Blood (11 minutes 41 seconds, Dolby Digital stereo Japanese with removable English subtitles), an audio commentary with Amber T. and Jasper Sharp, removable OBI strip leaving packaging free of certificates and markings and a 12-page booklet with cast & crew information, and an essay titled Finding Power in Sex and Blood Assault! Jack the Ripper & Yasuharu Hasebe’s Sustaining Relevance in Artistic Expression written by Tori Potenza.

Included is a DVD that has the same content as the Blu-ray.

Summary:

Yasuharu Hasebe was one of the prominent directors working in Nikkatsu romantic pornography films. His first two forays into this genre, The Naked Seven and Sukeban Deka: Dirty Mary, were both homages: Seven Samurai and Dirty Harry, respectively. He found his first success in this genre with Okasu!, a film that started the Violent Pink sub-genre. Other notable films he directed in this sub-genre include Assault! Jack the Ripper, Attack! 13th Hour, Attacked! And Yaru!.

A young man is unable to get aroused or please his woman without violently murdering women.

Assault! Jack the Ripper is Yasuharu Hasebe's most disturbing film. It is one of Nikkatsu’s most violent romantic pornography films. Assault! Jack the Ripper, like Yasuharu Hasebe's other romantic pornography films, falls into a subgenre known as violent pink. These films focus more on moments of carnage than eroticism. When it comes to Assault! Jack the Ripper’s murder set pieces, it is clear how the Giallo genre may have influenced them.

The film’s title is Assault! However, referring to it as Jack the Ripper is somewhat misleading, as the killings primarily occur in pairs, and it is not until later that the male lover ventures out on his own to commit murder. Though the killer has an accomplice, her role is mostly passive. That said, both of them become aroused by the sight of carnage.

Outside of the two leads, Yutaka Hayashi (Bullet Train), who portrays Ken aka Jack the Ripper, and Tamaki Katsura (Sins of Sister Lucia), who portrays Yuri, the rest of the cast are given little to work with and are mere props. Though Ken has a sadistic side, he is more a man of action than words, while Yuri likes to cause conflict. Both of them deliver flawless performances that are utterly terrifying and convincing.

Assault! Jack the Ripper relies heavily on its brutal and bloody murder set pieces, where women are carved up before being finished off with a knife to their private parts. The violence inflicted upon women is unflinching, and it escalates as the narrative progresses, culminating in an orgy of violence. Visually, Yasuharu Hasebe does not disappoint when it comes to carnage and mayhem.

From a production standpoint, Assault! Jack the Ripper is a film that far exceeds the sum of its parts. The narrative does a superb job introducing Ken and Yuri, and it is relentlessly paced once the killing starts. Another strength is Hajime Kaburagi's (Stray Cat Rock: Sex Hunter) score, which perfectly underscores the mood. Ultimately, Assault! Jack the Ripper is an orgy of bloodlust and carnage, making it a must-see for fans of violent pink cinema.

Assault! Jack the Ripper gets an exceptional release from 88 Films that comes with solid audio/video presentation and a trio of insightful extras, highly recommended.

Written by Michael Den Boer

A Tale of Sorrow and Sadness: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1977
Director: Seijun Suzuki
Writer: Gan Yamazaki
Cast: Kyôko Enami, Yoshio Harada, Masumi Okada, Shûji Sano, Yoko Shiraki, Jô Shishido

Release Date: April 28th, 2025 (UK), April 29th, 2025 (USA)
Approximate Running Time: 93 Minutes 5 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"The editor of a sports magazine grooms fashion model Reiko (Yoko Shiraki) to become a pro golfer, while retaining exclusive rights to her likeness. Reiko’s popularity soars after she wins her first tournament and she becomes a media sensation, but when she and her manager (Yoshio Harada, Zigeunerweisen) cause a hit-and-run accident, the victim begins to blackmail Reiko, intruding further and further into her personal life." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, "A Tale of Sorrow and Sadness was transferred in High-Definition by the Shochiku Corporation. The film was supplied to Radiance Films as a High-Definition digital file and is presented in the original aspect ratio."

A Tale of Sorrow and Sadness comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.1 GB

Feature: 27 GB

The source looks excellent; flesh tones look correct, colors are nicely saturated, image clarity and compression are solid, contrast and black levels are strong throughout, and there are no issues with digital noise reduction.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in great shape. Dialog comes through clearly, and everything sounds balanced and robust when it should. That said, when compared to Cinema Epoch’s 2009 DVD release, this new transfer is a substantial upgrade, and it is like seeing A Tale of Sorrow and Sadness for the first time.

Extras:

Extras for this release include a theatrical trailer (2 minutes 25 seconds, LPCM mono Japanese with removable English subtitles), an interview with editor Kunihiko Ukai (19 minutes 54 seconds, LPCm stereo Japanese with removable English subtitles), an audio commentary with film critic and author Samm Deighan, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 32-page booklet (limited to 3000 copies) cast & crew information, an essay titled Sorrow, Sadness and the Sweet Smell of Excess written by Jasper Sharp, an archival review titled The Realisation of a Seijun Suzuki film written by AAtsushi Yamatoya, and information about the transfer.

Summary:

After directing an incredible forty films over a twelve-year span (1956–1967) for Nikkatsu, director Seijun Suzuki would be unceremoniously fired by Nikkatsu’s president, Hori Kyusaku. He would declare that "Suzuki’s films were incomprehensible, that they did not make any money, and Suzuki might as well give up his career as a director as he would not be making films for any other companies."

Following his exile from Nikkatsu, Seijun Suzuki would retreat to television, directing three projects: Good Evening, Dear Husband: A Duel (1968), There’s a Bird Inside a Man (1969), and A Mummy’s Love (1970), while he awaited the verdict in his court case against Nikkatsu, who terminated his contract after Branded to Kill (1967).

Though Seijun Suzuki would win his case of defamation against Nikkatsu, his career would come to a halt after being blacklisted by all the major studios in Japan. There would be a ten-year gap between Branded to Kill, the last film that he directed for Nikkatsu, and his return to the big screen with 1977’s A Tale of Sorrow and Sadness.

Seijun Suzuki is primarily known for directing flamboyant films about dysfunctional characters who quickly find themselves in over their heads as they try to escape the demons from their past. Seijun Suzuki’s take on the sports and entertainment worlds in A Tale of Sorrow and Sadness is reminiscent of the way that he approached the Yakuza, prostitutes, and samurai that are prominent in the films that he directed for Nikkatsu.

It is fascinating how Seijun Suzuki is able to transform the themes explored in A Tale of Sorrow and Sadness by drawing similarities from the plot and its characters that show that they are not that different from the Yakuza, prostitutes, and samurai that populate his other films. Beneath every surface are layers of reality, and Seijun Suzuki, just like the characters in his films, never reveals their true intentions until this moment of truth arrives in A Tale of Sorrow and Sadness.

The heroine of A Tale of Sorrow and Sadness Reiko is an insecure model. It is her need for acceptance that leads to her manipulation by a character named Mr. Miyake, whose ultimate goal is to make her a dominant golfer. Reiko eventually falls for Mr. Miyake, who is cold and brazen toward her.

Reiko is a determined woman whose desire to please Mr. Miyake leaves her broken and exhausted. She practices at one point so much that her hands start bleeding. During her tournament debut, she faints before her last shot. And lying on the ground, she looks over at Mr. Miyake, who motions for her to get back up. Wanting to please Mr. Miyake, she gets up and sinks the shot, only to collapse again.

The first act of A Tale of Sorrow and Sadness focuses on her training; the middle of the film shifts the focus to her rise as a star; and the last act details her downward spiral.

The femme fatale of A Tale of Sorrow and Sadness is an obsessed fan named Senboh, who, through blackmail, works her way into Reiko’s life. The most disturbing moment and the event that signals Senboh's state of mind is a scene where she cuts up an autograph that she received from Reiko "Ginzu style". Senboh engulfs herself in her new-found power by forcing Reiko to cut her hair in a grotesque fashion. Once again, unable to think for herself, Reiko lets her stalker manipulate her life until chaos reigns supreme. Eventually, Senboh finally reaches her own breaking point when she invites several hanger-ons to Reiko’s house for a party. Reiko is literally eaten alive by the very masses that made her famous. With everyone at the party disregarding Reiko’s boundaries as they mock her and rummage through her belongings.

After this impromptu party reaches its conclusion, it becomes painfully obvious to Senboh that she’s been used and tossed aside. The other key person in Reiko’s life is her younger brother Jun, whom she takes care of. Junis is overly protective of his older sister, and he becomes increasingly jealous the more attention that is paid to her, with whom he once shared an inseparable bond.

Visually, A Tale of Sorrow and Sadness demonstrates that Seijun Suzuki, despite his prolonged break from filmmaking, has not lost a step. With the scene that leaps out as classic Seijun Suzuki being a hit-and-run sequence that uses slow motion to emphasize that tragic event.

During the chaos, Reiko tries to leap from the moving car. She's then reined back in by Mr. Miyake, who stops the car at the edge of a cliff. This scene symbolically shows that they finally went too far and that there are consequences for their actions. The most satisfying moment visually is a montage sequence that shows several closeups of Reiko at the various stages of her evolution.

Yoshio Harada is cast in the role of Mr. Miyake. He had a long and varied career, and some of his notable films include Stray Cat Rock: Wild Measures ’71, Lady Snowblood 2: Love Song of Vengeance, Shogun’s Samurai, Hunter in the Dark, Onini: The Fire Within, Party 7, and 9 Souls. After working with Seijun Suzuki for the first time on A Tale of Sorrow and Sadness, they would collaborate on four more films: The Fang in the Hole, Zigeunerweisen, Kageroza, and Yumeji.

A Tale of Sorrow and Sadness' most remarkable performance is Kyôko Enami's in the role of Senboh, Reiko’s stalker. Other notable films that she has appeared in include The Wolves, The Fall of Ako Castle, and the Gambling Woman series. Cast in this film’s lead role, Reiko, is an actress named Yoko Shiraki, and A Tale of Sorrow and Sadness appears to be her only film. And one of Seijun Suzuki’s frequent collaborators from Nikkatsu, Joe Shinodo, has a brief cameo as a cop. Ultimately, A Tale of Sorrow and Sadness is a decadent tale about obsession and the pitfalls of fame.

A Tale of Sorrow and Sadness gets an excellent release from Radiance Films that comes with a solid audio/video presentation and a trio of informative extras; highly recommended.

Written by Michael Den Boer

Baby It's You – Fun City Editions (Blu-ray)

Theatrical Release Date: USA, 1983
Director: John Sayles
Writers: Amy Robinson, John Sayles
Cast: Rosanna Arquette, Vincent Spano, Joanna Merlin, Jack Davidson, Leora Dana, Bill Raymond, Sam McMurray, Liane Curtis, Tracy Pollan, Frank Vincent, Robin Johnson, Gary McCleery, Matthew Modine, Fisher Stevens

Release Date: April 15th, 2025
Approximate Running Time: 105 Minutes 1 Second
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: R
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $29.95

"Jill's a drama major, headed for college. Sheik's a drop-out, headed for nowhere. They're as different as day and night, but they share a powerful bond: first love." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "New 4K Restoration from the original 35mm negative".

Baby It's You comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.4 GB

Feature: 30.4 GB

This release is sourced from a new 4K restoration; it looks excellent. Flesh tones look healthy, colors are nicely saturated, image clarity, 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 excellent; dialog comes through clearly, and everything sounds balanced and robust when it should. Going by the soundtrack listing on IMDB, I did not notice any songs missing or replaced.

Extras:

Extras for this release include an image gallery (posters/stills/home video art/Japanese press book), an interview with director John Sayles titled This is Very Familiar to Me  (33 minutes 2 seconds, Dolby Digital stereo English, no subtitles), an interview with producers Amy Robinson and Griffin Dunne titled From Triple Play to Double Play (29 minutes 57 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Rosanna Arquette titled A Little Magic (9 minutes 55 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Vincent Spano titled Like a Glove (19 minutes 49 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Matthew Modine titled I Was in the Right Profession (8 minutes 4 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Bill Ackerman, reversible cover art with legacy artwork, and a 20-page booklet (limited to the first pressing) with an essay titled Strangers in the Night John Sayles Bitter-Sweet Detour written by Gavin Smith, an essay titled They’re Pulling Out of Here to Win: How Bruce Springsteen Steers John Sayles Coming-of-Age Journey written by Caroline Madden, and cast & crew information.

There are two Easter eggs: a theatrical trailer for Baby It's You (2 minutes 48 seconds, Dolby Digital mono English, no subtitles), which can be found when you click on the FCE logo on the extras menu page 1, and a theatrical trailer for Falling in Love (1 minute 36 seconds, Dolby Digital mono English, no subtitles), which can be found when you click on the FCE logo on the extras menu page 2.

Summary:

John Sayles directed Baby It's You. He’s known for Return of the Secaucus Seven, The Brother from Another Planet, Eight Men Out, and Lone Star.

Baby It's You is a melodrama set in the 1960s about lovers from opposite sides of the tracks. Jill is an aspiring actress from an affluent family, while Sheik, who comes from a working-class background, dreams of becoming a performer like Frank Sinatra. Though there is an immediate attraction between them, their relationship is tumultuous. When they briefly go their separate ways to find themselves, they ultimately decide that being together is better than being alone and miserable.

When it comes to performances, the cast is excellent, especially Rosanna Arquette (After Hours) as Jill and Vincent Spano (Alphabet City) as Sheik. Baby It's You’s greatest asset is their on-screen chemistry, which is exceptional. The supporting cast features a few recognizable faces like Tracy Pollan (Bright Lights, Big City), Mathew Modine (Full Metal Jacket), and Robert Downey Jr. (Less Than Zero).

Being set in the 1960s, it should not be a surprise that music plays a significant role. Though most of the soundtrack is music from the 1960s, four Bruce Springsteen songs round out the soundtrack. That said, Bruce Springsteen’s songs, despite not being from the same era, complained about the rest of the soundtrack. Furthermore, the appearance of Strangers in the Night ties in with the Sheik’s obsession with Frank Sinatra.

Though Baby It's You explores themes such as teenage angst and the idea that opposites attract—topics frequently addressed in numerous films—it ultimately emerges as a production that often exceeds expectations. That said, it is in its examination of themes like unrequited love, self-acceptance, and jealousy where it truly excels. The narrative is well-constructed; it effectively builds to a bittersweet misery-loves-company finale. Ultimately, Baby It's You is a heartfelt melodrama that quickly draws you in and stays with you.

Baby It's You gets an excellent release from Fun City Editions that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

The Eel: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1997
Director: Shôhei Imamura
Writers: Shôhei Imamura, Daisuke Tengan, Motofumi Tomikawa
Cast: Kôji Yakusho, Misa Shimizu, Mitsuko Baishô, Akira Emoto, Fujio Tokita, Shô Aikawa, Ken Kobayashi, Sabu Kawahara, Etsuko Ichihara, Tomorowô Taguchi, Chiho Terada

Release Date: April 14th, 2025 (UK), April 15th, 2025 (USA)
Approximate Running Times: 134 Minutes 25 Seconds (Director's Cut), 116 Minutes 38 Seconds (Theatrical Cut)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese (Both Versions)
Subtitles: English (Both Versions)
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"After serving time in prison for murdering his unfaithful wife, Yamashita (Koji Yakusho, Perfect Days, Cure) is released on parole, accompanied only by his pet eel. Hoping to stay out of trouble, he takes over a rural barber shop that quickly becomes a gathering point for the eccentric locals. However, the discovery of a woman’s failed suicide starts a chain reaction that brings back past demons - and not just his own." - synopsis provided by the distributor

Video: 4.25/5 (Director's Cut), 4/5 (Theatrical Cut)

Here’s the information provided about the transfer, "The Eel (Director's Cut) was transferred in High-Definition by Shochiku Co. Ltd. and supplied to Radiance Films as a High-Definition digital file.

The Eel (Theatrical Cut) as presented on this disc was assembled by Radiance Films using the high-definition master of the Director's Cut as supplied by Shochiku Co. Ltd. Where necessary and in order to present a complete and accurate version of the Theatrical Cut, this version briefly incorporates interstitial footage taken from a pre-existing standard definition version, which was the only available source from this version of the film. As a result, there are occasional moments where the resolution of the picture fluctuates."

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

Disc Size: 45.8 GB

Feature: 23 GB (Director's Cut), 18.5 GB (Theatrical Cut)

The source is in excellent shape; flesh tones and colors look correct, image clarity and compression are solid, and black levels are strong. That said, there do not appear to be any issues related to digital noise reduction.

Audio: 4.25/5

Each version comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. Both audio tracks are in great shape; dialog comes through clearly, everything sounds balanced, and range-wise ambient sounds are well-represented.

Extras:

Extras for this release include a theatrical trailer (1 minute 8 seconds, Dolby Digital mono Japanese with removable English subtitles), a video essay by Tom Mes on the year 1997 as a turning point in Japanese cinema (13 minutes 22 seconds, Dolby Digital stereo English with removable English subtitles for Japanese film clips), an interview with film critic Tony Rayns (27 minutes 31 seconds, Dolby Digital stereo English, no subtitles), an interview with screenwriter Daisuke Tengan, son of director Shôhei Imamura (18 minutes 52 seconds, Dolby Digital stereo Japanese with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 3000 copies) cast & crew information, an archival interview with Shôhei Imamura conducted by Max Tessier, an archival essay titled The Long Way Back to Normality written by Andrea Grunert, and information about the transfer.

Summary:

Shôhei Imamura directed The Eel. He’s known for Pigs and Battleships, The Insect Woman, Intentions of Murder, The Pornographers, Vengeance Is Mine, The Ballad of Narayama, Zegen, and Black Rain.

The Eel is a character-driven melodrama that revolves around a mild-mannered salaryman named Takuro Yamashita whose life is shattered when he discovers his wife's infidelity. Consumed by rage, he grabs a knife, stabs her lover in the back, and then repeatedly stabs her to death. He’s sent to prison for eight years for killing his wife, and when he emerges, he’s clearly a different person. His main companion is an eel who he frequently talks to, and though he initially struggles to connect with others, over time he forms a close bond with a colorful group of characters.

Despite opening with a dramatic moment that hits you hard, most of the narrative is relatively calm moments where characters interact and enjoy spending time with each other. Though there are occasional moments where the serenity is disrupted, most of the narrative has a lighthearted tone. That said, the most surprising aspect of The Eel is how effectively it mixes humor and poignant moments.

An inner turmoil befalls Takuro, the protagonist, like so many of Shôhei Imamura's protagonists. He’s a man who speaks few words and locks his emotions inside where they fester. Though he remains guarded throughout, he does slightly open up with a woman named Keiko, who he saves from an attempted suicide. Keiko, like Takuro, has her own complicated past, which she tries to outrun. Other themes explored in The Eel include loneliness and Takuro’s lack of remorse, his refusal to visit his wife's grave and make amends.

The cast are excellent in their roles, especially Kôji Yakusho (Cure), who portrays Takuro, and Misa Shimizu (Shall We Dance?), who portrays Keiko. In a film that is overflowing with colorful characters, these two characters are the counterbalance, and they both deliver exemplary, pensive performances that perfectly capture their characters' state of mind.

The cast are excellent in their roles, especially Kôji Yakusho (Cure), who portrays Takuro, and Misa Shimizu (Shall We Dance?), who portrays Keiko. In a film that is overflowing with colorful characters, these two characters are the counterbalance, and they both deliver exemplary, pensive performances that perfectly capture their characters' state of mind. Another performance of note is Tomorowô Taguchi (Tetsuo: The Iron Man), who portrays the short-fused loan shark Eiji Dojima.

Though the visuals let the performances be the focal point, there are a few striking moments visually. The most notable of these is the scene where Takuro methodically bludgeons his wife to death, and then he calmly walks into the police station and turns himself in. Other visually striking moments include the scene where Takuro, who had been fishing, discovers Keiko’s comatose body; a scene where a man who's blackmailing Takuro tries to rape Keiko; and a scene where Takuro reaches his breaking point and lets out his rage.

Though this release offers two versions of the film, the clear winner is the director’s cut. That said, The Eel is a film where more is better; not only are things more fleshed out, but the narrative's rhythm is superior. Other strengths of the narrative are how it uses flashbacks to flesh out Keiko’s backstory and its cathartic finale in which Takuro is finally able to move on from his past. Shôhei Imamura was a filmmaker who made so many films that can be qualified as masterpieces, and yet even his films that fall just below this mark are extraordinary. Ultimately, though The Eel falls into the latter category, it is still an extraordinary film about the human condition.

The Eel gets an exceptional release from Radiance Films that comes with a strong audio/video presentation, two versions of the film, and insightful extras, highly recommended.

 

Written by Michael Den Boer

Yakuza Wives – 88 Films (Blu-ray)

Theatrical Release Date: Japan, 1986
Director: Hideo Gosha
Writer: Kôji Takada
Cast: Shima Iwashita, Rino Katase, Akiko Kana, Riki Takeuchi, Kôjiro Shimizu, Shôko Ieda, Yasuko Naito, Junko Enjô, Seizô Fukumoto, Mikio Narita, Kei Satô

Release Date: April 21st, 2025 (UK), April 22nd, 2025 (USA)
Approximate Running Time: 119 Minutes 46 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $34.95 (USA)

"Shima Iwashita puts in a commanding performance as Tamaki, who takes over the reins of the Domoto clan while her husband is spending time in jail. Family relations are strained past breaking point when her younger sister Makoto embarks on a relationship with a member of a rival gang." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "Blu-ray presentation in 1.85:1 Aspect Ratio".

Yakuza Wives comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 32.6 GB

The source looks great; flesh tones are healthy, colors look correct, black levels are strong, image clarity and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in excellent shape; dialog always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score sounds appropriately robust. 

Extras:

Extras for this release include a stills gallery with music from the film playing in the background (stills/poster), two theatrical trailers (3 minutes 45 seconds, Dolby Digital mono Japanese with removable English subtitles), an introduction by Mark Schilling (15 minutes 47 seconds, Dolby Digital stereo English, no subtitles), an interview with Tattoo Artist Seiji Mouri (24 minutes 57 seconds, Dolby Digital stereo Japanese with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet with cast & crew information, and an essay titled Rebirth of a Genre written by Nathan Stuart.

Summary:

Yakuza Wives was directed by Hideo Gosha, a filmmaker best known for directing samurai films. His notable films include Goyokin, The Wolves, Violent Streets, and Hunter in the Dark.

A power struggle ensues when those who are unhappy with the boss’ chosen successor break away and form a rival clan.

The Yakuza film often relegates women characters to roles that are unvirtuous or devious, portraying them as rarely matching the strength of their male counterparts. Even when they don’t fall into those categories, they are typically wives or girlfriends who serve as secondary characters and simply blend in. Though Japanese cinema features many examples of strong female characters who stand on equal footing with their male counterparts, a film like Yakuza Wives was among the first Yakuza films to provide women characters with traits typically reserved for their male counterparts.

Loyalty is a theme that dominates Yakuza cinema; characters are bound by a code, and breaking it never leads to anything good. Though loyalty had been predominantly viewed through the lens of male characters, Yakuza Wives offers a different view that shows the women in these men's lives have a fierce loyalty that rivals their male counterparts.

The narrative revolves around Tamaki, the wife of a yakuza who is currently serving time in prison. She is a strong-willed character who sets an example for the other women, and she commands respect from the men who serve her through strength and fear. While her husband is in jail, the boss of the Domoto clan passes away and names her husband as his successor. Unhappy with this decision, some of the men break away and form their own rival clan, which leads to a war between the two clans.

The other key female character is Makato, the younger, naive sister of Tamaki. Though she initially lives a life separate from the one her sister has immersed herself in, over time she becomes jaded and gains confidence. She becomes involved with a yakuza named Kiyoshi Sugita, who initially takes her by force. After an initial hesitancy about him, she falls madly in love with him, which causes a rift between her and her sister.

All around, the performances are outstanding, especially Shima Iwashita’s (Harakiri) portrayal of Tamaki. She delivers a commanding performance that perfectly captures her character's confidence and fearlessness. The other performance of note is Rino Katase’s portrayal of Makato. She would work with Hideo Gosha three more times: Tokyo Bordello, Carmen 1945, and Heat Wave. Notable cast members include Riki Takeuchi (Deadly Outlaw: Rekka), Masanori Sera, who portrays Kiyoshi, a man driven by his impulses, and Mikio Narita (Graveyard of Honor), who portrays Akimasa, who sees himself as the rightful heir to the Domoto clan, and he finds himself in a power struggle with Tamaki.

From a production standpoint, there is no area where Yakuza Wives does not excel. In the first hour the narrative is all about building its characters, and violence is minimal. Though violence escalates in the latter half of the narrative it is still well below what one expects from a Yakuza film. There are three striking moments: the scene where Kiyoshi rapes Makato, a scene where Makato finally stands up to Tamaki, and a jarring climax that blends eroticism and carnage. Ultimately, Yakuza Wives is another exemplary film from Hideo Gosha, making it a must-see for fans of Yakuza cinema.

Yakuza Wives gets a solid release from 88 Films that comes with a strong audio/video presentation and insightful extras, highly recommended.

Written by Michael Den Boer

Café Flesh: Limited Red Case Edition – Mondo Macabro (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1982
Director: Stephen Sayadian
Writers: Jerry Stahl, Stephen Sayadian
Cast: Andy Nichols, Paul McGibboney, Michelle Bauer, Marie Sharp, Tantala Ray, Dennis Edwards, Kevin James, Dondi Bastone, Richard Belzer 

Release Date: March, 2025
Approximate Running Time: 75 Minutes 38 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 & 1.33:1 Aspect Ratio / 2160 Progressive / HEVC / H.265
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: OOP

"The time: five years after a nuclear apocalypse. The survivors: post-nuke, thrill-freaks looking for a kick. Able to exist, to sense, to feel everything... but pleasure. In a world destroyed, survivors break down to those who can and those who can't. 99% are Sex Negatives; call them "erotic casualties". They want to make love, but the mere touch of another person makes them violently ill. The rest, the lucky one percent, are Sex Positives, those whose libidos escaped unscathed. After the Nuclear Kiss, the Positives remain to love, to perform; and the others can only watch - can only come to Cafe Flesh!" - synopsis provided by the distributor

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

Here’s the information provided about the transfer, "The following restoration of Café Flesh was made from a number of 35mm prints and analog sources with consequent occasional variations in image quality."  

Café Flesh comes on a 100 GB triple layer 4K UHD

Disc Size: 82.4 GB

Feature: 34.2 GB (1.85:1 Aspect Ratio), 34.1 GB (1.33:1 Aspect Ratio)

Though there are a few moments where quality dips, the bulk of the time the source looks excellent. Flesh tones look healthy, colors are nicely saturated and appropriately vibrant, image clarity, black levels, and compression are solid, and the image looks organic. That said, it is difficult to imagine Café Flesh ever looking any better than it does for this release.

Café Flesh comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.8 GB

Feature: 14.3 GB (1.85:1 Aspect Ratio), 14.3 GB (1.33:1 Aspect Ratio)

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

Audio: 5/5

This release comes with one option, a DTS-HD mono mix in English, and included are removable English SDH subtitles. The audio is in excellent shape. Dialog always comes through clearly; everything sounds balanced; ambient sounds are well represented; and range-wise, things sound robust when they should.

Extras:

Extras on the 4K UHD disc include a theatrical trailer (2 minutes 59 seconds, Dolby Digital mono English, no subtitles), archival onset B-roll making of footage (3 minutes 8 seconds, Dolby Digital mono English, no subtitles), an interview with writer and adult film performer Jessica Stoya (9 minutes 39 seconds, Dolby Digital stereo English, no subtitles), an interview with Jacob Smith, Northwestern University (17 minutes 49 seconds, Dolby Digital stereo English, no subtitles), an interview with screenwriter Jerry Stahl aka Herbert W Day (15 minutes 22 seconds, Dolby Digital stereo English, no subtitles), an interview with director, designer and screenwriter Stephen Sayadian aka Rinse Dream (57 minutes 47 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Stephen Sayadian.

The extras are the same on both discs.

Other extras include a slipcover, and a 32-page booklet with an archival text titled “Café Flesh” and Me Confessions of a Cult Sex King written by Jerry Stahl, an essay titled United Mutations: Café Flesh as Dada xxx written by Daniel Bird, an essay titled We Don’t Dream: Shadows and Sadness in the Fallout in Stephen Sayadian’s Café Flesh written by Heather Drain, an essay titled Unmasking Café Flesh’s Customers written by Eric Peretti.

Summary:

Stephen Sayadian and Jerry Stahl are the creative minds behind Café Flesh. Their other collaborations include Nightdreams and Dr. Caligari. Stephen Sayadian is most known for his role as the creative director of humor and advertising for Larry Flynt Publications, and screenwriter Jerry Stahl’s autobiographical novel Permanent Midnight about his addiction to heroin was adapted into a feature film.

In a post-apocalyptic future there are two kinds of people: sex negatives who get ill from physical intimacy and sex positives who perform for those who can no longer experience pleasure.

Despite Café Flesh being made for adult film audiences, the result is an anti-X-rated film in how deliberately unerotic it is. Café Flesh is a film infused with avant-garde and surrealism. The look of Café Flesh is an infusion of 1950s and 1980s culture. Mitchell Froom’s remarkable score perfectly underscores the mood, creating a synergy with the visuals.

The narrative does an excellent job balancing exposition and sex scenes. At 76 minutes in length, things move quickly, and the narrative does a phenomenal job building to its climax. The premise and its post-apocalyptic setting are ripe with possibilities, and they are fully exploited.

The cast is a mixture of adult performers and theater actors. When it comes to the performances, they far exceed expectations. The most memorable performance is Marie Sharp, who portrays Angel, a woman who hides that she is actually sex-positive. Another notable performance is Michelle Bauer (Hollywood Chainsaw Hookers), who portrays Lana, a sex-negative woman who has a sexual awakening in the finale. Notable cast members include adult film actor Kevin James, who portrays Johnny Rico, a sex-positive performer, and Richard Belzer (Law & Order: Special Victims Unit), who has a cameo as a loudmouth audience member.

There are six sex scenes, and each one has a different theme and vibe. In the first one, a 1950s housewife has a sexual rendezvous with a milkman who looks like a rat. In the second one, a secretary has sex with her boss, who has a pencil for a head, while other rigs are in the background. The third one is a lesbian scene in a Cold War setting. The fourth one is a self-pleasure moment with Lana. The fifth one is a Busby Berkeley-inspired scene. In the final sex scene, Lana has her sexual awakening.

Stephen Sayadian’s extensive background as an art director and production designer is on full display in Café Flesh. That said, the production design is exemplary; it is overflowing with imagination. The most surprising aspect of Café Flesh is how effectively it employs humor. Ultimately, Café Flesh is a unique cinema experience that those who normally don’t enjoy adult cinema are sure to enjoy.

Café Flesh gets a definitive release from Mondo Macabro, highly recommended.

Note: This edition is limited to 2000 copies.

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