The Black Belly of the Tarantula: Limited Edition – Celluloid Dreams (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy/France, 1971
Director: Paolo Cavara
Writers: Marcello Danon, Lucile Laks
Cast: Giancarlo Giannini, Claudine Auger, Barbara Bouchet, Rossella Falk, Silvano Tranquilli, Annabella Incontrera, Barbara Bach, Stefania Sandrelli, Giancarlo Prete

Release Date: August 20th, 2026
Approximate Running Times: 97 Minutes 53 Seconds (Domestic Cut), 87 Minutes 58 Seconds (International Cut)
Aspect Ratio: 1.37:1 Aspect Ratio / 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 (Domestic Cut), 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Versions), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: NR
Sound: DTS-HD Mono Italian Remastered (Both Versions), DTS-HD Mono Italian Unrestored (Both Versions), DTS-HD Mono English (Both Versions)
Subtitles: English (Both Versions), English SDH (Both Versions)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $65.95

"A serial killer has Rome on edge! Paralyzing his victims, then proceeding to slice them open before their own eyes, this sadistic maniac must be stopped! Conflicted, burned-out, and feeling overwhelmed, Inspector Tellini must find the madman before he claims another victim in a case that edges closer and closer to his personal life." - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, “Scanning of the original 4-perf 35mm camera negative in 4K resolution was completed by VIGGO in Rome.

Lucas Henkel and Guido Henkel performed the color grading and restoration entirely in-house at Celluloid Dreams. Thousands of instances of dirt, debris, scratches, picture instability, torn frames, water damage, and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques. Celluloid Dreams is using Phoenix Restoration Tools by Filmworks.

The HDR grade for this release was prepared referencing a theatrical release positive print that was also located and scanned for this restoration. Further, additional fade corrections were performed in reference to a Japanese VHS-sourced print telecine that was digitized using a Domesday Duplicator. Whilst shot-by-shot corrections were applied to match the original photochemical timing, minor liberties were taken on occasion to help create a more balanced and cohesive viewing experience between shots, scenes, and reels.

For archival purposes, alongside the restored negative master, an uncorrected positive print scan is also included as the “Grindhouse Version,” purely as an academic and archival oddity.

The international export cut was conformed in reference to an incomplete English CRT element transfer provided by VIGGO and a Spanish standard-definition transfer of an intermediate element. In the process, numerous previously missing frames have been restored.

All original film negative and intermediate elements used in this restoration were provided by VIGGO, Rome.”

The Black Belly of the Tarantula comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.1 GB

Feature: 46.9 GB (1.85:1 Aspect Ratio), 39.7 GB (1.37:1 Aspect Ratio)

The included booklet gives a detailed overview of the source and its restoration. That said, the source looks outstanding; it's a massive improvement over all previous home video releases. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, contrast, and compression are solid, and the image always looks organic.

The Black Belly of the Tarantula comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.3 GB

Feature: 24.9 GB (1.37:1 Aspect Ratio - Domestic Cut), 19.1 GB (1.37:1 Aspect Ratio - International Cut)

The Blu-ray uses the same source as the 4K UHD does for its transfer.

The Black Belly of the Tarantula comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.9 GB

Feature: 25 GB (1.85:1 Aspect Ratio - Domestic Cut), 19.1 GB (1.85:1 Aspect Ratio - International Cut)

The Blu-ray uses the same source as the 4K UHD does for its transfer.

Audio: 5/5 (DTS-HD Mono Italian Remastered, DTS-HD Mono English), 3.5/5 (DTS-HD Mono Italian Unrestored)

This release comes with three audio options, a remastered DTS-HD mono mix in Italian, an unrestored DTS-HD mono mix in Italian, and a DTS-HD mono mix in English. The audio, like the video, has undergone extensive restoration, and the inclusion of the unrestored track showcases just how much work was done. The remastered Italian and English-language track sounds excellent. Dialogue always comes through clearly, everything sounds balanced, and ambient sounds and the score are well-represented. That said, the Italian-language tracks sound slightly fuller than the English-language track. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track. Language tracks and subtitles can only be changed via the setup menu and not during playback.

Extras:

Extras on the 4K UHD disc include an audio commentary with film critic Guido Henkel for the domestic cut.

Extras on Blu-ray disc one include an audio commentary with Henkel for the domestic cut.

Extras on Blu-ray disc two include an audio commentary with Henkel for the domestic cut.

Extras on Blu-ray disc three include an image gallery (56 images—posters/lobby cards/publicity photos/miscellaneous/newspaper articles/adverts), an English-language theatrical trailer (1 minute 56 seconds, DTS-HD mono English, no subtitles), a German-language theatrical trailer (3 minutes 34 seconds, DTS-HD mono German with non-removable English subtitles), a U.S. TV spot with The Weekend Murders (1 minute 3 seconds, DTS-HD mono English, no subtitles), a ‘Grindhouse Version’ of the U.S. TV spot with The Weekend Murders (1 minute 2 seconds, DTS-HD mono English, no subtitles), censored Japanese VHS clips (24 seconds, DTS-HD mono with text in Japanese, no English subtitles), an archival interview with director Paolo Cavara's son, Pietro Cavara (4 minutes 54 seconds, DTS-HD stereo Italian with non-removable English subtitles), an archival interview with producer Marcello Danon's son, Lorenzo Danon (16 minutes 6 seconds, DTS-HD stereo Italian with non-removable English subtitles), an interview with Pietro Cavara titled The World of Paolo Cavara (22 minutes 16 seconds, DTS-HD stereo Italian with non-removable English subtitles), an interview with soprano Edda Dell'Orso titled Made-up Words (25 minutes 12 seconds, DTS-HD stereo Italian with non-removable English subtitles), a video essay by Andy Marshall-Roberts titled What a Tangled Web We Weave: The Prestige of Paolo Cavara’s The Black Belly of the Tarantula (20 minutes 50 seconds, DTS-HD stereo English, no subtitles), a video essay by Howard S. Berger titled The Uncanny Peephole (22 minutes 35 seconds, DTS-HD stereo English, no subtitles), and a ‘Grindhouse Version’ of The Black Belly of the Tarantula from 35mm theatrical print (84 minutes 57 seconds, 1.37:1 aspect ratio, 1080 Progressive, DTS-HD mono Italian with non-removable English subtitles).

Other extras include reversible cover art, a slipcase, a set of reprints of 16 publicity photographs from the original American press materials, a set of 6 beautifully restored 12″x8.25″ color reproductions of the original Italian fotobuste, and an 80-page book with cast & crew information, an essay titled Spinning a Different Kind of Web with The Black Belly of the Tarantula written by Jim Branscome, an essay titled Inside The Black Belly of the Tarantula written by JA Kerswell, a collection of Then/Now location photographs by Andrea Girolami titled Revisiting the Belly of the Beast!, and information about the restoration.

Summary:

Paola Cavara directed The Black Belly of the Tarantula. He’s known for Mondo Cane, Women of the World, The Wild Eye, and Plot of Fear. 

Maria arrives home one day to find her jealous husband holding photos of her and another man having an affair. After hitting her a few times, he leaves the apartment in a rage. Later that evening, Maria is murdered, and the police soon suspect her hot-tempered husband. Inspector Tellini is assigned to the case and every time he finds a lead, they end up dying. Will Inspector Telling uncover the killers’ identity before they destroy all the evidence and disappear forever?

While there had been Italian thrillers before Dario Argento’s The Bird With the Crystal Plumage, there’s no denying it is a seminal film that spanned countless imitations. In the early 1970s, after the success of The Bird With the Crystal Plumage, there was an onslaught on movies that featured an animal in their title. That said, Dario Argento’s influences aside, The Black Belly of the Tarantula feels more like an extension of Mario Bava’s Blood and Black Lace.

Paolo Cavara started his career directing or co-directing the highly controversial documentaries Mono Cane and Women of the World. Where his collaborators Gualtiero Jacopetti and Franco Prosperi would continue to make Mondo films, Paolo Cavara would venture out in feature films. Although Paolo Cavara directed in a variety of genres, he’s most known for his two gialli, The Black Belly of the Tarantula and Plot of Fear.

For this release, The Black Belly of the Tarantula can finally be seen in its intended 1.37:1 aspect ratio, and when compared to its alternate 1.85:1 aspect ratio, the differences are striking. Where 1.85:1 feels too cramped, The Black Belly of the Tarantula’s use of wide-angle lenses really comes out in 1.37:1, enhancing a feeling of claustrophobia. That said, Paolo Cavara’s direction is exemplary; he fills every inch of the screen with compositions that heighten the mood.

When it comes to the performances, the entire cast are excellent in their roles, especially Giancarlo Giannini's (The Seduction of Mimi) portrayal of Inspector Tellini. His character's doubts about his ability as an inspector and willingness to walk away are what make his performance so compelling. Where most gialli feature amateurs who solve the murders, The Black Belly of the Tarantula is a rare example where law enforcement drives the narrative.

Giancarlo Giannini is surrounded by a cast of whos-whos of 1970s Italian genre cinema: Claudine Auger (Thunderball), Annabella Incontrera (The Case of the Bloody Iris), Silvano Tranquilli (The Bloodstained Butterfly), Barbara Bach (Short Night of Glass Dolls), and Barbara Bouchet (Don’t Torture a Duckling). Though Barbara Bouchet only has limited screentime (her character is the first victim), she makes the most of her time. Another performance of note is Stefania Sandrelli (I Knew Her Well), who portrays Inspector Tellini’s wife.

While the murder set pieces are a main draw of the giallo, the best and most memorable have well-crafted narratives that quickly grab you and always keep you guessing. That said, The Black Belly of the Tarantula is incredibly successful in both of these regards. Another strength of the narrative is how well it conceals the killer's identity and how it brings everything into focus with the revelation of why they did it.

The animal named in the film's title, The Black Belly of the Tarantula, ties into the method the killer uses to paralyze its victims. The killer uses a needle as the base of the victim's neck to paralyze them and then they flip them open and cut their stomach open. Out of all the ways killers have disposed of their victims, this method of killing is one of the most original.

When discussing The Black Belly of the Tarantula, one must not overlook Ennio Morricone's extraordinary score. While Ennio Morricone had delivered so many outstanding scores, his score for The Black Belly of the Tarantula is among his best works. Ultimately, The Black Belly of the Tarantula is an intense thriller that’s overflowing with atmosphere, making it one of the high-water marks of 1970s giallo cinema.

The Black Belly of the Tarantula gets a spectacular release from Celluloid Dreams that comes with a solid audio/video presentation and a wealth of insightful extras. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

The Cheat (La Triche) – Altered Innocence (Blu-ray)

Theatrical Release Date: France, 1984
Director: Yannick Bellon
Writers: Yannick Bellon, Alain Marcel, Rémi Waterhouse
Cast: Victor Lanoux, Anny Duperey, Valérie Mairesse, Xavier Deluc, Michel Galabru, Roland Blanche, Michèle Simonnet, Patrick Raynal, Gérard Hérold, Guy Tréjan

Release Date: September 9th, 2026
Approximate Running Time: 103 Minutes 44 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono French
Subtitles: English
Region Coding: Region A
Retail Price: $32.95

"In Bordeaux, a murder investigation tied to a queer club pulls a married police inspector into a dangerous affair with a young handsome musician who may also be a suspect. As the investigation deepens, his involvement with the suspect begins to strain his marriage and blur the boundaries between his professional and private life.” – Synopsis provided by the distributor

Video: 4.25/5

Here’s the information given about the transfer, “Newly restored in HD for its first major U.S. release, the film remains a striking entry in queer French cinema."

The Cheat (La Triche) comes on a 25 GB single layer Blu-ray.

Disc Size: 23 GB

Feature: 20.5 GB

The source looks excellent; it retains an organic appearance. Flesh tones and colors look correct, image clarity and black levels are strong, and there are no issues with compression.

Audio: 4.25/5

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

Extras:

Extras for this release include a newly created trailer (1 minute 23 seconds, Dolby Digital mono French with removable English subtitles), an archival making-of documentary titled Between Identity and Emotion: Reflections on La Triche (47 minutes 1 second, Dolby Digital stereo French with removable English subtitles), and trailers for The Wounded Man, Wild Reeds, Taxi zum Klo, and Angst by August.

Summary:

Yannick Bellon directed The Cheat (La Triche). Her notable films are Somewhere, Someone, La femme de Jean, and L'affût.

A police commissioner investigating the death of a prominent homosexual becomes romantically involved with a young man who's the main suspect.

Although a man's murder initiates the narrative, the police procedural elements of the story become secondary after the initial setup. That said, what begins as a murder mystery evolves into a melodrama after an illicit affair that poses a threat to the police commissioner's professional and personal lives.

While the opening moments offer The Cheat’s (La Triche) most risky moment, the scene features full frontal male nudity; the sexual encounters after that are brief, or their most graphic elements are implied offscreen. At the heart of The Cheat (La Triche) is a film about self-destructive behavior and its consequences. When it comes to the police commissioner's affair with men, The Cheat (La Triche) is a biting critic of moralism.

All around, the performances are outstanding, especially Victor Lanoux (Cousin, Cousine) in the role of police commissioner Michel Verta and Xavier Deluc (He Died with His Eyes Open) in the role of a murder suspect named Bernard Mirande. Victor Lanoux delivers a remarkable portrayal of a man leading a double life: a loving family man with a wife and child and secret sexual encounters with men. What makes Michel Verta and Xavier Deluc's performances so powerful is their onscreen chemistry.

The Cheat (La Triche) is a dialogue-driven film that has a few striking moments visually. The narrative’s thrust comes from the police commissioner’s fear of his homosexual encounters being exposed, and it is in these moments that the narrative really excels at creating tension. The narrative effectively captures your attention, but it truly reaches its peak with a significant plot twist in the final 30 minutes. Ultimately, The Cheat (La Triche) is an engrossing melodrama whose tragic finale serves as a perfect coda.

The Cheat (La Triche) gets a first-rate release from Altered Innocence that comes with a strong audio/video presentation and an insightful extra. Recommended.

Written by Michael Den Boer

Exposed – Klubb Super 8 (Blu-ray)

Theatrical Release Date: Sweden, 1971
Director: Gustaf Wiklund
Writer: Tony Forsberg
Cast: Christina Lindberg, Heinz Hopf, Janne Carlsson, Björn Adelly, Tor Isedal, Bert-Åke Varg, Siv Ericks, Håkan Westergren, Margit Carlqvist

Release Date: August 21st, 2026
Approximate Running Time: 91 Minutes 55 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: LPCM Mono Swedish, Dolby Digital Mono German
Subtitles: English
Region Coding: Region Free
Retail Price: $47.98

"17-year-old Lena (Christina Lindberg, 21 years old) is alone in town while her parents are on vacation. She is torn between her innocent boyfriend Jan and the older, worldly and perverted girl photographer Helge (Heinz Hopf, whom Christina Lindberg played against in Thriller – A Cruel Picture). Lena hikes a ride with Lars (Janne "Loffe" Carlsson) and his open-minded wife. The couple party, swim naked and have sex in front of the wide-eyed Lena. Back in the big city, she is once again attracted to Helge and his sick parties and erotic games. Memories, the present, violent fantasies and reality mix in the sexually confused girl's head." - synopsis provided by the distributor

Video: 3.5/5

Here’s the information provided about this release's transfer, "Restored original Swedish version."

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

Disc Size: 44.7 GB

Feature: 18.1 GB

The verbiage provided about the source is too vague. That said, there are noticeable nicks, scratches, and other imperfections throughout. Flesh tones and colors look correct, image clarity is strong, there are no issues with compression and the image retains an organic appearance. That said, black levels are not as convincing as they should be.

Audio: 3.75/5 (LPCM Mono Swedish)

This release comes with two audio options, a LPCM mono mix in Swedish and a Dolby Digital mono mix in German. For this review I only listened to the Swedish-language track. That track sounds clear and balanced, and ambient sounds are well represented. Included are removable English subtitles for the Swedish-language track.

Extras:

Extras on Blu-ray disc one include a U.S. edit of Exposed under the title Diary of a Rape (77 minutes 4 seconds, 1.66:1 aspect ratio, LPCM mono English with removable English subtitles), a French version of Exposed under the title La possédée (82 minutes 38 seconds, 1.66:1 aspect ratio, LPCM mono French with removable English subtitles), a German version of Exposed under the title Verbotene Früchte der Erotik (77 minutes 24 seconds, 1.66:1 aspect ratio, LPCM mono German with removable English subtitles), and an audio Commentary with Patrick von Sychowski and Rickard Gramfors (Klubb Super 8).

Extras on Blu-ray disc two include a U.S. theatrical trailer under the title The Depraved (3 minutes 46 seconds, Dolby Digital mono English, no subtitles), a Swedish theatrical trailer (1 minute 55 seconds, Dolby Digital mono with music from the film), an extra titled The Music—two songs from the film: Exposed Theme/Lena Theme by Bernt Egerbladh (6 minutes 14 seconds, Dolby Digital mono), image galleries with music from the film playing in the background: Christina Lindberg Centerfolds, Unpublished Contact Sheets, Christina Lindberg in Cannes 1971, and Poster and Image Gallery, an archival featurette titled Overexposed, featuring interviews with actress Christina Lindberg and director Gustav Wiklund (17 minutes 12 seconds, Dolby Digital stereo Swedish with removable English subtitles), an interview with film editor/actor/producer Lasse Lundberg (9 minutes 57 seconds, Dolby Digital stereo Swedish with removable English subtitles), an interview with actor Björn Adelly (8 minutes 13 seconds, Dolby Digital stereo Swedish with removable English subtitles), an interview with Christina Lindberg titled Christina Back in Cannes 2026 (14 minutes 47 seconds, Dolby Digital stereo Swedish with removable English subtitles), and a video essay about actor Heinz Hopf by Rickard Gramfors (20 minutes 51 seconds, Dolby Digital stereo English with removable English subtitles).

Other extras include a slipcover (limited to 2,000 units).

Summary:

Gustaf Wiklund directed Exposed. His only other theatrical feature film, Sängkamrater (Wide Open), also stars Christina Lindberg. Other titles that Exposed has been released under include The Depraved and Diary of a Rape.

A young woman named Lena is torn between two lovers: a sadistic blackmailer and a naive boy she goes to school with.

Exposed is a coming-of-age story about a young woman and her two suitors; one shows her the darker side of life, while the other offers a safer, more mundane view. The opening setup quickly grabs you with a series of candid nude photographs; while no words are spoken, these photos are central to the blackmail plot that unfolds. The narrative is not told in the most conventional way, as some events are only a figment of Lena’s imagination. Although Exposed’s moment of truth lacks resolution, it is in line with Lena’s inability to make decisive decisions. That said, the narrative offers a few interesting twists; unfortunately, there are a few lulls that disrupt momentum.

Even at this early stage of her career, Christina Lindberg's (Thriller: A Cruel Picture) physical presence is remarkable; she’s able to convey so much by saying few words. Despite being typecast in roles like Lena, an innocent, naive character corrupted by perversions, she would still bring an enthusiasm to every performance. When discussing the performances, one must not overlook Heinz Hopf’s portrayal of Lena’s lover turned blackmailer.

Although Exposed effectively blends its psychological aspects with melodrama, its inability to decide if it wants to be an exploitation or arthouse film ultimately hurts it. There are only two scenes that stand out when it comes to the more exploitative moments: the opening photographic sequences and a bondage scene where Lena puts an end to her blackmailer once and for all. Ultimately, despite its more exploitative moments, Exposed is not as perverse of a film as its advertising or trailer suggests.

Klubb Super 8 gives Exposed its best home media release to date. Recommended.

Written by Michael Den Boer

Fatal Flying Guillotine: Collector's Edition – Visual Vengeance (Blu-ray)

Theatrical Release Date: Taiwan/Hong Kong, 1978
Director: Raymond Lui
Writers: Hui Sing-Yue, Raymond Lui
Cast: Chen Sing, Carter Wong, Chen Shao-Peng, Mu Szu-Cheng, Cheung Lik

Release Date: September 1st, 2026
Approximate Running Time: 80 Minutes 19 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: Dolby Digital Stereo English, Dolby Digital Stereo Mandarin
Subtitles: English
Region Coding: Region Free
Retail Price: $37.95

"Deep in the forbidding Valley of No Return, a reclusive master, driven to madness by his own obsessive training, perfects a nightmarish weapon - the "Lightning Strike," a savage evolution of the flying guillotine with twin, whirling blades designed for maximum carnage. Any intruder who dares cross into his domain faces instant decapitation with ruthless precision. But when a vengeance-driven fighter (Carter Wong) sets his sights on the valley, seeking justice for his mother's death, he must confront both the master's deadly invention and the head-chopping chaos it leaves in its wake." - synopsis provided by the distributor

Video: 3/5

Here’s the information provided about this release's transfer, “New 2K transfer from original film elements supervised and composited by film archivist Toby Russell."

Fatal Flying Guillotine comes on a 50 GB dual layer Blu-ray.

Disc Size: 32 GB

Feature: 18.4 GB

While the source looks clean and free of any distracting imperfections, it does not retain an organic appearance. Colors fare well, image clarity is generally sharp, and there are no issues with compression. That said, black levels are never convincing and there are a handful of gorier shots that were sourced from VHS.

Audio: 2.75/5 (Dolby Digital Stereo English), 3/5 (Dolby Digital Stereo Mandarin)

This release comes with two audio options, a Dolby Digital stereo mix in English and a Dolby Digital stereo mix in Mandarin. The English-language track has some background hiss; apart from that, the differences are minor. Dialogue comes through clearly, and ambient sounds are well-represented. Included are removable English subtitles, which directly translate the English-language track.

Extras:

Extras for this release include a Visual Vengeance trailer for Fatal Flying Guillotine (2 minutes 3 seconds, Dolby Digital stereo English, no subtitles), an image gallery with music from the film playing in the background, Chan Siu-Pang: 10 Styles of Tamo demonstration (5 minutes 52 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Carter Wong (20 minutes 49 seconds, Dolby Digital stereo English, no subtitles), a video essay by Justin Decloux titled Chan Siu-Pang Was There (9 minutes 36 seconds, Dolby Digital stereo English, no subtitles), a video essay by Justin Decloux titled A Brief History of Flying Guillotine Movies (8 minutes 20 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Justin Decloux of the Important Cinema Club Podcast, Fatal Flying Guillotine: old-school ‘Dirty VHS’ version (87 minutes 57 seconds, 4:3 Pan and Scan, Dolby Digital mono Engllish, no subtitles), reversible cover art featuring alternate VHS art, a folded mini-poster featuring original theatrical art, ‘Stick Your Own’ VHS sticker set (limited to the first pressing), a lobby card reproduction set (limited to the first pressing), an O-card (limited to the first pressing), and a 12-page booklet with an essay titled Looking Back at the Fatal Flying Guillotine written by C.J. Lines.

Other extras are Visual Vengeance trailers for Born a Ninja and Commando the Ninja, The Nine Demons, and Ninja Operation Knight and Warrior.

Summary:

Hong Kong cinema of the 1970s had a lot in common with Italian cinema of that era; both of their film industries were genre driven and whenever a film became widely successful, there were countless imitators. A prime example is Fatal Flying Guillotine, a film that capitalized on the success of Jimmy Wang Yu's legendary martial arts film, Master of the Flying Guillotine.

Fatal Flying Guillotine has more action than exposition, but its storyline is not easily summarized. There are two characters whose stories drive the narrative. The first is Shen Mo Chao, a reclusive martial arts master who lives deep in the valley of no return; the other is Shen Ping, a young gifted martial artist who’s searching for a cure for his ailing mother. Tying their two stories together is a book called Dharmals, which is in the possession of the Shoalin monks. When it is discovered that their copy is a forgery, a traitor is exposed, putting Shen Ping on a collision course with Shen Mo Chao.

Opening sequences play a pivotal role in setting the tone and laying the foundation in martial arts cinema. Fatal Flying Guillotine dives right in with a gory scene that showcases Shen Mo Chao's Lighting Strike, a deadly dual flying guillotine weapon. From there, the action is nonstop with brief intervals of exposition to move things forward. When it comes to the action sequences, they fall into two categories: scenes that are well-executed but nothing special and scenes where the dual flying guillotine is employed.

The performances are best described as serviceable. Most of the characters are caricatured bad guys whose bloodlust is second to none in their quest for power. While Carter Wong (Big Trouble in Little China) more than fulfills the role of the hero, he’s just not given much to do beyond the action sequences. The standout performance is Chen Sing (The Chinese Boxer) in the role of Shen Mo Chao. He made a career out of playing evil characters and Shen Mo Chao is arguably his best performance.

Although Fatal Flying Guillotine starts off strong, and its non-stop action does a great job holding your attention, the narrative loses momentum about half way through. After the aforementioned opening sequence, the next best scene is a bloody finale that does a superb job tying everything together. Ultimately, Fatal Flying Guillotine is a fun, albeit predictable, martial arts film.

Visual Vengeance gives Fatal Flying Guillotine its best home media release to date.

                                 Screenshot Example of Inserts.

Written by Michael Den Boer

Quick Let's Get Married – VCI Entertainment (Blu-ray/DVD Combo)

Theatrical Release Date: USA, 1964
Directors: William Dieterle, Victor Stoloff
Writer: Allan Scott
Cast: Ginger Rogers, Ray Milland, Barbara Eden, Elliott Gould, Carl Schell, Michael Ansara, Walter Abel, David Hurst, Leonardo Cimino

Release Date: September 22nd, 2026
Approximate Running Time: 95 Minutes 56 Seconds
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: GP
Sound: Dolby Digital Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $29.95

"Thief Mario Forni arrives in a small Italian town searching for hidden treasure, posing as a house painter. He falls for Madame Rinaldi, a local brothel owner, while secretly locating the treasure beneath a statue in an old church. When a prostitute named Pia confides her pregnancy nearby, Mario speaks from inside the statue, pretending to be St. Joseph, and leaves her gold coins. Believing it a miracle, Pia inspires the town, drawing attention from a suspicious mayor, banker, and a visiting bishop. Even after learning the truth, the bishop sees real value in the hope the "miracle" brings. When the statue collapses, revealing a golden cross, the town celebrates--while Mario and Rinaldi slip away with part of the treasure to start anew." - synopsis provided by the distributor

Video: 3/5

Quick Let's Get Married comes on a 25 GB single layer Blu-ray.

Disc Size: 22.5 GB

Feature: 20.7 GB

While the source is clean and free of any debris, it does not retain a filmic appearance. Flesh tones and colors look correct, image clarity is strong, and there are no major issues related to compression.

Audio: 3.25/5

This release comes with one audio option, a Dolby Digital mono mix in English with SDH. While the track sounds clean, clear, and balanced, range-wise it is limited.

Extras:

Extras for this release include a poster & photo gallery of Ginger Rogers, Ray Milland, Barbara Eden, and Elliott Gould movies and television shows; alternate opening and closing credits under the title 7 Different Ways (2 minutes 35 seconds, Dolby Digital mono); and an audio commentary with film historian, podcaster, and artist Rob Kelly.

Included with this release is a DVD that has the same content as the Blu-ray included as part of this combo release.

Summary:

From its inception, Quick Let's Get Married was a troubled film; its original director, Victor Stoloff (Sinfonia fatale), was fired and replaced by William Dieterle (Portrait of Jennie). Although filmed in 1964, under the working title The Confession, the film would not be released until 1971 under the title Quick Let's Get Married. 

A thief looking for a treasure buried underneath a St. Joseph statue takes interest in a distraught woman and when he speaks to her, she thinks that the statue talked to her. His words renew her faith in humanity, and as a result, a series of events unfold that lead the locals to believe they are divine interventions from St. Joseph.

What begins as a crime caper evolves into a romantic comedy where a thief becomes romantically involved with a brothel’s madame. While the treasure beneath the St. Joseph statue is central to the story that unfolds, that subplot often takes a backseat to romantic encounters and corrupt government officials. The most intriguing character is a prostitute named Pia, whose lover abandons her when he finds out she’s pregnant. That said, Pia’s character serves as the moral center for a film populated by immoral characters.

Quick Let's Get Married was produced by William Marshall, who at that time was married to Ginger Rogers (Magnificent Doll) and it was planned as a comeback for her after an 8-year absence from theatrical films. Ginger Rogers is cast in the role of Madame Rinaldi, and Ray Milland (Lost Weekend) is cast opposite her in the role of a thief named Mario Forni. They had previously worked together on The Major and the Minor.

The cast is a who’s who in 1950s and 60s film and television, notably Barbara Eden in the role of Pia. Made a year before, she portrayed what is arguably her signature character, Jennie, from I Dream of Jeannie; she delivers a heartfelt performance that stands out among the cast. Other notable cast members are Michael Ansara (The Manitou), who portrays a corrupt mayor, and Elliott Gould (The Long Goodbye), who makes his theatrical film debut portraying a mute.

Sometimes the narrative is too clever for its own good, which disrupts momentum. Fortunately, there is never a shortage of surprises to keep things from getting predictable. While the humor can be hit or miss, the funniest moments are scenes with Ginger Rogers and Ray Milland. Ultimately, on paper, Quick Let's Get Married should have turned out much better than it did, and the result feels like a missed opportunity.

VCI Entertainment gives Quick Let's Get Married a servicable audio/video presentation and an informative audio commentary.

Written by Michael Den Boer