Bullet in the Head: Limited Edition – Arrow Video (4K UHD/Blu-ray Combo)

Theatrical Release Date: Hong Kong, 1990
Director: John Woo
Writers: John Woo, Patrick Leung, Janet Chun
Cast: Tony Leung, Jacky Cheung, Waise Lee, Simon Yam, Fennie Yuen, Yolinda Yam, Shek Yin Lau, Chung Lin

Release Date: June 21st, 2026
Approximate Running Time: 130 Minutes 50 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: 18 (UK)
Sound: LPCM Mono Cantonese, LPCM Mono English, Dolby Atmos Cantonese
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region B (Blu-ray)
Retail Price: £29.99 (UK)

"Set during the Vietnam War, the film follows B, Fai and Wing (iconic actors Tony Leung Chiu-Wai, Jacky Cheung and Waise Lee), three best friends fleeing from Hong Kong to seek their fortune as smugglers. In Saigon, they join forces with fellow expat Lok (Simon Yam) and double-cross the ruthless gangster Luong to steal his gold and rescue nightclub singer Sau-ching (Yolinda Yan) from his clutches. The gang must fight their way out of the country in a nightmarish odyssey where each new battle pushes them beyond their limits and threatens to destroy their friendship." - synopsis provided by the distributor

Video: 5/5

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

Bullet in the Head comes on a 100 GB triple layer 4K UHD.

Disc Size: 92.2 GB

Feature: 87.1 GB

Bullet in the Head, the festival cut, comes on a 50 GB dual layer Blu-ray.

Disc Size: 42 GB

Feature: 38 GB

There are multiple options to watch the festival cut and an extended festival cut. Both versions can be watched with or without the alternate boardroom ending, and the extended festival cut contains footage previously exclusive to the theatrical cut.

Audio: 5/5 (All Audio Tracks)

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

Extras:

Extras on the 4K UHD disc include an image gallery (46 images—stills/Japanese press book/lobby cards/posters/home video art), theatrical trailer #1 (3 minutes 34 seconds, Dolby Digital mono Cantonese with removable English subtitles), theatrical trailer #2 (4 minutes 6 seconds, Dolby Digital mono English, no subtitles), deleted and extended scenes with text information about them (12 minutes 33 seconds, Dolby Digital mono Cantonese with removable English subtitles), alternate boardroom ending (5 minutes 32 seconds, Dolby Digital stereo Cantonese with removable English subtitles), English export credits (5 minutes 59 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with film critic Frank Djeng.

Blu-ray disc one comes with the festival cut (136 minutes 8 seconds, 1.85:1 aspect ratio, LPCM mono Cantonese with removable English subtitles), the festival cut with boardroom scene (125 minutes 54 seconds, 1.85:1 aspect ratio, LPCM mono Cantonese with removable English subtitles), the extended festival cut (136 minutes 42 seconds, 1.85:1 aspect ratio, LPCM mono Cantonese with removable English subtitles), and the extended festival cut with boardroom scene (126 minutes 28 seconds, 1.85:1 aspect ratio, LPCM mono Cantonese with removable English subtitles).

Extras on Blu-ray disc two include an archival interview with director John Woo titled Life Through a Lens (13 minutes 1 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Jacky Cheung titled Baptism of Fire (14 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Waise Lee titled Paradise Lost (14 minutes 1 second, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor Simon Yam titled Biting the Bullet (15 minutes 17 seconds, Dolby Digital stereo English, no subtitles), an archival interview with stunt coordinator Lau Chi-Ho titled A Walk on the Wild Side (14 minutes 28 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with associate producer Patrick Leung titled Tempting Fate (19 minutes 32 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with editor David Wu titled Natural Selection (32 minutes 31 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Fennie Yuen titled The Long-Suffering Siu-Chun (19 minutes 39 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with author Grady Hendrix titled Hong Kong Confidential: Bullet In The Head (13 minutes 9 seconds, Dolby Digital stereo English, no subtitles), an interview with Dr. Lars Laamann titled Apocalypse How? - The Period of Provocations (27 minutes 9 seconds, Dolby Digital stereo English with removable English subtitles for Cantonese film clips), an interview with production planner Catherine Lau titled Tumultuous Times (15 minutes 11 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with editor David Wu titled Apocalypse Woo (7 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an interview with producer Terence Chang titled Army of One (4 minutes 42 seconds, Dolby Digital stereo English with removable English subtitles for Cantonese film clips), an interview with actor Waise Lee titled Head Case! (18 minutes 24 seconds, Dolby Digital stereo Cantonese with removable English subtitles), and an interview with director John Woo titled Brilliance with a Bullet (43 minutes 28 seconds, Dolby Digital stereo English with removable English subtitles for Cantonese film clips).

Other extras include a reversible cover art, a double-sided foldout poster, six postcard-sized art cards, a chipboard slipcase, a slipcover, and a 40-page booklet with cast & crew information, an essay titled John Woo’s journey into the Heart of Darkness written by Priscilla Page, an essay titled The Death of Heroic Bloodshed written by Sean Gilman, an archival writing titled Watching as Men Fall written by Arnaud Bordas, an excerpt from an interview with John Woo conducted by Stéphane Moïssakis, and information about the transfer.

Summary:

Three friends flee Hong Kong after one of them murders a street punk. They go to Vietnam to wait things out. Upon their arrival, they get caught in the crossfire between the war protestors and military, causing them to lose the merchandise they were transporting from Hong Kong. Struggling financially and feeling hopeless, they befriend Ah Lok, a professional hitman who offers to assist them in escaping Vietnam. While they are in the country, they become embroiled in a conflict that tests the limits of their friendships.

What began as a prequel to A Better Tomorrow evolved into what is widely acknowledged as John Woo’s most personal film. When John Woo and Tsui Hark ended their working relationship, the latter decided to direct the A Better Tomorrow prequel. After their breakup, John Woo decided to rework his original idea, and what evolved is a film that takes on the 1967 Hong Kong riots; it also takes aim at the 1989 incident in Tiananmen Square in Beijing using the Vietnam War as the backdrop.

Nostalgia is present in Bullet in the Head’s opening setup; reportedly, John Woo drew moments of inspiration from his experiences growing up in late 1960s Hong Kong. While most of this initial setup shows a carefree side of the three friends, once they arrive in Vietnam, things take a considerably darker turn. From there, the narrative is one bleak moment after the other, building to its poignant finale: the two living friends force each other to confront the choices they made.

Although Tony Leung would become famous years later working with Wong Kar-wai, at this point in his career he had yet to establish himself as a box office draw. His two co-stars, Jacky Cheung (High Risk) and Waise Lee (A Better Tomorrow), were more supporting than leads at that time. The most prominent cast member is Simon Yam (Naked Killer) in the role of a Hong Kong hitman living in Vietnam. That said, all of the performances are excellent, especially Jacky Cheung's, whose character suffers a brain injury from a bullet in his head.

Something that immediately grabbed me while watching Bullet in the Head was how its production design puts you back into the 1960s. This extended to the score, notably the use of Neil Diamond’s song, I’m a Believer. In addition to the main credits featuring an instrumental rendition of "I’m a Believer," this song plays a significant role during one of the film's most memorable scenes, which involves an assassination that occurs in the bathroom.

While there is never a shortage of carnage in the cinema of John Woo, Bullet in the Head is by far and away his most brutal film. The sequences set in the prisoner of war camp and the aftermath of the three friends' escape are particularly striking. Another brutal moment takes place shortly after the three friends arrive in Vietnam, and a young man responsible for a car bomb is found by the military, who then shoot him in the head. Ultimately, Bullet in the Head is an emotionally charged, thought-provoking film that stays with you, making it John Woo's crowning achievement.

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

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

 

Written by Michael Den Boer

Audition: Limited Edition – Arrow Video (4K UHD)

Theatrical Release Date: Japan, 1999
Director: Takashi Miike
Writer: Daisuke Tengan
Cast: Ryô Ishibashi, Eihi Shiina, Tetsu Sawaki, Jun Kunimura, Renji Ishibashi, Miyuki Matsuda, Toshie Negishi, Ren Ôsugi 

Release Date: June 15th, 2026 (UK), June 16th, 2026 (USA)
Approximate Running Time: 115 Minutes 40 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 18 (UK), R (USA)
Sound: DTS-HD Stereo Japanese, DTS-HD 4.0 Stereo Japanese, DTS-HD 5.1 Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: £29.99 (UK), $49.95 (USA)

"When recent widower Shigeharu Aoyama (Ryo Ishibashi, American Yakuza) is advised by his son to find a new wife, he seeks the advice of a colleague having been out of the dating scene for many years. The two men decide to take advantage of their position working at a film company to stage an audition to find the perfect partner. Interviewing a series of women, Shigeharu soon becomes enchanted by Asami (Eihi Shiina), a quiet, 24-year-old woman, who is immediately responsive to his charms. However, events quickly take a very dark and twisted turn as we find that Asami isn't what she seems to be..." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, “The film is presented in 4K resolution in HDR10 and Dolby Vision.

The original Super 16mm camera negative was scanned at 4K/16 bit at Imagica, Japan. The film was restored in 4K and color graded by Dragon Post Production, Wales.” 

Audition comes on a 100 GB triple layer 4K UHD.

Disc Size: 92.1 GB

Feature: 74 GB

The source looks excellent; it is easily the best Audion has ever looked on home media. Flesh tones look correct, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image always retains an organic appearance.

Audio: 5/5 (DTS-HD Stereo Japanese), 0/5 (DTS-HD 4.0 Stereo Japanese, DTS-HD 5.1 Japanese)

This release comes with three audio options, a DTS-HD stereo mix in Japanese, a DTS-HD 4.0 stereo mix in Japanese, and a DTS-HD 5.1 mix in Japanese. The stereo mix is in excellent shape; dialogue comes through clearly, everything sounds balanced, and ambient sounds are well-represented. The other two tracks have issues; the 4.0 stereo track goes out of sync and the 5.1 track is wrongly pitched. Included are removable English subtitles.

Extras:

Extras for this release include a stills gallery (30 images), a Japanese theatrical trailer (1 minute 38 seconds, Dolby Digital stereo Japanese with removable English subtitles), an international theatrical trailer (1 minute 16 seconds, Dolby Digital stereo Japanese with removable English subtitles), an audio essay by author and critic Alexandra Heller-Nicholas titled Deeper Deeper Into Audition (11 minutes 18 seconds, Dolby Digital stereo English, no subtitles), an appreciation by Japanese cinema historian Tony Rayns titled Damaged Romance (35 minutes 20 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Ryo Ishibashi titled Tokyo Hollywood (16 minutes 13 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival interview with actress Eihi Shiina titled From Audition to Vampire Girl (20 minutes 9 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival interview with actor Renji Ishibashi titled Miike’s Troy (20 minutes 55 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival interview with actor Ren Osugi titled The Man in the Body Bag Speaks (16 minutes 25 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with director Takashi Miike titled Ties That Bind (30 minutes 5 seconds, Dolby Digital stereo Japanese with removable English subtitles), an introduction by Takashi Miike (1 minute 15 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with Ryo Ishibashi titled Callback (8 minutes, Dolby Digital stereo Japanese with removable English subtitles), an archival audio commentary with Takashi Miike and screenwriter Daisuke Tengan in Japanese with removable English subtitles, an audio commentary with Takashi Miike biographer Tom Mes, reversible cover art, a slipcover (limited to the first pressing), and a 44-page booklet (limited to the first pressing) with cast & crew information, an essay titled Everyone in Japan is Lonely: Audition as a Breakdown of Communication written by Jennie Kermode, an essay titled Deeper, Deeper, Deeper: How Audition’s Wounds Have Grown More Severe written by Jamie Graham, an essay titled Guilty of Romance: Love, Loneliness and Loss in Takashi Miike’s Audition written by Anton Bitel, and information about the transfer.

Summary:

Takashi Miike directed Audition. His filmography stretches over 45 years and encompasses over 120 entries, including notable films like The Bird People of China, Agitator, Visitor Q, Ichi the Killer, The Happiness of the Katakuris, Gozu, and Lesson of the Evil.

Seven years after the death of his wife, a widower’s son convinces his father that it is time to find a new wife. With the help of a colleague, the father holds auditions under the pretense that they are producers casting for a film. From there, he connects with one woman in particular, whose grief mirrors his pain. Has he found the person who will bring joy back into his life, or will the trauma from her past return to haunt him?

When one thinks of horror cinema, what often springs to mind are themes about psychopaths who go on a killing spree and the body count that they amass. Another common plot device exploited in horror cinema is supernatural entities. Despite these tried and true examples of the genre, it is always exhilarating when a filmmaker brings something new to the table. Case in point: Takashi Miike’s tour de force exercise in psychological horror, Audition.

While it is not immediately clear where things are building to, once the shift occurs, the result is unlike anything you have seen before. Where the first half of the film could be called a romantic comedy where a widower looks for a woman for the first time since his wife's death, the latter half nosedives into darker territory when more is revealed about the woman he’s chosen's past. That said, despite the two halves being distinctly different, they perfectly intersect, creating an unforgettable climax.

The most surprising aspect of Audition is its visuals, which do a phenomenal job creating an unsettling mood. Where the first half of the film lets the performances take center stage, things become more stylized in the latter half when the focus shifts to Asami’s past. Without giving away too much about these moments, they push the envelope when it comes to violence, especially the finale, which is arguably the most disturbing scene in Takashi Miike’s filmography.

When it comes to the performances, the entire cast gives their all and then some, especially the two leads, Ryô Ishibashi (Suicide Club) and Eihi Shiina (Tokyo Gore Police). While most films have a central protagonist, Audition is just as much Asami’s story as it is Shigeharu's story. Another performance of note is Renji Ishibashi (Deadly Outlaw: Rekka), who portrays Asami’s tormentor and source of her childhood trauma.

From the moment that Audition was unleashed upon unsuspecting audiences, it is a film that divides those who watch it. There seems to be no middle ground with Audition; either you embrace this film or you loathe it. That said, Audition is a film that is rich with subtext, and those who dig deeper than what is on the surface are sure to get more out of it. Going so drastically against what the audience expects could backfire and yet the result is an extraordinary film with one of the most potent payoffs in the history of horror cinema.

While the issues with the two audio tracks are disappointing, Audition’s original stereo track is fortunately unscathed. Audition makes its way to 4K UHD via a first-rate release from Arrow Video that comes with a solid audio/video presentation and a wealth of insightful extras. 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

A Colt Is My Passport – New Wave Video (Blu-ray)

Theatrical Release Date: Japan, 1967
Director: Takashi Nomura
Writers: Hideichi Nagahara, Nobuo Yamada
Cast: Jô Shishido, Jerry Fujio, Chitose Kobayashi, Ryôtarô Sugi, Kanjūrō Arashi, Shōki Fukae, Eimei Esumi, Jun Hongô, Akio Miyabe, Toyoko Takechi, Takamaru Sasaki, Asao Uchida, Kōjirō Kusanagi

Release Date: June 10th, 2026
Approximate Running Time: 84 Minutes 20 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR (Australia)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: $39.95 AUD (Australia)

"A Colt Is My Passport follows solitary hitman Kamimura (Joe Shishido) after a routine contract collapses into betrayal. Branded expendable by his employers, he flees with only his gun, his personal code, and a woman inadvertently drawn into his escape—moving through desolate industrial zones toward an end that feels both inevitable and self-chosen." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "1080p High Definition Presentation."

A Colt Is My Passport comes on a 50 GB dual layer Blu-ray.

Disc Size: 31.3 GB

Feature: 23.3 GB

The source looks excellent; flesh tones look healthy; image clarity, contrast, black levels, 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. Dialogue comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include a stills gallery with music from the film playing in the background, a video essay by Phillip Jeffries titled The Neo-Noir Yakuza Cool of Shishido Jo (21 minutes 41 seconds, LPCM stereo English, no subtitles), a video essay by film critic Derek Smith titled A Colt Is My Passport and the Borderless Action Film (15 minutes 52 seconds, LPCM stereo English, no subtitles), an audio commentary with author and filmmaker Jasper Sharp, reversible cover art, a UV/Spot Gloss slipcover, and a 16-page booklet with an essay titled Jo Shishido: A Colt Is My Passport written by James Balmont and information about the transfer. 

Summary:

Takashi Nomura directed A Colt Is My Passport. Though he began his career at Nikkatsu and worked with them until their shift to romantic pornography films, he’s not as well known as his contemporaries, Shōhei Imamura and Seijun Suzuki. Notable films he directed are Quick Draw Joe and Blood Vendetta.

A hitman who kills a crime boss is betrayed by those who hired him when they join forces with a rival gang who retaliate for the killing.

A Colt Is My Passport, made in the same year as Branded to Kill, shares many similarities with it. Their narratives revolve around a hitman who is marked for death after their latest job is successfully completed, and the protagonist is portrayed by Jô Shishido in both films. Similarities aside, stylistically and tonally, A Colt Is My Passport could not be more different from Branded to Kill.

The opening setup does an excellent job drawing you in. The well-crafted narrative effectively builds momentum to an exemplary finale. Through a series of moments where the protagonist and his driver try to evade assassins, the narrative is able to create tense moments that build upon each other. Another strength of the narrative is how it fleshes out the protagonist, giving him depth, making him more than a faceless killer.

Jô Shishido (Cruel Gun Story) is cast in the role of a hitman named Shûji Kamimura. Most known for his five collaborations with Seijun Suzuki, he was often cast in the role of a cold-blooded killer, a part he always excelled at. Another performance of note is Jerry Fujio (Yojimbo) in the role of Shun Shiozaki, Shûji Kamimura’s driver and the person he most trusts. The most surprising performance is Chitose Kobayashi (Outlaw: Goro the Assassin) in the role of Mina, a woman who works at an inn with Shun Shiozaki and Shûji Kamimura, and she falls in love with the latter.

The premise and the look of A Colt Is My Passport are firmly entrenched in Film noir. Although the visuals are not as striking as other Nikkatsu films from this era, that is not to say that there are not a few moments that make you go wow. The most notable is the finale where a greatly outnumbered Shûji Kamimura sets traps for his assassins. The main theme has a spaghetti western vibe, while the rest of the score is infused with jazz. Ultimately, A Colt Is My Passport is a solid example of Nikkatsu’s no borders, no limits action cinema.

If you are a fan of 1960s Nikkatsu action films, you should definitely consider owning this release. It is region-free, and the packaging does not include any ratings logos. That said, Nun in Rope Hell gets an exceptional release from New Wave Video that comes with a solid audio/video presentation and insightful extras. Highly recommended.

Written by Michael Den Boer

Nun in Rope Hell – New Wave Video (Blu-ray)

Theatrical Release Date: Japan, 1984
Director: Katsuhiko Fujii
Writer: Akira Nakano
Cast: Miki Takakura, Asami Ogawa, Hiromi Yamaguchi, Kazuko Honjô, Maya Itô, Takashi Kanematsu, Chigusa Takayama, Hiroshi Takayama, Hiroshi Unayama, Shingo Yamamoto

Release Date: June 10th, 2026
Approximate Running Time: 68 Minutes 45 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR (Australia)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: $39.95 AUD (Australia)

"After a brutal act of violence shatters her illicit affair, guilt-ridden Takako (Miki Takakura) seeks salvation within the walls of a secluded convent. But the promise of absolution is a cruel illusion. Behind the convent’s holy façade lies a hidden world of ritualized cruelty, domination, and forbidden desire—where a group of nuns, aided by a notorious novelist, transform religious devotion into an elaborate twisted theater." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "1080p High Definition presentation of a 2K restoration by the Nikkatsu Corporation."

Nun in Rope Hell comes on a 25 GB single layer Blu-ray.

Disc Size: 20.5 GB

Feature: 17.7 GB

The source is in excellent shape; there is some very minor print debris that remains. Flesh tones look healthy, colors are nicely saturated, black levels are strong, and image clarity and compression are solid.

Audio: 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 with music from the film playing in the background, a video essay by film historian Alexandra Heller-Nicholas titled Kiss from a Rose: Nun in Rope Hell and Nunsploitation Cinema (13 minutes 11 seconds, LPCM stereo English with non-removable English subtitles for Japanese film clips), reversible cover art, a UV/Spot Gloss slipcover, and a 16-page booklet with an essay titled Portrait of Passions Constrained: The Provenance of Nun in Rope Hell written by Jasper Sharp and information about the transfer.

Summary:

Katsuhiko Fujii directed Nun in Rope Hell. He’s most known for Cruelty: Black Rose Torture, Momoe’s Lips, and Snake Hole. Nun in Rope Hell is adapted from a story written by Oniroku Dan, who is best known for Flower and Snake.

A woman running away from her sinful past becomes a nun.

At their core, Nikkatsu romantic pornography films are exploitation films that lean heavily into sexual content. A non-exploitation-themed Nikkatsu romantic pornography film is a perfect fit for a genre that revolves around sinful behavior.

Nun in Rope Hell’s main location is a secluded nunnery whose nuns are anything but holy. Their main benefactor is an author named Kumaki, who writes sexually themed novels. They show him thanks by indulging in his sexual desires. The narrative revolves around Takako, a sinful woman who's no stranger to the acts that turn Kumaki on. Has she found the sanctuary or will she fall prey to her sexual desires?

When one considers their relative short running times and required amount of sexual content, it's often surprising how much actual story works its way into a Nikkatsu romantic pornography film. Nun in Rope Hell's opening moments perfectly set the tone for what follows and its narrative effectively builds momentum with a series of moments that offer further insight into her psyche. That said, Nun in Rope Hell is a satisfying mix of erotica and exposition.

The cast fully immerses themselves in their characters' perversity. The standout performance is Miki Takakura, who portrays Takako, a woman whose sinful behavior causes her to become a nun. She delivers a remarkable performance that captures her character's guilt and desires. Another performance of note is Asami Ogawa (Star of David: Hunting for Beautiful Girls), who portrays a nun that fully embraces her libido.

Although sexually themed content is the main draw of Nikkatsu romantic pornography films, Japanese censorship laws require filmmakers to come up with creative ways to shoot these moments. The artful placing of objects to obscure naughty parts and the striking use of color are areas where the visuals excel. There are many striking moments that heighten the mood, notably scenes where Takako is experiencing an erotic nightmare. Ultimately, Nun in Rope Hell is one of the better examples of a Nikkatsu romantic pornography film that effectively blends erotica and horror.

If you are a fan of Nikkatsu romantic pornography films, you should definitely consider owning this release. It is region-free, and the packaging does not include any ratings logos. That said, Nun in Rope Hell gets an exceptional release from New Wave Video that comes with a solid audio/video presentation and insightful extras. Highly recommended.

 

Written by Michael Den Boer

Legend of the Sacred Stone: Standard Edition – Deaf Crocodile (Blu-ray)

Theatrical Release Date: Taiwan, 2000
Director: Chris Huang
Writer: Chris Huang
Cast: Vincent Huang

Release Date: August 25th, 2026
Approximate Running Time: 99 Minutes 31 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Stereo Taiwanese Hokkien
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"a group of warriors of Wulin led by white-maned hero Su Huan-Jen trying to prevent Mo Kuei and his spectral assassins called "The Unkind" from gaining possession of the all-powerful Sacred Stone.  The Unkind in particular are a riot with their screechy Skeksis-like voices and unexpected sense of humor:  “We’re the most handsome men in the world!” one chortles.  Along the way you get treated to martial arts moves like Aeolian Surprise, Thunder Bars, heroes riding a flying sword like the Silver Surfer, living corpses with melting flesh – oh, and if you’ve ever wondered how a puppet bleeds, you’ll see that too." - synopsis provided by the distributor

Video: 5/5

Legend of the Sacred Stone comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.5 GB

Feature: 28.7 GB

The source looks excellent; colors look correct, and image clarity, black levels, and compression are solid.

Audio: 5/5

This release comes with one audio option, a DTS-HD stereo mix in Taiwanese Hokkien with removable English subtitles. The audio sounds excellent; Diaglue always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include original theatrical trailer #1 (1 minute 53 seconds, Dolby Digital stereo Taiwanese Hokkien with non-removable English subtitles), original theatrical trailer #2 (1 minute 30 seconds, Dolby Digital stereo Taiwanese Hokkien with non-removable English subtitles), a featurette titled Deluxe Edition Artwork Creation (44 seconds, Dolby Digital stereo with music from the film playing in the background), an interview with director Chris Huang and members of the PILI puppeteering team, moderated by Dennis Bartok (41 minutes 47 seconds, Dolby Digital stereo English and Taiwanese Hokkien with removable English subtitles), Su Huan-Jen Character Spotlight – a newly-edited compilation for this release showing the evolution of the character of Su Huan-Jen over the course of nearly 40 years of PILI TV (5 minutes, Dolby Digital stereo Taiwanese Hokkien with removable English subtitles), a video essay by film historian Evan Chester titled Puppets, Wuxia, and Spirituality: The Lore and Inspirations Behind Legend of the Sacred Stone (17 minutes 2 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with puppeteer and filmmaker Ben Wolf Page, associate editor of The Puppetry Journal for the Puppeteers of America.

Summary:

Set 400 years in the past, the martial world is threatened by Mo Kuei, and a sage named Su Huan-jen gathers three martial warriors together to defeat him. Central to their quest is the Heavenly Question Stone, which grants those who possess it a wish.

Legend of the Sacred Stone is a Wuxia-themed adventure that employs bùdàixì, a type of gloved puppetry that uses gloved puppets and computer-generated imagery during action sequences. The first question that arises is how they could convincingly create a Wuxia film entirely populated with puppets. When one thinks of a Wuxia film, there are high-flying and fluid action set pieces that often feature intricate acrobatics. And yet, despite all of these things, Legend of the Sacred Stone somehow pulls them off extremely well.

Despite being a spin-off of a long-running Pili television series, Legend of the Sacred Stone is a self-contained film that doesn't necessitate any prior knowledge of the series. The opening setup does an excellent job fleshing out the main characters and setting the stage for what unfolds. While exposition-heavy, the narrative moves rather quickly, and it never has an issue as it builds to its big action set-piece finale.

When it comes to content, Legend of the Sacred Stone is standard fare for a Wuxia film; it hits all the essential elements one expects for the genre. While the premise and story that unfold cover familiar ground, it's never an issue since the main attraction is the puppetry. Ultimately, Legend of the Sacred Stone is a highly entertaining film that exceeds expectations.

Legend of the Sacred Stone gets an excellent release from Deaf Crocodile that comes with a solid audio/video presentation and insightful extras. Recommended.

Note: There is a deluxe release of Legend of the Sacred Stone that comes in a slipcase and a 60-page booklet with an essay written by Fantasia Festival programmer Rupert Bottenberg and an essay written by film critic Walter Chaw (Film Freak Central).

Written by Michael Den Boer