Aesthetics of a Bullet: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1973
Director: Sadao Nakajima
Writer: Tatsuo Nogami
Cast: Tsunehiko Watase, Miki Sugimoto, Mitsuru Mori, Asao Koike, Ichirô Araki

Release Date: May 18th, 2026 (UK), May 19th, 2026 (USA)
Approximate Running Time: 97 Minutes 6 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"A yakuza gang selects a good-for-nothing street vendor to stir up trouble in enemy territory. With a flashy suit, a gun, and a pocketful of money, he feels like a king, but when trouble comes knocking, he realizes that waving a gun and pulling the trigger are two very different things." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, “Aesthetics of a Bullet was transferred in high definition by Toei Company and supplied to Radiance Films as a high-definition digital file."

Aesthetics of a Bullet comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.9 GB

Feature: 26.4 GB

The source looks clean, free of any imperfections; flesh tones and colors look correct; image clarity and black levels are strong; compression is solid, and there are no issues with digital noise reduction.

Audio: 4.25/5

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

Extras:

Extras for this release include a theatrical trailer (2 minutes 57 seconds, Dolby Digital mono Japanese with removable English subtitles), an archival interview with director Sadao Nakajima (19 minutes 28 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with filmmaker Kazuyoshi Kumakiri (16 minutes 17 seconds, Dolby Digital stereo Japanese with removable English subtitles), an appreciation by filmmaker Robert Schwentke (29 minutes 52 seconds, Dolby Digital stereo English, no subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings; and a 36-page booklet (limited to 3,000 copies) with cast & crew information, an essay titled Escape Artist Dancing on a Tightrope written by Olaf Möller, an archival review written by Hayley Scanlon, an archival essay titled An Analysis of Aesthetics of a Bullet written by Rikiya Tayama, and information about the transfer.

Summary:

Sadao Nakajima directed Aesthetics of a Bullet. He’s known for The Japanese Godfather Trilogy, Memoir of Japanese Assassinations, Hot Springs Konjac Geisha, The Kyoto Connection, Tokyo-Seoul-Bangkok, Jeans Blues: No Future, The Rapacious Jailbreaker, and The Great Okinawa Yakuza War. A low-life crook gets a job as a yakuza hitman.

A low-life crook gets a job as a yakuza hitman.

Aesthetics of a Bullet is not your typical yakuza film. Where most of these films revolve around a cast of characters who vie for power, Aesthetics of a Bullet never really explores the underworld aspects of being a yakuza. Instead, its narrative revolves around a singular character who’s chosen not because of his connection but because of his lack of connections. He was chosen for the role of the "bullet"—a disposable killer who has no future beyond the job he has been given.

Tsunehiko Watase (Wandering Ginza Butterfly) is cast in the role of the protagonist Kiyoshi Koike, a disposable killer who takes his new role of yakuza hitman too seriously. The protagonist is alone at times, and his performances shine then. Another cast member of note is Miki Sugimoto (Zero Woman: Red Handcuffs); she portrays a woman who becomes romantically involved with the protagonist.

The opening setup does an excellent job drawing you in and holding you with a series of intense moments that build upon each other. While there are many tense moments, the protagonist does not give in to his worst impulses. The visuals, most of which are shot with a handheld camera, put you right in the thick of the action. Ultimately, Aesthetics of a Bullet is a well-crafted exploitation film that puts an inventive twist on the yakuza film.

Aesthetics of a Bullet gets a solid release from Radiance Films that comes with a strong audio/video presentation and informative extras. Highly recommended.

 

Written by Michael Den Boer

Solo: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: France, 1970
Director: Jean-Pierre Mocky
Writers: Jean-Pierre Mocky, Alain Moury
Cast: Jean-Pierre Mocky, Sylvie Bréal, Anne Deleuze, Denis Le Guillou, Éric Burnelli, Alain Fourès, Henri Poirier

Release Date: June 22nd, 2026 (UK), June 23rd, 2026 (USA)
Approximate Running Time: 86 Minutes 56 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono French
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"A womanizing violinist and jewel thief (Jean-Pierre Mocky, Litan) must abandon his carefree lifestyle when he learns that his younger brother is part of the leftist revolutionary group responsible for the brutal murders of powerful men. Determined to save the life of his idealistic sibling, the cynical drifter becomes embroiled in a struggle that is not his to fight." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, “Solo was restored in 4K by the Éclair Classics laboratory with support from the CNC and supervised by Mocky Delicious Products. The film was supplied to Radiance Films as a high-definition digital file.”

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

Disc Size: 34.2 GB

Feature: 25.2 GB

The source looks excellent; the flesh tones and colors look correct, the image clarity and compression are solid, the black levels are strong, and the grain remains intact.

Audio: 4.25/5

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

Extras:

Extras for this release include an image gallery (18 images—stills/posters); an archival interview with actor and director Jean-Pierre Mocky (12 minutes 55 seconds, Dolby Digital stereo French with removable English subtitles), an archival interview with actress Anne Deleuze (17 minutes 28 seconds, Dolby Digital stereo French with removable English subtitles), an archival interview with Jean-Pierre Mocky’s assistant and friend Eric Le Roy (14 minutes 51 seconds, Dolby Digital stereo French with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings; and a 28-page booklet (limited to 3,000 copies) with cast & crew information, an archival interview with Jean-Pierre Mocky titled Jean-Pierre Mocky, the Maverick of French Cinema conducted by Daniel Geldreich, an archival interview with Jean-Pierre Mocky conducted by Max Tessier, and information about the transfer.

Summary:

Jean-Pierre Mocky directed Solo. His filmography spans 63 years, from his directorial debut, The Chasers, to his penultimate film, Tous flics! released three years after his death. His notable films are Litan, Kill the Referee, and Agent Trouble.

An internationally known thief becomes the prime suspect in a series of killings targeting affluent individuals, which are carried out by a leftist revolutionary group led by his younger brother.

Although his later films are known for their satirical humor, his earlier films like Solo were a condemnation of restrictions imposed by society. The opening setup does a phenomenal job setting a bleak tone that's relentless and never lets up. From there, what unfolds is an intense story with characters of no redeeming qualities whose choices put them on a collusion course with death.

Instead of being a conventional police procedural, the narrative puts an inventive twist on a familiar scenario. After discovering what his younger brother has done, the protagonist tries to locate him before the police do. His frantic search parallels the police who are investigating the younger brother's crimes. That said, the narrative superbly brings these two together for an exemplary finale that serves as a perfect coda for the events that preceded.

Outside of a few uncredited appearances, Jean-Pierre Mocky had not acted in ten years before taking on the role of the protagonist. While he delivers a solid performance, he reportedly offered the role to Alain Delon and Jean-Paul Belmondo; both of them turned him down. When it comes to the rest of the cast, especially Anne Deleuze, who portrays one of the leftiest revolutionaries, they are excellent in their roles. Ultimately, Solo is an unflinching exploration of tradition and classism that quickly grabs your attention.

Solo gets a solid release from Radiance Films that comes with a strong audio/video presentation and informative extras. Recommended.

Written by Michael Den Boer

Tiger on the Beat I & II: Hong Kong Cinema Classics – Shout! Factory (UHD/Blu-ray Combo)

Theatrical Release Dates: Hong Kong, 1988 (Tiger on the Beat), Hong Kong, 1990 (Tiger on the Beat 2)
Director: Lau Kar-leung (Both Films)
Cast: Chow Yun-fat, Nina Li Chi, Conan Lee, Chia-Hui Liu (Gordon Liu), Philip Ko, Shing Fui-On, Ti Lung, David Chiang, James Wong, Lydia Shum, Lau Kar-wing, Norman Chui, Shing Fui-On (Tiger on the Beat), Danny Lee, Conan Lee, Ellen Chan, Roy Cheung, Norman Chu, Chia-Hui Liu (Gordon Liu), Maria Cordero, Phillip Ko (Tiger on the Beat 2)

Release Date: April 28th, 2026
Approximate Running Times: 93 Minutes 17 Seconds (Tiger on the Beat), 94 Minutes 17 Seconds (Tiger on the Beat 2)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision (Both Films)
Rating: NR
Sound: DTS-HD Mono Cantonese (Both Films), DTS-HD Mono English (Both Films)
Subtitles: English (Both Films), English SDH (Both Films)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $69.99

Tiger on the Beat: "A seasoned cop and his rookie partner are a pair of mismatched partners in this Hong Kong action-comedy in the style of 'Lethal Weapon'. The wacky twosome are up in arms as they try to solve the murder of a heroin trafficker." - synopsis provided by the distributor

Tiger on the Beat 2: "Captain Lam is a cop approaching 40, wants to achieve something memorable before his retirement." - synopsis provided by the distributor

Video: 5/5 (Tiger on the Beat - 4K UHD, Tiger on the Beat - Blu-ray), 4.5/5 (Tiger on the Beat 2 - 4K UHD, Tiger on the Beat 2 - Blu-ray)

Here’s the information provided about this release's transfers, "4K Scan from the Original Camera Negative."

Tiger on the Beat comes on a 66 GB dual layer 4K UHD.

Disc Size: 63.1 GB

Feature: 62.8 GB

This is another exemplary restoration; flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

Tiger on the Beat 2 comes on a 66 GB dual layer 4K UHD.

Disc Size: 64.2 GB

Feature: 63.8 GB

While the source bears many of the same qualities as Tiger on the Beat, I would rate it slightly below its predecessor. That said, flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image always looks organic.

Tiger on the Beat comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.1 GB

Feature: 26.3 GB

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

Tiger on the Beat 2 comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.8 GB

Feature: 27.1 GB

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

Audio: 5/5 (DTS-HD Mono Cantonese - Both Films), 4.5/5 (DTS-HD Mono English - Tiger on the Beat), 4.25/5 (DTS-HD Mono English - Tiger on the Beat 2)

Both films come with two audio options, a DTS-HD mono mix in Cantonese and a DTS-HD mono mix in English. The sound quality of all tracks is clean, clear, and balanced, with well-represented action sequences. That said, the Cantonese tracks sound more robust than their English-language counterparts. Included are English subtitles for Cantonese language tracks, English SDH for English language tracks, and English subtitles for Cantonese text when watching with the English language tracks. It should be noted that subtitles and audio can only be chosen via the audio setup menu, and they cannot be turned off while watching the main feature.

Extras:

Extras on the Tiger on the Beat 4K UHD disc include an audio commentary with Hong Kong film experts Frank Djeng and F.J. DeSanto.

Extras on the Tiger on the Beat Blu-ray disc include a theatrical trailer (4 minutes 41 seconds, DTS-HD mono Cantonese with non-removable English subtitles), an interview with James Mudge, Hong Kong Film Critic at easternKicks, titled Striped to Kill (17 minutes 15 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with stuntman and actor Billy Lui titled A Tiger’s Tale (21 minutes 36 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), and an audio commentary with Frank Djeng and F.J. DeSanto.

Extras on the Tiger on the Beat 2 4K UHD disc include an audio commentary with Frank Djeng.

Extras on the Tiger on the Beat 2 Blu-ray disc include two theatrical trailers (5 minutes 59 seconds, DTS-HD mono Cantonese with non-removable English subtitles), an interview with James Mudge titled Hunting for Heroic Bloodshed (17 minutes 22 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with martial arts director Ridley Tsui titled Clawing Out a Classic (16 minutes 10 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), and an audio commentary with Frank Djeng.

Other extras include a rigid slipcase.

Summary:

Tiger on the Beat and Tiger on the Beat 2 were directed by the legendary martial arts director Lau Kar-leung. His exemplary filmography includes The Spiritual Boxer, The 36th Chamber of Shaolin, Heroes of the East, Mad Monkey Kung Fu, My Young Auntie, The Eight Diagram Pole Fighter, and Drunken Master II.

Tiger on the Beat: A veteran cop pairs with a rookie partner to investigate the death of a heroin trafficker. Will their mismatched styles get in the way or will it be an asset in solving the case?

Hong Kong cinema during its heyday of the 1970s and 80s was known to latch onto a popular film and then make countless versions of it. Case in point: Tiger on the Beat, which takes on the buddy cop film that rose to prominence after the success of Lethal Weapon. While Tiger on the Beat uses Lethal Weapon as its starting point, the end result is a film that bears little connection to the film that inspired it.

Although there are many examples of Hollywood films finding their way into Hong Kong cinema, the way in which these two industries make film could not be farther apart. The most noticeable difference is how Hong Kong blends genres and its tonal shifts. That said, Tiger on the Beat is a text-book example of Hong Kong’s cinema's effortless ability to blend genres without creating jarring tonal shifts.

The cast is a who’s who of 1970s and 80s Hong Kong cinema, and all around, their performances are outstanding. Notable cast members include Ti Lung (The Deadly Duo), David Chiang (Return of the One-Armed Swordsman), Norman Chui (The Sword), Shing Fui-On (The Blue Jean Monster), and Gordon Liu (The 36th Chamber of Shaolin). Conan Lee is cast in the role of Michael Tso, a rookie CID officer. While he more than holds his own when it comes to moments of exposition, he most excels when it comes to action-oriented moments.

Despite being a buddy cop film, the real star and main attraction of Tiger on the Beat is Chow Yun-fat (The Killer) in the role of a veteran CID sargent named Francis Li. It is safe to say that Tiger on the Beat would not have been made without Chow Yun-Fat. Not only was he at the height of his popularity, but his comedic timing is  impeccable and not surprising that his character provides most of the comic relief. Another performance of note is Nina Li Chi (Twin Dragons) in the role of Marydonna, the sister of a drug trafficker who becomes entangled in the investigation.

While Tiger on the Beat is extremely effective with its genre blending and tone shifts, it is a film that leans more into comedy than it does action. Without a doubt, its funniest moment is when Francis and Michael are chasing a suspect who has nothing on except his underwear. When cornered, he grabs some hostages and forces them to give him their pants. When it comes to action set pieces and stunt work, they are exceptional. The standout moment is a chainsaw duel in the finale. Ultimately, Tiger on the Beat is a highly entertaining mix of humor and mayhem that fans of 1980s Hong Kong action should thoroughly enjoy.

Tiger on the Beat 2: An aging cop's sister gives him the task of finding a suitable wife for his nephew.

Tiger on the Beat 2 is a sequel in name only, and while many of the cast return in different roles, the absence of Chow Yun-fat is noticeable. Needing name recognition, Danny Lee (The Killer) is brought in to portray an aging CID officer. What he delivers is not so much a performance as it is just Danny Lee being himself, and yet it works perfectly for the story that unfolds.

Although there are elements of the buddy cop film in Tiger on the Beat 2, the result is something that does not resemble a conventional police procedural. When the uncle and nephew aren’t caught up in an unfolding crime, they are busy looking for a woman for him to marry. That said, the bulk of the narrative is the uncle and nephew caught up in a series of crazy situations.

While many of the cast from its predecessor return for Tiger on the Beat 2, all of the characters are new. Where Conan Lee portrayed a rookie CID officer in Tiger on the Beat, this time around he portrays the nephew of a police officer. Gordon Liu (Kill Bill Volume 1) goes from being the lead henchman to being a crime boss. That said, it is the new cast additions that stand out the most, like Roy Cheung (Prison of Fire) in the role of the lead henchman and Ellen Chan (Doctor Vampire) in the role of a woman who stole a ring that can implicate the bad guys in murder.

Where action took a backseat to comedy in its predecessor, this time it becomes the focal point. When it comes to the action sequences, in particular, the stunt work in Tiger on the Beat 2 takes things up a few notches; notably, a scene stunt goes wrong with Conan Lee, who narrowly misses a light pole and crashes to the pavement below. Not to be overlooked is how effectively Tiger on the Beat 2 employs humor. Ultimately, while Tiger on the Beat 2 does not live up to the standards set by its predecessor, it is a film that holds up well on its own.

Shout! Factory gives Tiger on the Beat I & II an exceptional release 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

Matador: Limited Edition – Radiance Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: Spain, 1986
Director: Pedro Almodóvar
Writers: Pedro Almodóvar, Jesús Ferrero
Cast: Assumpta Serna, Antonio Banderas, Nacho Martínez, Eva Cobo, Julieta Serrano, Chus Lampreave, Carmen Maura, Eusebio Poncela, Bibiana Fernández, Luis Ciges

Release Date: April 20th, 2026
Approximate Running Time: 106 minutes 32 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265
Rating: 18 (UK)
Sound: DTS-HD Mono Spanish
Subtitles: English
Region Coding: Region Free (4K UHD), A,B (Blu-ray)
Retail Price: £24.99 (UK)

"When a young torero confesses to a series of violent crimes he hasn’t committed, secret kinks and desires come to light, sparking dangerous new connections between a bullfighting teacher, a powerful female lawyer, an overprotected actress, and a well-meaning psychiatrist." - synopsis provided by the distributor

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

Here’s the information provided about the transfer, "Matador was restored in 4K in June 2025 by Cherry Towers Laboratory, Madrid, from a 4K scan of the original negative and supervised by Agustin Almodóvar. The restoration was approved by Pedro Almodóvar." 

Matador comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.8 GB

Feature: 61.5 GB

The source looks excellent; flesh tones look healthy; color saturation, contrast, black levels, image clarity, and compression are solid, and the image always looks organic.

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

Disc Size: 39.1 GB

Feature: 27.9 GB

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

Audio: 4.5/5

This release comes with one audio option, a DTS-HD mono mix in Spanish with removable English subtitles. The audio quality is impressive; the dialogue is clear, the overall sound is well balanced, and both the score and ambient sounds are effectively represented.

Extras:

There are no extras on the 4K UHD disc.

Extras on the Blu-ray disc include an interview with Pedro Almodóvar expert José Arroyo (29 minutes 37 seconds, Dolby Digital stereo English, no subtitles) and a ‘Jonathan Ross Presents For One Week Only’ episode on Almodóvar’s cinema, featuring interviews with Pedro Almodóvar, producer Agustín Almodóvar, stars Antonio Banderas and Carmen Maura, and more (53 minutes 27 seconds, Dolby Digital stereo English and Spanish with burnt-in English subtitles for Spanish).

Other extras include reversible cover art, a removable OBI strip leaving packaging free of certificates and markings, and a 28-page book with cast & crew information, Red or Dead: Matador and the Almodóvar Pleasure Principle written by Guy Lodge, an archival interview with Pedro Almodóvar conducted by Frédéric Strauss, and information about the transfer.

Summary:

A young man with a strict religious upbringing turns himself in to the police after he sexually assaults his neighbor. Wanting to absolve himself of guilt, when the woman refuses to press charges, he admits to a series of killings he did not commit.

When compared to Pedro Almodóvar’s first film, Matador was a dramatic shift from those comedies and melodramas. Matador is also significant in Pedro Almodóvar's evolution as a filmmaker, as it incorporates psychological elements along with his subversive humor and flair for melodrama. In many ways, Matador serves as the starting point for the core elements of Pedro Almodóvar's cinema.

Immediately, Matador pulls you in with a provocative opening credits sequence where a character pleasures themselves while watching horror films. The moment is key to understanding the killer's identity and motives, even if it's not yet known. The horror films being watched in this opening sequence are Mario Bava’s Blood and Black Lace and Jess Franco’s Bloody Moon. That said, the opening sequence and the events that follow fit firmly into the cinema of transgression.

After a provocative opening credits sequence, Matador does not let up; its narrative does an exemplary job establishing the main characters and their motivations. From there, the narrative is a labyrinth of twists and turns that build to a tense twist finale that culminates with a murder/suicide. Another strength of the narrative is how it blends its three main characters' stories.

Although Antonio Banderas (Desperado) had previously worked with Pedro Almodóvar on Labyrinth of Passion, his role in Matador is substantially larger. Matador was Antonio Banderas's second of eight films he made with Pedro Almodóvar. Their collaboration includes some of the director's most acclaimed films, including Tie Me Up! Tie Me Down! and Women on the Verge of a Nervous Breakdown. For Matador, Antonio Banderas portrays Ángel, a young man who suffers from vertigo who lives with his domineering, religious, strict mother.

While Antonio Banderas delivers an excellent performance, it is Nacho Martínez (Law of Desire) in the role of Diego, a former bullfighter who can only become aroused through acts of carnage, and Assumpta Serna (Wild Orchid) in the role of Maria, a lawyer who represents Ángel. Maria, like Diego, has a sexual fetish where she climaxes as she kills her lover. That said, their tremendous amount of onscreen chemistry greatly aids their outstanding performances.

Matador is a perfectly crafted film; Pedro Almodóvar’s direction is overflowing with cinematic flourishes that heighten the mood. While all of the death scenes are striking, the most memorable moment is a scene where Ángel’s mother looks through a distorted glass window while he's inside the bathroom. That said, Matador is a film filled with symbolism; it is notable how it weaves the bullfighting rituals with the killers' rituals. Ultimately, Matador is an extraordinary film that provokes the viewer and its finale stays with you.

Matador gets an exceptional release from Radiance Films that comes with a solid audio/video presentation and 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