La Femme Nikita: Steelbook – Sony Pictures (4k UHD)

Theatrical Release Date: France/Italy, 1990
Director: Luc Besson
Writer: Luc Besson
Cast: Anne Parillaud, Marc Duret, Tchéky Karyo, Jeanne Moreau, Philippe Leroy, Jean Reno

Release Date: June 11th, 2024
Approximate Running Time: 117 Minutes 18 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: R
Sound: DTS-HD 5.1 French, DTS-HD Stereo French, DTS-HD 5.1 English
Subtitles: English, English SDH, Spanish
Region Coding: Region Free
Retail Price: $45.99

"Convicted felon Nikita (Anne Parillaud), instead of going to jail, is given a new identity and trained to be a secret police assassin controlled by the government. Her lonely life is warmed when she falls in love with a man who knows nothing of her mysterious life." - synopsis provided by the distributor

Video: 5/5

La Femme Nikita comes on a 66 GB dual layer 4K UHD.

Disc Size: 59.1 GB

Feature: 58.4 GB

The source looks exceptional; this is easily the best La Femme Nikita has ever looked on home media. Flesh tones look correct, colors look appropriately vivid, image clarity, contrast, shadow detail, and compression are solid, and the image always looks organic.

Audio: 4.5/5 (DTS-HD 5.1 French), 4.25/5 (DTS-HD Stereo French), 4/5 (DTS-HD 5.1 English)

This release comes with three audio options, a DTS-HD 5.1 mix in French, a DTS-HD stereo mix in French, and a DTS-HD 5.1 mix in English. All of the audio tracks sound clean, clear, balanced, and robust when they should. The most dynamic of these three audio tracks is the DTS-HD 5.1 French-language track. Included are removable English subtitles for the French language track and removable English SDH and removable Spanish subtitles for the English language track.

Extras:

There is no extra content.

Summary:

After breaking into the drug store that one of their accomplices' fathers owns, Nikita and her friends are searching for their next fix. Things quickly spiral out of control when the police show up and a shootout ensues. When the smoke clears, Nikita, the only survivor, seals her own fate by killing a policeman. A government agent approaches Nikita, who is now imprisoned, with an offer for a second chance if she agrees to work as a government assassin.

Though there have been other films about female assassins that predate La Femme Nikita, no film before or since Nikita has come close to replicating a female assassin as compelling and enigmatic as Nikita. As we look at her for the first time in the drug store, very little is revealed about who she is or where she has been before this moment. As the narrative evolves, she keeps her backstory a tightly held secret, never fully revealing it. When her mentor Bob discusses her past, he shares childhood memories with Nikita and her lover Marco; they are fictitious stories made up by Bob. And when the moment arrives where Nikita makes her exit at the end of the film, she is just as mysterious of a character as she was when the film began.

In many ways, Nikita is an empty shell when we first see her. Over the course of the narrative, she starts to reveal some of her more human side when the pressure gets to her and she breaks down. One moment that immediately springs to mind is a scene when she tries to escape from the ministry, her new home. In her desperate attempt for freedom, she takes Bob’s gun and uses him as a hostage. She makes it as far as the door before she realizes that escape is not possible. She then turns the gun on herself, wanting to end her life. Bob then grabs the gun from her before she’s able to get off a shot. A scene where a character named Victor, a cleaner, is called in when a mission goes wrong for Nikita becomes a key turning point for Nikita. Sitting in the corner, whining, Nikita is ready to call the mission off. Victor eventually gets fed up with her overflow of emotions and lets her know that they are going to see the mission through to the very end, even if it means an almost certain death.

After working with cinematographer Carlo Varini on his previous three films, La Femme Nikita would mark director Luc Besson's first collaboration with cinematographer Thierry Arbogast, who has worked on almost every film that Luc Besson has directed since. His notable credits include The Apartment (L’appartement), Woman on Top, Kiss of the Dragon, and Femme Fatale. Visually, La Femme Nikita frames characters and objects in compositions in a very stylish way. four action sequences—the drugstore, the restaurant murder, the apartment killing of a diplomat, and the bloodbath at an embassy—are all spectacular set pieces that beautifully contrast with the more human elements of the story. La Femme Nikita features another exemplary score from Eric Serra that blends in with what is going on and never becomes overpowering or distracting to the point of drawing attention to itself.

For a film that excels in every way, there would be no Nikita without Anne Parillaud, who gives a vulnerable and believable performance in the role of Nikita. Even with the lack of backstory for Nikita, she does a remarkable job bringing the character to life and making Nikita all the more tangible. Some of her strongest moments include a scene where she first meets Bob after her apparent death in prison and asks him, “Mister, is this heaven here or not?” to which he replies, "No, but it could turn out to be." Other key moments for the Nikita character include a scene where Bob brings her a birthday cake and lets her know they only have two weeks for her to make a complete turnaround or she is through; a scene where she assaults her martial arts teacher and then breaks out into dance; and the scene where she meets Marco for the very first time, all of which are crucial to her development as a character.

Any character stealing the spotlight from Nikita, even if only for one moment, is hard to imagine. And yet this happens after the arrival of Victor the cleaner, who actually only has two scenes. These scenes also happen to be two of the most powerful in La Femme Nikita, as they reveal that Nikita has not lost her humanity, while Victor, in direct contrast, has, as he is nothing more than dead inside. Jean Reno delivers a brilliant performance as Victor the cleaner, and Luc Besson cast him in a similar role four years later in Leon, which he wrote and directed.

Tchky Karyo and Jean-Hugues Anglade portray the two men in Nikita’s life. Tchéky Karyo in the role of Nikita’s mentor, Bob, is an exceptional example of a subtle performance that is as rich and complex as possible without ever losing any of the mystery of the character. Though he has been assigned to Nikita and transforms her into a cold-blooded killer, one can clearly see that he views her as so much more. His emotional attachment to and bond with her are in direct contrast with the persona he projects. In many ways, Nikita teaches him as much as he teaches her in return. Another performance of note is Jean-Hugues Anglade, who portrays Marco, the man who Nikita falls in love with. Also look out for Jeanne Moreau (Jules and Jim) and Philippe Leroy (The Frightened Woman) in minor secondary roles.

It would not take long for La Femme Nikita to find an audience, and its worldwide box office appeal would spawn an American remake titled Point of No Return. A few years after the American remake, there would be a TV series based on the character. All of the characters are equally fascinating and dysfunctional. Ultimately, La Femme Nikita’s lyrical dialog and scenarios elevate what could have, in lesser hands, been typical action fodder, making it something more significant.

Sony Pictures gives La Femme Nikita a solid audio/video presentation, 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 VLC player and lossless PNGs.

Written by Michael Den Boer

Homework – Unearthed Films (Blu-ray)

Theatrical Release Date: USA, 1982
Director: James Beshears
Writers: Maurice Peterson, Don Safran
Cast: Joan Collins, Michael Morgan, Shell Kepler, Lanny Horn, Erin Donovan, Renee Harris, Mark Brown, Lee Purcell, Carrie Snodgress, Wings Hauser

Release Date: June 25th, 2024
Approximate Running Time: 89 Minutes 5 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: R
Sound: LPCM Stereo English, Dolby Digital Mono English
Subtitles: English, English SDH
Region Coding: Region A
Retail Price: $34.95

"Homework follows Tommy (Michael Morgan), a young "rock star" who is also a virgin. As he tries to lose his virginity to local high school girls, a classmate's mother (Joan Collins) decides to make a man of him. The story unfolds through the promiscuous, funny, and sometimes touching life of the young high schooler. By the end of Tommy's senior year, he's ready to take on the world." - synopsis provided by the distributor

Video: 3.75/5

Homework comes on a 25 GB single layer Blu-ray.

Disc Size: 22.6 GB

Feature: 19.8 GB

The source looks very good, but some very minor debris still remains. Colors are nicely saturated, image clarity is strong, black levels fare well, and compression is very good. Also, the image always looks organic; there is a healthy layer of grain.

Audio: 4/5 (LPCM Stereo English), 3.5/5 (Dolby Digital Mono English)

This release comes with two audio options, an LPCM stereo mix in English and a Dolby Digital mono mix in English. Both audio tracks sound clear and balanced. That said, the stereo audio track is noticeably fuller than the mono audio track. Included are removable English subtitles and English SDH.

Extras:

Extras for this release include a photo gallery (advertisements/stills/posters/home video art), a theatrical trailer (1 minute 25 seconds, Dolby Digital mono English, no subtitles), an archival interview with legendary producer Max Rosenberg (27 minutes 20 seconds, Dolby Digital stereo English, no subtitles), and a slipcover (limited to the first pressing).

Other extras include trailers for Full Body Massage, Tokyo Decadence, and Nightwish.

Summary:

Homework was the directorial debut of James Beshears, and to date, it is his only credit as a director. His filmography mostly consists of sound and editorial department credits. Some notable films he’s worked on are Porky’s Revenge, Day of the Dead, and Color of Night.

The narrative revolves around a boy named Tommy who thinks of nothing but sex. He has a girlfriend who is more interested in swimming than spending time with him, and all of his classmates brag about having sex.

In the early to mid-1980s, there were an abundance of sex-themed teen comedies. Some films were produced quickly to capitalize on the popularity of this film genre, and their quality varied greatly. That being said, the best examples of this genre have stood the test of time.

The most impressive aspect of Homework is its cast: Joan Collins (Tales from the Crypt), Carrie Snodgress (The Fury), Lee Purcell (Big Wednesday), and Wings Hauser (Vice Squad).Homework garnered controversy when four prominent cast members, notably Joan Collins, took legal action against the production company. A nude body double was used in place of Joan Collins for a scene she wasn't aware of. The cast also features a topless Michelle Bauer (Hollywood Chainsaw Hookers), who portrays a groupie in one of Tommy’s many daydreams.

Though there is a good foundation laid out, the result is a film that often gets in its own way. The narrative is a mess; it is unfocused, and just when it looks like it might build some momentum, everything comes to a halt. Also, despite having an ample amount of T&A (something 80s teen sex comedies are known for), any attempt at humor misses the mark. That said, teen comedies usually have some kind of message, or at least they make you feel for their characters. Homework has neither of these things.

Homework gets a strong audio/video presentation that comes with an informative interview.

Written by Michael Den Boer

Lifeline – Vinegar Syndrome Archive (4k UHD/Blu-ray Combo)

Theatrical Release Date: Hong Kong, 1997
Director: Johnnie To
Writer: Yau Nai-hoi
Cast: Sean Lau, Alex Fong, Carman Lee, Damian Lau, Ruby Wong, Raymond Wong Ho-yin, Chan Man-lei, Lam Suet, Chan Man-lei

Release Date: May 28th, 2024
Approximate Running Time: 109 Minutes 56 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: NR
Sound: DTS-HD Mono Cantonese, DTS-HD Stereo Cantonese, DTS-HD Mono Mandarin
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $49.98

"Yau Sui is an arrogant firefighter working at a tight-knit Hong Kong fire station where he and his fellow firefighters believe their station is cursed due to the constant hardships they must face. Yau Sui struggles with trying to rise in the ranks of his department and his skill as a leader becomes challenged when a new senior officer is transferred to their station. In the meantime, Yau Sui sparks a relationship with a troubled doctor and he, like the rest of his fellow firefighters, struggles to maintain a balance between his personal and professional life. However, the drama comes to a head when a catastrophic five-alarm fire in a chemical plant forces Yau Sui and the other firefighters to put aside their differences and work together in an attempt to break their station's curse." - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm original camera negative."

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

Disc Size: 61.3 GB

Feature: 60.3 GB

The source looks excellent; flesh tones and colors look correct; image clarity, contrast, black levels, and compression are solid; and the image retains an organic look.

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

Disc Size: 43.1 GB

Feature: 33 GB

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

Audio: 5/5 (DTS-HD Mono Cantonese, DTS-HD Stereo Cantonese), 4.25/5 (DTS-HD Mono Mandarin)

This release comes with three audio options, a DTS-HD mono mix in Cantonese, a DTS-HD stereo mix in Cantonese, and a DTS-HD mono mix in Mandarin. The two Cantonese audio tracks sound excellent; the stereo track is a remix track that does a solid job expanding the original mono source. The Mandarin language track does not sound as robust as the Cantonese language tracks. All audio tracks sound clean, clear, and balanced. Included are removable English subtitles and removable English SDH for the Cantonese language track. 

Extras:

Extras on the 4K UHD disc include an audio commentary with martial arts film expert Frank Djeng.

Extras on the Blu-ray disc include a theatrical trailer (3 minutes 11 seconds, Dolby Digital stereo with Cantonese and English text, no subtitles), an archival Making Of documentary (15 minutes 6 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with director Johnnie To (4 minutes 12 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actress Ruby Wong (2 minutes 39 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an archival interview with actor  Raymond Ho-Yin Wong (1 minute 56 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with special effects artist Chi Shui-Tim (10 minutes 35 seconds, Dolby Digital stereo Cantonese with removable English subtitles), an interview with Johnnie To (27 minutes 5 seconds, Dolby Digital stereo Cantonese with removable English subtitles), a video essay by film historian Samm Deighan titled Johnnie To in the 1990s (17 minutes 41 seconds, Dolby Digital stereo English with burnt-in English subtitles for film clips), and an audio commentary with Frank Djeng, 

Other extras include reversible cover art, double-sided full-color poster, a 28-page booklet with an essay titled In the mid-1990s written by  Sean Gilman, and a bottom loading VHS inspired slipcase.

Summary:

Although some may compare Lifeline and Backdraft, their only real connection is that they both feature firefighters. Backdraft is a police procedural that takes place in the world of arson, while Lifeline is more of a melodrama that focuses on the lives of its characters as much as it does their job as firefighters. That said, both films have impressive fire sequences that make you feel like you're in the middle of the action.

The narrative revolves around a group of firefighters as they navigate work and their personal lives. On the surface, what appears to be a basic premise turns out to be a film rich in character development. The result is anything remotely basic because, in the hands of director Johnnie To, he always approaches things in a unique way that elevates them. This is especially notable in how he balances characters' highs and lows.

Lifeline has an impressive cast who are all excellent in their roles, especially Sean Lau (Running Out of Time) and Carmen Lee (Burning Paradise). Their characters, a firefighter and a doctor, have a combative relationship that evolves into something romantic. That said, the evolution of their characters is greatly enhanced by their onscreen chemistry. Lam Suet, a frequent collaborator of Johnnie To's, makes a pair of appearances in Lifeline.

Lifeline’s main centerpiece is a 45-minute fire sequence that is spectacular in execution. This sequence is a perfect example of how to build tension. When it becomes clear that they can’t control the fire, they try to evacuate. Characters must change directions and find new escape routes as their previously chosen paths become unavailable, increasing tension.

From a production standpoint, there is no area where Lifeline does not excel; a superbly realized premise and a well-executed narrative do a phenomenal job of building momentum. Also, Johnnie To’s direction is solid, and there are several visually arresting moments. Ultimately, Lifeline is an exceptional melodrama about heroism through sacrifice and how real heroes take chances that put their lives on the line.

Lifeline gets an excellent release from Vinegar Syndrome Archive that comes with a solid audio/video presentation and a wealth of 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 VLC player and lossless PNGs.

Written by Michael Den Boer

Sympathy for the Underdog: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1971
Director: Kinji Fukasaku
Writers: Kinji Fukasaku, Fumio Konami, Hiro Matsuda
Cast: Kôji Tsuruta, Tomisaburô Wakayama, Kenji Imai, Hideo Murota, Keijirô Morozumi, Noboru Andô, Asao Koike, Tadao Nakamaru, Rin'ichi Yamamoto

Release Date: June 24th, 2024 (UK), June 25th, 2024 (USA)
Approximate running time: 92 Minutes 53 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"Returning from a ten-year prison sentence, former gang leader Gunji (Koji Tsuruta, Big Time Gambling Boss) finds that his turf has been taken over by his former enemy, now a large crime syndicate with a legal corporate front. Looking for new opportunities, he gathers his old crew and heads for the island of Okinawa, a legal grey zone ripe for the taking." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, "Sympathy for the Underdog was transferred in High-Definition by Toei Company Ltd and supplied to Radiance Films as a High-Definition digital master."

Sympathy for the Underdog comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.2 GB

Feature: 28.4 GB

Flesh tones look correct, colors are nicely saturated, mage clarity and compression are solid, contrast and black levels are strong throughout, and there does not appear to be any 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 in great shape. Dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include a theatrical trailer (2 minutes 47 seconds, LPCM mono Japanese with removable English subtitles), a video essay on Okinawa titled That Distant Territory (25 minutes 51 seconds, LPCM stereo English, no subtitles), an interview with Kinji Fukasaku biographer Olivier Hadouchi (27 minutes 5 seconds, LPCM stereo French with removable English subtitles), an audio commentary with yakuza film expert Nathan Stuart, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 24-page booklet (limited to 3000 copies) cast & crew information, an essay titled Sympathy for the Underdog - A (Hi)story of Consideration written by Bastian Meiresonne, an archival review of Sympathy for the Underdog written by Tetsuo Iijima, and information about the transfer.

Summary:

Though Kinji Fukasaku had directed a few yakuza films before Sympathy for the Underdog, it was a film that set the stage for the yakuza films that ruled 1970s Japanese cinema. Speaking of influences, Sympathy for the Underdog can also be seen as a possible influence on 1980s Hong Kong Heroic Bloodshed films. Gamblers in Okinawa (the film's original international title) is an alternate title for Sympathy for the Underdog.

The narrative revolves around Gunji, who returns home after ten years in prison. Things have drastically changed since he’s been away; his clan has disbanded, and now all territory is controlled by the man responsible for killing his boss. Not willing to let old grudges die, he reforms his old clan with the intention of killing those responsible for his boss's murder.

Sympathy for the Underdog breaks new ground when compared to yakuza films that came before it. The opening moments recap why the protagonist, Gunji, went to prison and how things have changed in the ten years since, notably the transformation of the Yakuza into a more modern businessman instead of your typical street thug. Sympathy for the Underdog is an early example of Kinji Fukasaku using on-screen text to introduce each character; this is something that he would use in most of his 1970s yakuza films.

When you have seen a few 1970s Japanese yakuza films, you instantly recognize actors, mostly in secondary roles, who seem to pop up in just about every one of these films. That said, the cast is all great, especially Kôji Tsuruta in the role of Gunji. He delivers a restrained performance that perfectly contrasts with the operatic performance that dominates Sympathy for the Underdog. Noboru Andô (By a Man's Face, Shall You Know Him), whose former life as a yakuza adds realism to his performance, and Tomisaburô Wakayama (Lone Wolf and Cub), in the role of a one-armed yakuza boss.

Though Okinawa would become a more common location in yakuza cinema, Sympathy for the Underdog was one of the first films to exploit this location, which gives it a foreign look with its use of iconic American images like Pepsi and Coca-Cola billboards. The fish-out-of-water plot device is one of Sympathy for the Underdog's strongest assets. Kinji Fukasaku experiments with editing, sound, and how he frames compositions, which heightens the mood. In one scene, there is a group of assassins playing pool while their targets, Gonji and his clan, sit in the next room. They wait until an airplane flies overhead before unloading a flurry of bullets. Ultimately, Sympathy for the Underdog is an underrated film that is on par with Kinji Fukasaku’s most celebrated yakuza films, the Battles Without Honor and Humanity films.

Sympathy for the Underdog gets an exceptional release from Radiance Films that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

Snake Eater 1-3 – NSM Records (Blu-ray)

Release Dates: Canada, 1989 (Snake Eater), Canada, 1990 (Snake Eater II: The Drug Buster), Canada, 1992 (Snake Eater III: His Law)
Director: George Erschbamer (All Three Films)
Cast: Lorenzo Lamas, Josie Bell, Robert Scott, Ronnie Hawkins, Cheryl Jeans, Michele Scarabelli, Larry B. Scott, Harvey Aitken, Minor Mustain, Tracey Cook, Holly Chester, Tracey Hway

Release Date: August 26th, 2022
Approximate running times: 94 Minutes 55 Seconds (Snake Eater), 93 Minutes (Snake Eater II: The Drug Buster), 91 Minutes 35 Seconds (Snake Eater III: His Law)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: FSK 18 (Germany)
Sound: DTS-HD Stereo English, DTS-HD Stereo German (All Films)
Subtitles: English, German (All Films)
Region Coding: Region B
Retail Price: 15.99 Euro (Germany)

"Part 1 A group of insane freaks attack an unsuspecting holiday family. They kill the parents and kidnap young Jennifer, Jack Helly's sister. Jack, known as Soldier, was once a member of the feared "Snake Eaters". They were the best-trained Marine Corps of the US Army. Dangerous as a bloodhound and blind with vengeance, he follows his sister's kidnappers into the endless forests. Part 2 Drugs laced with rat poison cause the death of several young people for whom Jack Kelly, known as "Soldier", felt responsible. Snake Eater, the ultimate killing machine, awakens in him again. He swears bloody revenge. Part 3 With the help of his old friend Cowboy, an ex-rocker, Soldier begins to search for young Vivian, who was kidnapped, abused and raped by an extremely brutal motorcycle gang. The trail leads to the Hells Fury clubhouse." - synopsis provided by the distributor

Video: 4/5 (Snake Eater, Snake Eater II: The Drug Buster, Snake Eater III: His Law)

Snake Eater comes on a 25 GB single layer Blu-ray.

Disc Size: 20.5 GB

Feature: 14.9 GB

Snake Eater II: The Drug Buster comes on a 25 GB single layer Blu-ray.

Disc Size: 21.8 GB

Feature: 17.3 GB

Snake Eater III: His Law comes on a 25 GB single layer Blu-ray.

Disc Size: 21.5 GB

Feature: 16.9 GB

Though no information is provided about these transfer sources, these transfers are easily the best these films have looked on home media. Flesh tones and colors look correct, image clarity is strong, black levels fare well, and compression is very good.

Audio: 4/5 (DTS-HD Stereo English - All Films)

Each film comes with two audio options, a DTS-HD stereo mix in English and a DTS-HD stereo mix in German. For this review, I only listened to the English-language tracks. All audio tracks sound clean, clear, and balanced. And though none of the tracks will blow you away range-wise, they get the job done. Included are removable English and German subtitles.

Extras:

Extras for Snake Eater include a stills gallery, a theatrical trailer Snake Eater (1 minute 47 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer Snake Eater II: The Drug Buster (2 minutes 24 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer Snake Eater III: His Law (2 minutes 19 seconds, DTS-HD stereo English, no subtitles), a foreword with actor Lorenzo Lamas (57 seconds, DTS-HD stereo English with removable English and German subtitles), an archival interview with Lorenzo Lamas (12 minutes 25 seconds, DTS-HD stereo English with removable English and German subtitles), and a featurette with Lorenzo Lamas titled Pick Your Poison (12 minutes 25 seconds, DTS-HD stereo English with removable English and German subtitles).

Extras for Snake Eater II: The Drug Buster include a stills gallery, a theatrical trailer Snake Eater (1 minute 47 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer Snake Eater II: The Drug Buster (2 minutes 24 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer Snake Eater III: His Law (2 minutes 19 seconds, DTS-HD stereo English, no subtitles), a foreword with actor Lorenzo Lamas (19 seconds, DTS-HD stereo English with removable English and German subtitles), and a featurette with Lorenzo Lamas titled A Franchise with Fangs; Remembering The Drug Buster (18 minutes 47 seconds, DTS-HD stereo English with removable English and German subtitles).

Extras for Snake Eater III: His Law include a stills gallery, a theatrical trailer Snake Eater (1 minute 47 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer Snake Eater II: The Drug Buster (2 minutes 24 seconds, DTS-HD stereo English, no subtitles), a theatrical trailer Snake Eater III: His Law (2 minutes 19 seconds, DTS-HD stereo English, no subtitles), a foreword with actor Lorenzo Lamas (26 seconds, DTS-HD stereo English with removable English and German subtitles), and a featurette with Lorenzo Lamas titled Poised To Strike; Uncoiling his Law (21 minutes 17 seconds, DTS-HD stereo English with removable English and German subtitles).

Other extras include reversible cover art.

Summary:

Lorenzo Lamas is a name that most action film aficionados instantly recognize. The action boom of the 1980s has since subsided, and most of the best action films have been relegated to direct-to-video. Lorenzo Lamas, who in the early part of his career achieved fame via the film Grease and later would go on to achieve prime-time stardom in the late-night soap opera Falcon Crest, made his first official foray into the world of action cinema with the film Snake Eater in 1989. Since making Snake Eater, he has gone on to become one of the few remaining action stars who have continued to churn out products on a regular basis, including his hugely successful television series Renegade, which ran for five seasons. That said, these three Snake Eater films are a precursor to what was just to come from Lorenzo Lamas as an actor, and his next project, Renegade, would make him an international star.

Like many trilogies, the first film is the best, and subsequent films in the series try to recapture the magic of the first one. While it is true that the first Snake Eater film is the best of the three, The other two are unique in their own right since they diverge, if ever so slightly, from the first film, but not so much as to lose focus on what makes these films and the Soldier character so much fun. Also, I can’t stress this enough, but these films are best watched in chronological order, especially since the first film gives us all the background we need to know about why Soldier does what he does, while the other two films barely retouch his past.  

Snake Eater: A former marine who goes by the nickname Soldier tracks down and kills those who murdered his parents and kidnapped his sister.

The opening sequence, where Soldier goes to great lengths to catch the bad guys in an undercover drug bust, perfectly sets the tone for what follows. George Erschbamer, who made his feature film directorial debut with Snake Eater, would go on to direct its two sequels. His background in action choreography and pyro effects shines throughout. He has a knack for capturing bone-crushing action at its most brutal moments. That said, Snake Eater’s bread and butter are its action set pieces. Also, the bad guys, despite their lack of intellect, are able to catch a marine. They pull a Blofeld, and instead of doing something as simple as putting a bullet in his head, they let him get away too easily.

The main attraction and sole reason for watching Snake Eater is Lorenzo Lamas in the role of Jack Kelly, aka Soldier. Lorenzo Lamas brings his A game as he delivers a performance overflowing with machismo. The premise and dialog in Snake Eater offer plenty of laughs. The acting may be below the standards of a Shakespearean drama, and that is all right since Snake Eater and its two sequels are about having fun. If you don’t take the Snake Eater films that seriously, then you are sure to enjoy every delirious moment of mayhem.

Snake Eater II: The Drug Buster: This time around, Soldier joins forces with a sidekick named Speedboat, who helps him exterminate drug dealers.

This time around, Soldier gets a wisecracking sidekick named Speedboat. Cast in the role of Speedboat is Larry B. Scott, who most movie fans might recognize from the film Revenge of the Nerds, where he played Lamar Latrell. Surprisingly, the addition of a sidekick works better than I would have thought it would. Most of this is due to the solid performance from actor Larry B. Scott. Lorenzo Lamas looks more comfortable this time as he further explores the soldier character. This performance is right in line with his from the first film, and the addition of more comedic elements helps expand the character.

George Erschbamer is solid, especially when it comes to the explosive action set pieces. Unlike its predecessor, Snake Eater II: The Drug Buster spends most of its time inside, and at times it feels a tad too claustrophobic. The action set pieces take things up a notch; the death scenes are more elaborate, and explosions are done on a larger scale. The narrative does have many instances where it feels like a retread of the first Snake Eater film, but still, this minor setback is not enough to ruin the rest of the film, which in the end has a distinctive feel all its own that sets it apart from the other two films in the series.

Snake Eater III: His Law: Soldier exacts his brand of justice against a biker gang that kidnapped and raped a young girl.

Snake Eater III: His Law is the third and final installment to date in the Snake Eater saga. The third film in the series is not as focused as its two predecessors, and by this point, the scenario of a soldier dismissed from the force and taking the law into his own hands has grown repetitive. Director George Erschbamer's direction excels most when it comes to the action set pieces.

Just like Snake Eater II: The Drug Buster, they find another sidekick for Soldier, an ex-biker named Cowboy. Minor Mustain, known for his work as a stuntman, delivers a good performance in the role of Cowboy. Wrestling fans look out for Bam Bam Bigelow, who has a sizable role as one of the bad guys. In his final turn as Soldier, Lorenzo Lamas gives a solid performance, which also happens to be the best part of what is a rather dreadful affair. Snake Eater III: His Law lacks the craziness and inventiveness that made the previous two films in the series so enjoyable.

The Snake Eater trilogy gets a solid release from NSM Records that comes with strong audio/video presentations and informative extras, recommended.

Written by Michael Den Boer