Creature with the Blue Hand/Web of the Spider – Film Masters (Blu-ray)

Theatrical Release Dates: West Germany, 1967 (Creature with the Blue Hand), Italy, 1971 (Web of the Spider)
Directors: Alfred Vohrer (Creature with the Blue Hand), Antonio Margheriti (Web of the Spider)
Cast: Harald Leipnitz, Klaus Kinski, Carl Lange, Ilse Steppat, Hermann Lenschau, Diana Körner, Ilse Pagé (Creature with the Blue Hand), Anthony Franciosa, Michèle Mercier, Klaus Kinski, Peter Carsten, Silvano Tranquilli, Karin Field, Raf Baldassarre, Irina Maleeva, Enrico Osterman, Marco Bonetti, Vittorio Fanfoni, Carla Mancini, Omero Capanna (Web of the Spider)

Release Date: October 22nd, 2024
Approximate Running Times: 74 Minutes 18 Seconds (Creature with the Blue Hand), 93 Minutes 15 Seconds (Web of the Spider)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Creature with the Blue Hand), 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Web of the Spider)
Rating: NR
Sound: DTS-HD Mono English, Dolby Digital Mono English (Both Films)
Subtitles: English SDH (Both Films)
Region Coding: Region A
Retail Price: $29.95

"For those craving a taste of "Euro-Kinski," two of Klaus Kinski's European features are now available in one creepy package. Presented for the first time in Blu-ray, Creature with the Blue Hand (1967) is a mystery-thriller about a series of grisly murders. It's one of several German films based on the novels of Edgar Wallace, many adaptations of which starred Kinski. This time he plays an escaped mental patient who might be the killer. Meanwhile, Web of the Spider (1971) is a classic haunted house tale from Italian maestro, Antonio Margheriti, with Kinski as none other than Edgar Allan Poe! It's a diabolical double dose from one of cinema's most controversial and unique figures!" - synopsis provided by the distributor

Video: 3.75/5 (Creature with the Blue Hand, Web of the Spider)

Here’s the information provided about Creature with the Blue Hand's transfer, "Scanned in 4K from 35mm archival elements."

Creature with the Blue Hand comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 20.2 GB (Creature with the Blue Hand), 19 GB (The Bloody Dead)

Here’s the information provided about Web of the Spider's transfer, "a new 4K scan."

Web of the Spider comes on a 50 GB dual layer Blu-ray.

Disc Size: 26.6 GB

Feature: 25.4 GB

The sources are in great shape, colors look good, black levels fare well, compression is very good, and there appears to be some digital noise reduction. Also, though the image is generally crisp, at times it looks soft.

Audio: 3.75/5 (Creature with the Blue Hand, Web of the Spider)

Creature with the Blue Hand and Web of the Spider each come with two audio options, a DTS-HD mono mix in English and a Dolby Digital mono mix in English. For this review, I only listened to the DTS-HD mono tracks. Dialog comes through clearly, and everything sounds balanced. That said, there are some sibilance issues. Both films come with removable English SDH.

Extras:

Extras for Creature with the Blue Hand include original theatrical trailer for Creature with the Blue Hand (1 minute 49 seconds, Dolby Digital mono English, no subtitles), a re-created 2024 trailer for Creature with the Blue Hand (1 minute 48 seconds, Dolby Digital mono English, no subtitles), a featurette with author/screenwriter Pete Atkins titled A Man of Mystery: Inside the World of Edgar Wallace (13 minutes 34 seconds, Dolby Digital stereo English with removable English SDH), a featurette with C. Courtney Joyner titled Kinski Krimis: Inside the Rialto Films Adaptations  (17 minutes 42 seconds, Dolby Digital stereo English with removable English SDH), an audio commentary with Stephen Jones and Kim Newman with optional English SDH, a bonus feature film titled The Bloody Dead (80 minutes 13 seconds, 1.66:1 aspect ratio, Dolby Digital mono English with removable English SDH), an archival audio commentary with Samuel M. Sherman for The Bloody Dead, and The Bloody Dead Raw Footage & Behind the Scenes (9 minutes 21 seconds, Dolby Digital mono English, no subtitles).

Extras for Web of the Spider include a re-created 2024 trailer for Web of Spider (1 minute 56 seconds, Dolby Digital mono English, no subtitles), original English language theatrical trailer for Castle of Blood (1 minute 42 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with Stephen Jones and Kim Newman with optional English SDH.

Other extras include a 24-page booklet with an essay titled Creature with the Blue Hand and Germany’s Undersung Branch of Genre Cinema written by Nick Clark, and an essay titled Cobwebs and Castles Comparing Antonio Margheriti’s Castle of Blood and Web of the Spider written by Christopher Stewardson.

Summary:

Creature with the Blue Hand: Alfred Vohrer directed the film Creature with the Blue Hand. He is also known for making Dead Eyes of London, School of Fear, and The Horror of Blackwood Castle.

A psychopath with a blue hand terrorizes and kills a family in this narrative.

How can you go wrong with a film where Klaus Kinski portrays twin brothers? The other selling point is that one of the brothers is unhinged; unfortunately, there are very few moments where Klaus Kinski lets loose. His performance in Creature with the Blue Hand is one of his most subdued. That said, whenever he’s onscreen, these are the most enthralling moments.

Though the narrative has a lot of moving parts, there are an ample amount of red herrings. Unfortunately, the narrative is slow moving, never really builds momentum, and about halfway through becomes predictable. Despite having horror elements, Creature with the Blue Hand leans more towards a whodunit mystery. Fortunately, when it comes to the killer's weapon, an iron blue hand, and on screen carnage, these are two areas where Creature with the Blue Hand excels.

Twenty years after its original release, new footage was shot, and the film was renamed The Bloody Dead. This new footage does nothing to enhance the original film’s shortcomings. That said, though there have been numerous Krimi adaptations of Edgar Wallace, Creature with the Blue Hand is not one of the better ones.

Web of the Spider: Directed by Antonio Margheriti, whose notable films are The Virgin of Nuremberg, Castle of Blood, The Long Hair of Death, and Seven Deaths in the Cat's Eyes. Before Antonio Margheriti made a name for himself in the gothic horror genre, he was the premier Italian filmmaker working in the sci-fi genre, directing Assignment: Outer Space, Battle of the Worlds, and the Gamma One Quadrilogy (The Wild, Wild Planet, The War of the Planets, War Between the Planets, and Snow Devils).

The narrative revolves around a journalist who takes a bet to stay one night in a haunted castle.

There are a few genres that work better in black and white than they do when shot in color. And nowhere is this more evident than the Gothic horror genre and its striking use of black-and-white cinematography. By the early 1970s, gothic horror films shot in black and white were few and far between. Notable examples of gothic horror films shot in color are Hammer Films 1958 adaptation of Dracula and Roger Corman’s The Pit and the Pendulum.

Italian genre cinema throughout the 1950s, 1960s, and 1970s was filled with films that knocked off whatever genre was in vogue at the time. And though many Italian directors from this time frame were pigeonholed into a specific genre, there were a handful of directors who were able to be successful in multiple genres. 

Case in point: Antonio Margheriti, an Italian director whose career spanned five decades. His most successful periods were the 1960s and 1970s. And it is his work within the Gothic horror genre during the 1960s that is arguably his best film as a director. In the 1970s, he would return to the Gothic horror genre with Web of the Spider. And for the first time, he would shoot a Gothic horror film in color. The Web of the Spider would mark the first of two gothic horror films that he shot in color. The other film is Seven Dead in the Cat’s Eye.

Content-wise, Web of the Spider is a remake of Castle of Blood, a film that he directed seven years before and shot in black and white. And though there are many areas where these two films are virtually identical, when it comes to their visuals, they are like night and day. That said, both films create a tremendous amount of atmosphere, albeit in different ways. The way in which Web of Spider-Lights scenes give the visuals an unnatural look that superbly reinforces the state of limbo that the protagonist finds himself trapped in.

Though the performances in Web of the Spider are very good, none of the cast ever came close to matching Barbara Steele’s (Black Sunday) captivating performance from Castle of Blood. The most memorable performance was by Klaus Kinski (Count Dracula) in the role of Edgar Allen Poe. His character fills a similar role to the character he portrayed in Jess Franco’s Marquis de Sade’s Justine, a name actor brought in for a role that required limited screentime. Other notable cast members include Irina Maleeva (Kidnap Syndicate), Michèle Mercier (Black Sabbath) in the role of Elisabeth Blackwood, and Anthony Franciosa (Tenebrae) in the role of Alan Foster. Ultimately, Web of the Spider is a very good remake and one of the best examples of an Italian gothic horror film in color.

Creature with the Blue Hand and Web of the Spider is another solid release from Film Masters, recommended.

Written by Michael Den Boer

The Champions – Eureka Video (Blu-ray)

Theatrical Release Date: Hong Kong, 1983
Director: Brandy Yuen
Writer: Brandy Yuen
Cast: Yuen Biao, Cheung Kwok-keung, Dick Wei, Moon Lee, Eddy Ko

Release Date: September 23rd, 2024 (UK), September 24th, 2024 (USA)
Approximate Running Time: 91 Minutes 40 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Cantonese (Original Mix), LPCM Mono Cantonese (Alternate Mix - Japanese Theatrical Version), LPCM Mono Cantonese (Restored), LPCM Mono English
Subtitles: English
Region Coding: Region A,B
Retail Price: £17.99 (UK), $39.95 (USA)

"Lee Tong (Yuen Biao, Dreadnaught) is a young farmer who has grown up in an isolated rural community. When an indiscretion lands him in hot water, he leaves his home in the countryside and heads for the big city – where he meets Suen (Cheung Kwok-keung, Eastern Condors), a street footballer who recognizes Tong’s talent for the beautiful game and encourages him to try out for a pro team. But Tong’s first chance at footballing glory is scuppered by a rivalry with the narcissistic King (Dick Wei, Project A), who relegates the newcomer to cleaning up after his teammates. But having discovered a love for football, Tong soon accepts an offer to join a rival team – and the stage is set for a final confrontation with King on the pitch." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "1080p HD presentation on Blu-ray from a brand new 2K restoration."

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

Disc Size: 38.7 GB

Feature: 29.3 GB

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

Audio: 4.25/5 (LPCM Mono Cantonese - Original Mix, LPCM Mono Cantonese - Alternate Mix Japanese Theatrical Version, LPCM Mono Cantonese - Restored), 3.75/5 (LPCM Mono English)

This release comes with four audio options: a LPCM mono mix in Cantonese (original mix), an LPCM mono mix in Cantonese (alternate mix—Japanese theatrical version), an LPCM mono mix in Cantonese (restored), and an LPCM mono mix in English. All three Cantonese audio tracks sound great; they are all noticeably more robust than the English language track. That said, dialog comes through clearly, and all audio tracks sound balanced. Included are removable English subtitles for Cantonese language tracks and a removable English subtitle track when watching the English language track that translates text in Cantonese.

Extras:

Extras for this release include Hong Kong theatrical trailer (4 minutes 40 seconds, LPCM mono Cantonese with non-removable English subtitles), Japanese theatrical trailer (1 minute 58 seconds, LPCM mono Cantonese with non-removable English subtitles), a featurette about the 1987 Hong Kong celebrity football / soccer team that featured a number of Hong Kong legends including Jackie Chan and Andy Lau titled Superstar Football HK (18 minutes 41 seconds, LPCM stereo English, no subtitles), an interview with filmmaker and film critic James Mudge (14 minutes 51 seconds, LPCM stereo English, no subtitles), an audio commentary with East Asian film experts Frank Djeng (NY Asian Film Festival) and F.J. DeSanto, an audio commentary with action cinema experts Mike Leeder and Arne Venema, reversible cover art, two collectible football player cards (limited to 2,000 copies), an O-card slipcase (limited to 2,000 copies), and 24-page booklet (limited to 2,000 copies) with cast & crew information, an essay titled A Contact Sport The Champions, Little Brothers and the Beautiful Game written by James Oliver, and information about the transfer titled Notes on Viewing.

Summary:

A farmer named Lee Tong offends a man, forcing him to leave the rural countryside for the big city.

The Champions is a fish out of water story. The protagonist must quickly adapt to the ways of the big city, having spent his whole life in the country. Shortly after his arrival, a pair of thieves see he’s an easy mark and pick his pockets, stealing all of his money. The one constant throughout The Champions is how trouble always finds the protagonist wherever he goes. That said, though these moments often put the protagonist in tense situations, a lot of humor comes from how he deals with what's unfolding.

The cast are all great in their roles, especially Yuen Biao’s (The Prodigal Son) portrayal of Lee Tong. Despite there being a limited amount of martial arts, there is an abundance of moments in which Yuen Biao gets to show off his athleticism. Another performance of note is Dick Wei’s (Project A) portrayal of King, the most famous soccer player in Hong Kong. Also, when it comes to the humor, a lot of it comes at the expense of Dick Wei’s character.

The Champions is a film where the story is not that important; it's all about the action sequences. They are well-executed and, at times, inventive moments that showcase impressive stunt work. Despite most of these action set pieces being built up around soccer, the way they are executed is not far removed from a typical martial arts sequence. That said, an obstacle course sequence, which is the most memorable action-wise, does not allow the use of hands by the characters.

From a production standpoint, there is no area where The Champions does not deliver. It’s well-executed narrative moves at breakneck momentum, ensuring there is never a dull moment. That said, the most impressive aspect of The Champions is how effectively it draws you in even if you're not a soccer fan. Ultimately, The Champions is a highly entertaining film that perfectly blends action and humor.

The Champions gets an excellent release from Eureka Video that comes with a strong audio/video presentation and informative extras; highly recommended.

Written by Michael Den Boer

Island of Terror: Planet Film Productions – 88 Films (Blu-ray)

Theatrical Release Date: UK, 1966
Director: Terence Fisher
Writers: Edward Mann, Al Ramsen
Cast: Peter Cushing, Edward Judd, Carole Gray, Eddie Byrne, Sam Kydd, Niall MacGinnis, James Caffrey, Keith Bell, Joyce Hemson

Release Date: August 26th, 2024
Approximate Running Time: 87 Minutes 9 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: PG (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region B
Retail Price: £16.99 (UK)

"Horror is unleashed on an isolated island community when the inhabitants find themselves at the mercy of tentacled creatures that can liquefy human tissue and bone. Stanley, a pathologist, and Dr. David West attempt to get to the bottom of the mystery and discover that a scientific team on the island, now dead, may have been responsible for the ‘Sillicates’ which carve a deadly trail across the island." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Re-Graded High Definition (1080p) Blu-ray(TM) Presentation in 1.66:1 Aspect Ratio."

Island of Terror comes on a 50 GB dual layer Blu-ray.

Disc Size: 25.2 GB

Feature: 24 GB

The source looks great; it is a marked improvement in every area over this film’s previous home media releases. Flesh tones look healthy, colors look correct, image clarity and black levels are strong, compression is solid, and the image retains an organic look.

Audio: 4.5/5

This release comes with one option, a LPCM mono mix in English with removable English SDH. The audio sounds excellent, the dialog always comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include a theatrical trailer (2 minutes 54 seconds, Dolby Digital mono English, no subtitles), an audio commentary with film journalist David Flint, reversible cover art, a double walled reverse-board gloss O-ring (limited to the first pressing), and a 16 page booklet (limited to the first pressing) with an essay titled Beware the Silicates on the Island of Terror! written by Barry Forshaw, and archival images.

Summary:

Terence Fisher directed Island of Terror. His other notable films include The Curse of Frankenstein, Horror of Dracula, The Revenge of Frankenstein, and The Mummy (1959). Island of Terror is the first of two films that Terence Fisher directed for Planet Film Productions; the other was Night of the Big Heat.

Tentacle creatures, which digest bone and tissue, attack an island isolated from the mainland.

In 1960s British cinema, there was an influx of horror and sci-fi films after Hammer Films rejuvenated the market in the late 1950s. And though Hammer Films would continue to rule British horror cinema in the 1960s, during this period there were a few smaller companies that rose to prominence. Planet Film Productions were the least known among Hammer Films' competitors.

Though Island of Terror is a horror/sci-fi hybrid, it leans more towards the latter. There are no bum into the night frights like one would expect from a horror film; instead, Island of Terror relies heavily on an insidious kind of terror, the unknown. And when it's revealed what the creatures look like, it becomes clear that they are not going to be easily disposed of, and worse yet, they are doubling in numbers by the hour.

Despite being a film that is working with limited resources, Island of Terror comes out swinging with a very effective opening setup. A man's corpse is found in the opening sequence, but it no longer resembles him. His outer flesh is all that remains. That said, this opening moment does a superb job setting the tone for what follows.

Peter Cushing (Corruption) is the only name actor in Island of Terror; he portrays one of the doctors trying to stop the creatures. Familiar British cinema and television audiences will recognize the rest as actors and actresses making up the cast. Though she has a small role, Carole Grey is another notable cast member that some will recognize from The Curse of the Fly. That said, despite no performance standing out, the entire cast is all very good.

From a production standpoint, Island of Terror is a film that far exceeds expectations. That said, Island of Terror stands well on its own despite its similarities to The Day of the Triffids. And when it comes to the practical special effects, despite looking dated and crude, they work well within the story at hand. Ultimately, Island of Terror is a film that relies more on performances than moments of terror.

Island of Terror gets an excellent release from 88 Films that comes with a solid audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

Encounters of the Spooky Kind – Eureka Video (Blu-ray)

Theatrical Release Date: Hong Kong, 1980
Director: Sammo Kam-Bo Hung
Writers: Sammo Kam-Bo Hung, Huang Ying
Cast: Sammo Kam-Bo Hung, Wong Ha, Dick Wei, Lam Ching-ying, Wu Ma

Release Date: November 21st, 2022
Approximate running time: 103 Minutes 14 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Cantonese (Theatrical Mix), LPCM Mono Cantonese (Original Video Mix), LPCM Mono English (VHS Release), DTS-HD 5.1 English (Alternate Mix)
Subtitles: English
Region Coding: Region B
Retail Price: £14.99 (UK)

"Sammo Hung plays Courageous Cheung, a man well known in his local village for his lack of fear. His reputation is soon put to the test after he is tricked into spending the night in a temple full of spirits, zombies, and vampires!" - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about the transfer, "a brand new 2K restoration (worldwide debut of this restoration on home video)".

Encounters of the Spooky Kind comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.4 GB

Feature: 32.9 GB

The source is in great shape; colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues related to digital noise reduction. That said, image clarity is not as strong in some of the darker moments.

Audio: 4.25/5 (LPCM Mono Cantonese - Original Video Mix, LPCM Mono English - VHS Release), 4/5 (LPCM Mono Cantonese - Theatrical Mix), 3.75/5 (DTS-HD 5.1 English - Alternate Mix)

This release comes with four audio options, a LPCM mono mix in Cantonese-labeled theatrical mix, a LPCM mono mix in Cantonese-labeled original video mix, a LPCM mono mix in English-labeled VHS release, and a DTS-HD 5.1 mix in English-labeled alternate mix. Range-wise, the Cantonese mono track labeled original video mix and the English mono track are comparable; the other Cantonese mono track labeled theatrical mix is also very good, while the DTS-HD 5.1 English audio track sounds too spread out. Dialog comes through clearly, and action sequences sound appropriately robust. Included are removable English subtitles for Cantonese language tracks and a removable English subtitle track when watching the English language track that translates text in Cantonese.

Extras:

Extras for this release include a stills gallery (24 images - posters/press book/stills), Hong Kong theatrical trailer (4 minutes 29 seconds, LPCM mono Cantonese with removable English subtitles), U.S. home video trailer (1 minute 26 seconds, LPCM mono English, no subtitles), alternate English opening and closing credits (4 minutes 28 seconds, LPCM mono English, no subtitles), an archival interview with actor/director Sammo Kam-Bo Hung (12 minutes 57 seconds, LPCM stereo English, no subtitles), an audio commentary by Asian film expert Frank Djeng (NY Asian Film Festival), a reversible poster (limited to 2,000 copies), O-card slipcase (limited to 2,000 copies), and a   booklet (limited to 2,000 copies) with cast & crew information, an essay written by James Oliver, and information about the transfer titled Notes on Viewing.

Summary:

Sammo Kam-Bo Hung directed Encounters of the Spooky Kind. He is also known for directing Knockabout, The Prodigal Son, Wheels on Meals, Eastern Condors, and Pedicab Driver.

A rickshaw driver is framed for a murder he did not commit by a rich client who was having an affair with her.

Encounters of the Spooky Kind is a significant film in Hong Kong cinema’s history; it was one of the first films to combine action and horror. Though the Jiangshi (Chinese hopping vampire) had appeared in films before Encounters of the Spooky Kind, they were only used sparingly up to that point in Hong Kong cinema. After Encounters of the Spooky Kind, there would be an influx of Jiangshi’s films, notably the Mr. Vampire film series.

Encounters of the Spooky Kind is a film that's tailor-made for Sammo Kam-Bo Hung’s psychical brand of humor. He’s an actor who perfectly fits the saying “don’t judge a book by its cover." Despite being one of the larger actors working in Hong Kong martial arts cinema, he’s one of the most athletic. He often does things that defy gravity. And though he can more than hold his own when it comes to physical humor, his comedic timing when it comes to delivering lines is second to none.

The opening moments do a phenomenal job establishing Sammo Kam-Bo Hung’s character, Courageous Cheung. Known for his bravery, he takes a bet to stay at an abandoned haunted house. Unfortunately for the men who made the bet with him, the house already has a ghost, and oblivious to what is going on, Courageous Cheung survives the night unscathed. Later on, Courageous Cheung will take a similar bet and unknowingly spend the night with Jiangshi.

Despite being an action/supernatural horror hybrid, things are not always balanced, with the latter being more dominant. The first half of the narrative is horror-heavy; it is not until around the 45-minute mark before the first action sequence. That said, all of the fight sequences are exceptional, especially a batshit crazy finale where Courageous Cheung fights like a monkey and his character's dialog is sped up.

From a production standpoint, there is no area where Encounters of the Spooky Kind does not excel. The well-executed narrative moves at a brisk pace, and the humor always hits the mark. One of the funniest moments is a scene where a corpse mimics Courageous Cheung’s every move. And though Sammo Kam-Bo Hung steals the show, the rest of the cast are all great in their roles.

Encounters of the Spooky Kind gets a solid release from Eureka Video that comes with a strong audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer

Red Peony Gambler 1–3 – Eureka Video (Blu-ray)

Theatrical Release Dates: Japan, 1968 (The Valiant Red Peony, Red Peony Gambler: Gambler's Obligation), Japan, 1969 (Red Peony Gambler 3: The Flower Cards Game)
Directors: Kôsaku Yamashita (The Valiant Red Peony), Norifumi Suzuki (Red Peony Gambler: Gambler's Obligation), Tai Katô (Red Peony Gambler 3: The Flower Cards Game)
Cast: Sumiko Fuji (All Films), Tomisaburô Wakayama, Minoru Ôki, Kyôsuke Machida, Nijiko Kiyokawa, Nobuo Kaneko, Ken Takakura (The Valiant Red Peony), Tomisaburô Wakayama, Michitarô Mizushima, Kunio Murai, Mari Shiraki, Bunta Sugawara, Tatsuo Endô, Kôji Tsuruta, Kyôsuke Machida, Kô Nishimura (Red Peony Gambler: Gambler's Obligation), Ken Takakura, Kanjûrô Arashi, Teruo Ishiyama, Tomisaburô Wakayama, Kanbi Fujiyama, Asao Koike, Kyôsuke Machida (Red Peony Gambler 3: The Flower Cards Game)

Release Date: June 17th, 2024
Approximate Running Times: 98 Minutes 12 Seconds (The Valiant Red Peony), 94 Minutes 49 Seconds (Red Peony Gambler: Gambler's Obligation), 98 Minutes 9 Seconds (Red Peony Gambler: Gambler's Obligation)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 15 (UK)
Sound: LPCM Mono Japanese (All Films)
Subtitles: English (All Films)
Region Coding: Region B
Retail Price: £26.99 (UK)

"Set during the Meiji era, Red Peony Gambler stars Fuji as Ryuko Yano, the daughter of a gambler. When her father is murdered, Ryuko takes on a new name derived from the crimson flower tattooed on her shoulder – “Oryu, the Red Peony” – and sets out for revenge. Then, in Red Peony Gambler 2: Gambler’s Obligation, Oryu falls in with a group of yakuza attempting to monopolise the silk trade. When machinations within the gang lead to a betrayal, the Red Peony takes action. Finally, in Red Peony Gambler 3: The Flower Cards Game, Oryu meets a pair of star-crossed lovers as she becomes embroiled in a conflict between rival yakuza clans." - synopsis provided by the distributor

Video: 4.25/5 (The Valiant Red Peony, Red Peony Gambler 3: The Flower Cards Game), 3.75/5 (Red Peony Gambler: Gambler's Obligation)

Here’s the information given about the transfers, "1080p HD presentation of all three films from restorations of the original film elements supplied by Toei."

The Valiant Red Peony and Red Peony Gambler: Gambler's Obligation come on a 50 GB dual layer Blu-ray.

Disc Size: 44.4 GB

Feature: 21.6 GB (The Valiant Red Peony) 21 GB (Red Peony Gambler: Gambler's Obligation)

Red Peony Gambler 3: The Flower Cards Game comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.8 GB

Feature: 28.3 GB

The sources for The Valiant Red Peony and Red Peony Gambler 3: The Flower Cards Game look excellent, while the Red Peony Gambler: Gambler's Obligation has some minor print debris. Flesh tones look healthy, colors look correct, image clarity and compression are solid, black levels are strong, and there are no issues with digital noise reduction. That said, Red Peony Gambler: Gambler's Obligation is the weakest-looking of the three, and there are moments where image clarity is not on par with the other two films.

Audio:

Each film comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles.

All audio tracks are in great shape. Dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras on disc one include a theatrical trailer for The Valiant Red Peony (3 minutes 28 seconds, LPCM mono Japanese with non-removable English subtitles), a theatrical trailer for Red Peony Gambler: Gambler's Obligation (3 minutes 49 seconds, LPCM mono Japanese with non-removable English subtitles), an audio commentary with Chris Poggiali for The Valiant Red Peony, and an audio commentary with Mike Leeder and Arne Venema for Red Peony Gambler: Gambler's Obligation.

Extras on disc two include a theatrical trailer for Red Peony Gambler 3: The Flower Cards Game (3 minutes 31 seconds, LPCM mono Japanese with non-removable English subtitles), an interview with critic and Asian cinema expert Tony Rayns titled Tony Rayns on Red Peony Gambler (19 minutes 58 seconds, LPCM stereo English, no subtitles), and an audio commentary with Tom Mes for Red Peony Gambler 3: The Flower Cards Game. 

Other extras include reversible cover art, a O-card slipcase (limited to 2,000 copies), and a 28-page booklet with cast & crew information for each film, A Flower Blooms Introducing the Red Peony Gambler Series written by Joe Hickenbottom, an essay titled Taking a Gamble Junko Fuji and the Red Peony Gambler Series written by Jennifer Coates, and information about the transfer titled Notes on Viewing. 

Summary:

The Valiant Red Peony: The daughter of a murdered gambler has made it her life's mission to avenge her father's death.

Kôsaku Yamashita directed The Valiant Red Peony. He is also known for Big Time Gambling Boss, The Tattooed Hitman, Father of Kamikaze, and The Last True Yakuza.

The story of Ryuko Yano, aka The Red Peony, begins with her looking into the camera and introducing herself. This is a clever way to quickly provide backstory and jump right into the action. The character of Ryuko Yano lives in a world where deception often comes into play, and she has a code of honor that guides her on her journey. That said, despite laying out all of her cards right away, the narrative slowly reveals information about other key characters.

Though known for her exceptional card playing, early on there is a scene that showcases her equally impressive sword fighting skills. She carries a gun in addition to a sword; it proves useful when she's outnumbered. In the fight scenes, we see skillful execution, and there is an ample supply of carnage.

Sumiko Fuji’s portrayal of Ryuko Yano is the heart and soul of The Valiant Red Peony and the films that follow. She delivers a phenomenal performance of a strong female character who’s equal to her male counterparts in every way. So much about her character foreshadows the strong female characters that would dominate 1970s Toei films.

Though Sumiko Fuji’s performance is the focal point, the rest of the cast are not excellent in their roles. Another performance of note is Tomisaburô Wakayama’s (Lone Wolf and Cub: Sword of Vengeance) portrayal of Torakichi Kumasaka, a yakuza boss who becomes weak in the knees whenever Ryuko Yano is around. It is always interesting seeing an actor portray a character against type. Ken Takakura (Abashiri Prison) portrays a yakuza named Katagiri Naoji; he knows the identity of the person who killed Ryuko Yano’s father.

After opening with an intense ambush sequence, the narrative then shifts towards a series of scenes where the protagonist resolves conflicts. Most of these moments are resolved without violence, and it is not until the finale where carnage erupts. Though the narrative is bookended by its two bloodiest moments, there is a lack of tension even when it comes to the moments in between. Ultimately, The Valiant Red Peony is an exemplary example of how to establish a protagonist and start a film series.

Red Peony Gambler: Gambler's Obligation: When the yakuza try to monopolize the silk industry, a group of farmers enlists the help of a wandering gambler named Ryuko Yano.

Norifumi Suzuki directed Red Peony Gambler: Gambler's Obligation. He is also known for Sex & Fury, School of the Holy Beast, Star of David: Hunting for Beautiful Girls, Roaring Fire, and the first four films in the Sukeban film series.

For the second installment of the Red Peony Gambler film series, Norifumi Suzuki takes on the role of the director. Changing a director can reshape a series; this is not the case since Norifumi Suzuki, who wrote the screenplay for the first film, follows the blueprint of his predecessor. That said, anyone familiar with Norifumi Suzuki's more known films will be surprised by how different Red Peony Gambler: Gambler's Obligation is when compared to those films.

Red Peony Gambler: Gambler's Obligation picks right up where its predecessor left off; it even opens with Ryuko Yano introducing herself to the camera. This time around, instead of revenge, she’s now become an avenger who rights wrongs, and a lot more screen time is devoted to showcasing her card-playing skills. That said, characters, with the exception of Ryuko Yano, receive very little time for development.

Sumiko Fuji returns to the role of Ryuko Yano, and with one film under her belt, she’s even more confident in her performance. Though her character can become a killing machine at the drop of a hat, it is actually the calmer moments where her performance shines brightest. Notable actors are Kôji Tsuruta (Japan Organized Crime Boss) who portrays a wandering yakuza, Bunta Sugawara (Violent Streets), who portrays a short-fused yakuza, and Tomisaburô Wakayama (Killer’s Mission) returns in the role of Torakichi Kumasaka. Another performance of note is Mari Shiraki’s (Underworld Beauty) portrayal of a female gambler who rivals Ryuko Yano.

Despite having all of the elements and resources that its predecessor did, the result feels like a step backwards. Though there are no glaring pacing issues, the narrative overreliance on action and carnage instead of exposition is one of its shortcomings. That said, when it comes to moments of violence, this is an area where Red Peony Gambler: Gambler's Obligation always delivers. Ultimately, despite its shortcomings, Red Peony Gambler: Gambler's Obligation is another welcome addition to the story of Ryuko Yano.

Red Peony Gambler 3: The Flower Cards Game: A wandering gambler named Ryuko Yano finds herself in the middle of a dispute between two rival clans.

Tai Katô directed Red Peony Gambler 3: The Flower Cards Game. He is also known for Tokijiro: Lone Yakuza, Eighteen Years in Prison, The Ghost Story of Oiwa's Spirit, I, the Executioner, By a Man's Face Shall You Know Him, and Beast in the Shadows.

Instead of Ryuko Yano looking into the camera and introducing herself, the narrative opens with a pre-credits sequence where she saves a blind girl’s life from an approaching train. This is not the only area where Red Peony Gambler 3: The Flower Cards Game differs from its predecessor. Where the first two Red Peony Gambler films have a similar vibe, Red Peony Gambler 3: The Flower Cards Game breaks away from its predecessor by going in a different direction. That said, this should not be a surprise to anyone familiar with the films of Tai Katô, a filmmaker whose work within genre cinema is anything remotely by the numbers.

Though Red Peony Gambler 3: The Flower Cards Game retains the core elements present in the two films that preceded it. Unlike those two films, which had moments that were similar, everything about Red Peony Gambler 3: The Flower Cards Game feels fresh and not a rehash of what came before. That said, there are several moments related to gambling, and there is an ample amount of carnage.

Sumiko Fuji’s portrayal of Ryuko Yano once again steals the show. Tomisaburô Wakayama (Sympathy for the Underdog) returns for a third time in the role of Torakichi Kumasaka, and Ken Takakura (Bullet Train), who appeared in The Valiant Red Peony, returns in a different role. The characters Ryuko Yano and Shogo Hanaoka force themselves into conflicting situations due to a shared code, adding depth to the unfolding story. Another performance of note is Nijiko Kiyokawa’s (Vengeance Is Mine) portrayal of a woman who impersonates Ryuko Yano.

From a production standpoint, there is no area where Red Peony Gambler 3: The Flower Cards Game does not excel. Though the premise covers familiar ground, the execution of it ensures there is rarely a predictable moment. And when it comes to pacing, the narrative does a superb job building momentum towards a frantic bloodbath finale that serves as a perfect coda. Ultimately, Red Peony Gambler 3: The Flower Cards Game is an exceptional sequel that makes a strong case for being the best film in the series.

Red Peony Gambler 1–3 gets a solid release from Eureka Video that comes with a strong audio/video presentation and informative extras, highly recommended.

Written by Michael Den Boer