World Noir Volume 2: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Dates: West Germany, 1961 (Black Gravel), France/Italy, 1963 (Symphony for a Massacre), Japan, 1964 (Cruel Gun Story)
Directors: Helmut Käutner (Black Gravel), Jacques Deray (Symphony for a Massacre), Takumi Furukawa (Cruel Gun Story)
Cast: Helmut Wildt, Ingmar Zeisberg, Hans Cossy, Wolfgang Büttner, Anita Höfer, Heinrich Trimbur, Peter Nestler, Edeltraut Elsner, Else Knott, Guy Gehrke, Ilse Pagé (Black Gravel), Michel Auclair, Claude Dauphin, José Giovanni, Michèle Mercier, Daniela Rocca, Jean Rochefort, Charles Vanel (Symphony for a Massacre), Jô Shishido, Chieko Matsubara, Tamio Kawaji, Yûji Odaka, Minako Katsuki, Hiroshi Nihon'yanagi, Hiroshi Kondô, Shôbun Inoue, Kôjirô Kusanagi, Kôichi Uenoyama (Cruel Gun Story)

Release Date: August 26th, 2023
Approximate running times: 114 Minutes 31 Seconds (Black Gravel - Uncensored Original Cut), 113 Minutes 14 Seconds (Black Gravel - Re-edited Distribution Cut), 110 Minutes 7 Seconds (Symphony for a Massacre), 86 Minutes 26 Seconds (Cruel Gun Story)
Aspect Ratio: 1.66:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Black Gravel - Both Versions, Symphony for a Massacre), 2.35:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Cruel Gun Story)
Rating: 12 (UK)
Sound: DTS-HD Mono Geramn (Black Gravel), LPCM Mono French (Symphony for a Massacre), LPCM Mono Japanese (Cruel Gun Story)
Subtitles: English (All Films)
Region Coding: Region B (All Films)
Retail Price: £37.49 (UK)

Black Gravel: "Sohnen is a town built on vice for the occupying American forces in Cold War Germany. Robert, a local truck driver who sells off gravel from the site he works on as a side hustle, runs into an old flame, Inge. Inge is now respectably married to American officer John who runs the site. Driving in Robert’s truck, tragedy strikes and he and Inge must do their best to cover up a pair of dead bodies." - synopsis provided by the distributor

Symphony for a Massacre: "Five gangsters raise the cash to buy a large shipment of drugs which they plan to sell on. One of the gang however plans to secretly rob his partners, beginning an escalating spiral of violence and deception that leaves a trail of bodies across France." - synopsis provided by the distributor

Cruel Gun Story: "Togawa (Joe Shishido, Branded to Kill) is released from prison early by his underworld bosses. They make him execute a daring heist on an armoured vehicle, knowing he has no choice to do it as he needs the money for his sister’s surgery. With multiple partners and facets to the operation, much is at risk and all is never as it seems." - synopsis provided by the distributor

Video: 4.5/5 (Black Gravel - Uncensored Original Cut), 4.25/5 (Black Gravel - Re-edited Distribution Cut, Symphony for a Massacre), 4/5 (Cruel Gun Story)

Here’s the information provided about Black Gravel's transfer, "Black Gravel is presented in both the premiere version and the shorter distribution cut. Friedrich-Wilhelm-Murnau-Stiftung and Arri Media restored and digitized the original camera negative in 2016 in 3K resolution, and the premiere version was created using an original 35mm print as reference: the removed scenes and original ending were both added. Additional restoration work was undertaken by Radiance Films in 2024 with dirt and speck removal completed by Heavenly Movie Corporation."

Black Gravel comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.2 GB

Feature: 31.6 GB

This release uses seamless branching for the two versions. For the most part, the sources for the two versions are comparable; the sections that are exclusive to the uncensored original cut have more noticeable wear and tear. That said, image clarity, black levels, and compression are solid, and the image retains an organic look.

Here’s the information provided about Symphony for a Massacre's transfer, "Symphony for a Massacre was restored by Pathe and completed by Eclair laboratories and L.E. Diapason, with the financial support of Centre national du cinéma et de l'image animée. The film is presented in 2K from a 4K scan of the surviving 35mm interpositive, as the original negative is lost." 

Symphony for a Massacre comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.3 GB

Feature: 30.1 GB

The source is in excellent shape; contrast is strong, image clarity, black levels, and compression are solid, and the image retains an organic look.

Here’s the information provided about Cruel Gun Story's transfer, "Cruel Gun Story was transferred in High-Definition by Nikkatsu Corporation from original archive elements."

Cruel Gun Story comes on a 50 GB dual layer Blu-ray.

Disc Size: 30.6 GB

Feature: 23.2 GB

The source is in great shape; contrast looks very good, image clarity and black levels are strong, compression is solid, and the image retains organic qualities.

Audio: 4.25/5 (Black Gravel - Both Versions, Symphony for a Massacre), 4/5 (Cruel Gun Story)

Black Gravel comes with one audio option, a DTS-HD mono mix in German with removable English subtitles. The audio is in great shape, dialog comes through clearly, everything sounds balanced, and range-wise, this audio track sounds very good.

Symphony for a Massacre comes with one audio option, a LPCM mono mix in French with removable English subtitles. The audio is in great shape, dialog comes through clearly, everything sounds balanced, and range-wise, this audio track sounds very good.

Cruel Gun Story comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in good shape, dialog comes through clearly, everything sounds balanced, and range-wise, this audio track sounds satisfactory.

Extras:

Extras for Black Gravel include reversible cover art, a theatrical trailer (3 minutes 6 seconds, LPCM mono German with removable English subtitles), newsreel footage of film set featuring behind-the-scenes footage and an interview with director Helmut Käutner (3 minutes 50 seconds, LPCM mono German with removable English subtitles), an introduction from writer and programmer Margaret Deriaz (19 minutes 23 seconds, LPCM stereo English, no subtitles), and an audio commentary with film historian Olaf Möller for the uncensored original cut.

Extras for Symphony for a Massacre include reversible cover art, an archival interview from a French TV show with cast members Charles Vanel, Jean Rochefort and director Jacques Deray (4 minutes 35 seconds, LPCM mono French with removable English subtitles), an introduction by film critic Christina Newland (15 minutes 19 seconds, LPCM stereo English, no subtitles), and an audio commentary with film critic Travis Woods.

Extras for Cruel Gun Story include reversible cover art, an archival interview with actor Joe Shishido (8 minutes 56 seconds, LPCM stereo Japanese with removable English subtitles), an introduction by critic and programmer Tony Rayns (21 minutes 27 seconds, LPCM stereo English, no subtitles), a video essay by film critic Hayley Scanlon on Nikkatsu’s noir films of the 1960s (12 minutes 10 seconds, LPCM stereo English, no subtitles), and an audio commentary with author and filmmaker Jasper Sharp.

Other extras include a removable OBI strip leaving packaging free of certificates and markings and a 80-page perfect bound book with cast & crew information for each film, an essay titled The 1960s: The Death of Noir? written by David Hering, an essay titled ‘Anti-German’: Black Gravel’s Long Road to Acceptance written by Carmen Gray, an essay titled Trucksploitation Noir written by Martyn Waites, an essay titled A World I Know Well: The Criminal Life and Work of José Giovanni written by Elena Lazic, an archival interview with Jacques Deray, an essay titled Cheeky Devil: The Legacy of Joe Shishido written by Jake Cole, and information about the transfers.

Summary:

Black Gravel: A truck driver desperately tries to hide an affair with an old girlfriend who's married to an American officer. Along the way his impulsive behavior and a series of tragic events put their relationship in jeopardy.

Helmut Käutner directed Black Gravel. He is also known for directing The Captain from Köpenick, The Rest Is Silence, The Restless Years, and A Stranger in My Arms.

At the heart of Black Gravel is a story about an illicit affair between two former lovers, one of whom is now married to another man. And though the woman is reluctant at first to restart a relationship with her former lover, over time his determination wears her down. When things finally start going their way, an accident happens, and instead of informing the police, the man conceals what happened. Unfortunately, for them, they seal their fate before they are able to get away.

Though none of the performances are lacking, it is the two leads, Helmut Wildt in the role of Robert Neidhardt and Ingmar Zeisberg in the role of Inge Gaines, that carry Black Gravel. They are both outstanding in their portrayal of two lovers. Though Robert is a selfish character devoid of empathy, Helmut Wildt’s portrayal of him manages to make him an engaging character. Another reason why Black Gravel works as well as it does is because of these two actors' onscreen chemistry.

There are two versions of Black Gravel: the uncensored original cut had a bleaker ending and a few anti-Semitic moments. When it comes to pacing, there are a few times in both versions where things disrupt momentum; fortunately, there are a handful of tense moments that make up for any of the narrative's shortcomings. Another strength of Black Gravel is its noir visuals, which do a great job reinforcing the mood. Ultimately, Black Gravel is a well-made melodrama with film Noir elements.

Symphony for a Massacre: Five men pool a large sum of money into a drug deal. Unfortunately for them, before the deal happens, the man carrying the money disappears. After suspecting the courier, it becomes clear that there is a traitor in their midst.

Jacques Deray directed Symphony for a Massacre. He is also known for directing The Swimming Pool, Borsalino, The Outside Man, and Flic Story.

Next to Jean-Pierre Melville, Jacques Deray is the other director most identified with French crime cinema. In Jacques Deray's filmography, American film Noir clearly left its mark. French crime films, notably Jules Dassin's Rififi, also influenced him.

Jacques Deray fully exploits and perfectly executes the exquisite premise of "Symphony for a Massacre." At the heart of Symphony for a Massacre is a story about ‘the bigger the risk, the greater the reward,’ and whenever money’s involved, a scheme is always more dangerous. A job like this involves a level of trust among characters who normally are distrustful. Unfortunately for them, one of the five men has betrayed the others, turning everything on its head.

When it comes to the performances, the entire cast is excellent. Signaling an actor’s performance would give away too much about the plot. That said, their performances are greatly enhanced by the way they interact when trying to cover their crime or when those who know who the traitor is interact with them. Though all of these characters started off with good intentions, it's true that there is no honor among thieves.

From a production standpoint, Symphony for a Massacre is a film where everything perfectly falls into place. The well-constructed narrative does an exemplary job building momentum with tension that rarely subsides. Symphony for a Massacre is filled with striking imagery that heightens the moods. There are several well-executed set pieces: the theft of the money on a moving train, a character killing another to cover up their crime while two other characters are trying to get into a room, and a finale where the two men left standing fight for the money. Composer Michel Magne (Vice and Virtue) delivers an evocative score that does a phenomenal job reinforcing the mood. Ultimately, Symphony for a Massacre is a high water mark of French crime cinema.

Cruel Gun Story: Needing money to take care of his handicap sister, a man recently released from prison reluctantly takes on an armored car heist.

1960s Nikkatsu action films were known for their no borders and no limits. Though these films featured Japanese protagonists, they were heavily influenced by western cinema, notably American film Noirs and French crime cinema. That said, the main Japanese element in these films was the yakuza.

Jô Shishido was one of the main draws of 1960s Nikkatsu action films; after spending nearly a decade at Nikkatsu, he would get his big break through working with Seijun Suzuki on Youth of the Beast. He would spend the rest of the 1960s portraying similar characters from the criminal underworld. On the surface, though Joji appears like the same character Jô Shishido often portrayed, his relationship to his disabled sister adds another layer to this character, making him more dimensional than most of the characters Jô Shishido portrayed. That said, he delivers an excellent performance that overshadows anyone who shares screen time with him.

In Cruel Gun Story, a group meticulously plans out a complex heist with every detail at its core. The heist crew is made up of the protagonist, Joji, an old friend of Joji’s, a former boxer, and a heroin addict and former cop. The crew is going to rob an armored car, and everything will go off without a hitch if everyone follows the plan. Unfortunately, things go awry when the two drivers refuse to leave the armored car, forcing the crew to change their plans. This puts a strain on the crew as they scramble to come up with a new exit plan.

Besides Jô Shishido, the rest of the cast are all great in their roles. Despite her limited screen time, Chieko Matsubara (Tokyo Drifter) delivers another memorable performance in the role of Joji’s disabled sister. Yasukiyo Umeno’s portrayal of Ito, the right-hand man of the yakuza boss who arranged for Joji’s early release from prison, is another performance of note. This character has ulterior motives, which come to the forefront in the finale.

From a production standpoint, there is no area where Cruel Gun Story does not excel. The well-executed narrative does a superb job laying the foundation for what unfolds, and brisk pacing keeps the momentum building towards a phenomenal finale. Another strength is Cruel Gun Story’s Noirish visuals, which greatly add to the mounting tension. Ultimately, betrayal and redemption collide in Cruel Gun Story, an extraordinary tale about trying to outrun destiny.

World Noir Volume 2 is an exceptional release from Radiance Films; all three films have never looked or sounded better, and there is a wealth of informative extras, highly recommended.

Note: World Noir Volume 2 is limited to 3000 copies.

Written by Michael Den Boer

Die, Monster, Die! – BFI (Blu-ray)

Theatrical Release Date: UK/USA, 1965
Director: Daniel Haller
Writer: Jerry Sohl
Cast: Boris Karloff, Nick Adams, Suzan Farmer, Freda Jackson, Patrick Magee

Release Date: September 9th, 2024
Approximate Running Time: 78 Minutes 35 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 15 (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region B
Retail Price: £16.99 (UK)

"When American student Stephen Reinhart (Nick Adams) arrives in the English village of Arkham to visit his fiancé Susan Witley (Suzan Farmer), he has no idea of the horrors awaiting within. Invited by Susan's mysteriously ill mother (Freda Jackson), Stephen is greeted acrimoniously by Susan’s father, Nahum (Boris Karloff), who makes it clear this visit is an unwelcome intrusion to the ornately furnished halls of the Witley estate, for Nahum is hiding a dangerous secret.

A meteorite has crash landed in the gardens, scorching the earth and emitting a mutating radiation that has transformed the greenhouse plants to pulsating giants, with horrifying and sickening side effects to the residents." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about the transfer, "Die, Monster, Die! has been supplied to the BFI by MGM and is presented in High Definition".

Die, Monster, Die! comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.8 GB

Feature: 22 GB

Though there is some print debris in the opening moments, the bulk of this presentation looks clean. Color saturation is very good, image clarity is strong, black levels fare well, compression is solid, and there are no issues with digital noise reduction.

Audio: 3.75/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio track sounds clean, free of distortion or background hiss. Dialog comes through clearly, and everything sounds balanced. That said, range-wise, this audio track sounds limited.

Extras:

Extras for this release include an extensive stills gallery, a theatrical trailer with optional audio commentary with Vic Pratt and William Fowler (1 minute 55 seconds, LPCM mono English, no subtitles), a family greenhouse yields strange fruit in this stylish Swinging Sixties short film titled The Peaches (16 minutes 13 seconds, LPCM mono English, no subtitles), an interview with film unit publicist Tony Tweedale titled Sell, Monster, Sell! (12 minutes 13 seconds, LPCM stereo English, no subtitles), an interview with writers Ken Hollings and David McGillivray titled Nick Adams and Die, Monster, Die! (7 minutes 23 seconds, LPCM stereo English, no subtitles), sequences from Ken Hollings and David McGillivray’s unmade biopic of Die, Monster, Die! co-star Nick Adams, performed in a read-through staged and shot exclusively for this release titled Scenes From 'Let Me Die a Monster' (14 minutes 7 seconds, LPCM stereo English, no subtitles), a conversation with Vic Pratt and Boris Karloff’s biographer Stephen Jacobs titled A Karloff Konversation (19 minutes 23 seconds, LPCM stereo English, no subtitles), an audio commentary with Vic Pratt and William Fowler, the founders of the ‘The BFI Flipside’ and authors of The Bodies Beneath: The Flipside of British Film & Television, and a 30-page booklet with an essay titled A Menagerie of Horrors written by Stephen Jacobs, an essay titled All the Colours of the Cosmic Dark: H.P. Lovecraft and the Unrepresentable written by Xavier Aldana Reyes, cast & crew information for Die, Monster, Die!, a text piece titled Let Me Die a Monster written by Ken Hollings, a text piece titled So Anyway, Where Have We Got To? written by David McGillivray, and information about the transfer.

Summary:

Die, Monster, Die! is the directorial debut of Daniel Haller, who previously had worked as an art director on several Roger Corman films. Five years later, he directed The Dunwich Horror, another H.P. Lovecraft-inspired film.

The narrative revolves around a young man who encounters hostility from the locals and his fiancé's father upon his arrival in Arkham. Despite warnings about staying, he decides to stay, discovering the truth behind what’s been going on at the Witley family estate.

Before the 1960s, there were no adaptations of H.P. Lovecraft's stories; it was Roger Corman’s The Haunted Palace that got the ball rolling. Content wise, The Haunted Palace and the films that followed are more accurately described as being inspired by H.P. Lovecraft's works rather than being faithful adaptations. The adaptation of H.P. Lovecraft’s short story The Colour Out of Space in Die, Monster, Die! fails to capture its full depth. Outside of Arkham and character names, the only real connection to H.P. Lovecraft is the use of many of his tropes, cosmic beings, and characters who speak in an ominous tone.

Considering what they had to work with, the cast are surprisingly better than expected, especially Boris Karloff (Frankenstein, 1931) in the role of Nahum Witley, the wheelchair-bound patriarch of the Witley family. Despite not being in the best of health, he delivered a performance that surpassed what most actors would have achieved. Though limited in screen time, Freda Jackson (The Brides of Dracula) delivers another memorable performance in the role of Nahum Witley’s disfigured wife.

It is apparent very early on that Die, Monster, Die! is a film that’s working with anemic resources. And nowhere is this more evident than when it comes to the special effects, which have not aged well. That said, when it comes to the visuals, this is one area where Die, Monster, Die! succeeds, which is not a surprise given Daniel Haller’s extensive background in art direction. Throughout Die, Monster, Die! Daniel Haller’s direction is able to deliver several visually arresting moments. Fortunately, at just under 79 minutes, the narrative is short enough that it does not overstay its welcome. Ultimately, there are good and bad H.P. Lovecraft adaptations; Die, Monster, Die! falls into the latter category.

Die, Monster, Die! gets a first-rate release from BFI that comes with a serviceable audio/video presentation and a wealth of extras.

Written by Michael Den Boer

The Shadow Boxing (aka The Spiritual Boxer: Part 2) – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1975
Director: Chia-Yung Liu (Lau Kar-leung)
Writer: Ni Kuang
Cast: Wong Yue, Chia-Hui Liu (Gordon Liu), Cecilia Wong, Chia-Yung Liu (Lau Kar-Wing), Lee Hoi-Sang, Norman Chu, Wilson Tong 

Release Date: September 9th, 2024 (UK), September 10th, 2024 (USA)
Approximate Running Time: 101 Minutes
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Mandarin
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $34.95 (USA)

"a pair of very special undertakers who transport dead bodies by magical means. But their latest trip is proving tricky; it’s bad enough that a strong-willed young woman has invited herself along for the ride but, even more awkwardly, one of the corpses might not actually be dead..." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "HD Transfer From the Original Negative".

The Shadow Boxing (aka The Spiritual Boxer: Part 2) comes on a 50 GB dual layer Blu-ray.

Disc Size: 25.8 GB

Feature: 25.3 GB

The source is in excellent shape; flesh tones look correct, colors are nicely saturated, black levels are strong, image clarity and compression are solid, and the image looks organic.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Mandarin with removable English subtitles. The audio sounds clean, clear, balanced, and robust when it should.

Extras:

Extras for this release include a stills gallery with music from the film playing in background, a theatrical trailer (1 minute 6 seconds, LPCM mono Mandarin with removable English subtitles),  reversible cover art, 4 collectable art cards (limited to the first pressing), and a slipcase (limited to the first pressing).

Summary:

Lau Kar-leung directed The Shadow Boxing (aka The Spiritual Boxer: Part 2). He is also known for directing 38th Chamber of Shaolin, Heroes of the East, My Young Auntie, and Drunken Master II.

The narrative revolves around two corpse herders transporting a fugitive hidden among a group of vampires.

The Shadow Boxing (aka The Spiritual Boxer: Part 2) is a family affair, bringing together brothers Chia-Yung Liu (Lau Kar-Wing) and Chia-Yung Liu (Lau Kar-leung) and the godson of their parents, Chia-Hui Liu (Gordon Liu). Besides directing, Chia-Yung Liu (Lau Kar-leung) also choreographed the fight sequences. Though they share lead actor and director, The Shadow Boxing (aka The Spiritual Boxer: Part 2) and The Spiritual Boxer are not sequels.

The Shadow Boxing (aka The Spiritual Boxer: Part 2) is seen as a precursor to films like Encounters of the Spooky Kind and Mr. Vampire. All of these films feature Jiangshi, a reanimated corpse, aka a Chinese hopping vampire. The earliest example of Jiangshi is Midnight Vampire, a film from 1936.

By the latter half of the 1970s, humor was becoming more prevalent in martial arts cinema. Though there were straight-up action films that effectively used humor, it is the combination of humor, horror, and action that hit a sweet spot for most audiences. Case in point: The Shadow Boxing (aka The Spiritual Boxer: Part 2) is a film that finds a perfect balance between humor, horror, and action.

The performances are what make The Shadow Boxing (aka The Spiritual Boxer: Part 2) work as well as it does. The cast are all great in the roles, especially Wong Yue's (He Has Nothing But Kung Fu) portrayal of the protagonist, an apprentice corpse herder. Chia-Yung Liu’s (Lau Kar-Wing) portrayal of the protagonist Sifu and Chia-Hui Liu’s (Gordon Liu) portrayal of the fugitive who disguises himself as a Jiangshi—these are two other performances of note.

From a production standpoint, The Shadow Boxing (aka The Spiritual Boxer: Part 2) is a film that delivers and then some. The well-executed narrative does a superb job building momentum, and the phenomenal action sequences are in line with what we expect from Chia-Yung Liu (Lau Kar-leung). Not to be overlooked is how effectively The Shadow Boxing (aka The Spiritual Boxer: Part 2) uses humor, notably when it comes to characters interacting with Jiangshi. Ultimately, The Shadow Boxing (aka The Spiritual Boxer: Part 2) is a highly entertaining supernatural martial arts film that's a must see if you're a fan of the Liu’s.

The Shadow Boxing (aka The Spiritual Boxer: Part 2) gets a strong audio/video presentation from 88 Films, recommended despite its lack of contextual extras.

Written by Michael Den Boer

Sex Hunter – Impulse Pictures (DVD)

Theatrical Release Date: Japan, 1980
Director: Toshiharu Ikeda
Writer: Masahiro Kakefuda
Cast: Erina Miyai, Ayako Ohta, Teruo Matsuyama, Seru Rando, Nobuyuki Kawakami, Nobuko Matsumoto, Rei Aso, Yukari Taguchi, Koji Yashiro, Takashi Kanematsu, Terry Hawkins, Ken Mizoguchi

Release Date: February 11th, 2014
Approximate Running Time: 67 Minutes 21 Seconds
Aspect Ratio: 2.35:1 Anamorphic Widescreen
Rating: NR
Sound: Dolby Digital Mono Japanese
Subtitles: English
Region Coding: Region 1 NTSC
Retail Price: $19.95

"Miki, a young and talented ballet dancer, is accepted into an exclusive, and very private, academy run by a mysterious woman named Kaibara Akiko. Miki wants to further her dance education and rekindle her relationship with her boyfriend, but soon discovers all the horrible perversions forced upon the academy students. She is subjected to constant violent sexual acts and torture and realizes there may be no escape!" – Synopsis provided by the Distributor

Video: 3/5

Sex Hunter comes of a single layer DVD.

Disc Size: 3.9 GB

No information is provided about the source; that said, it is in great shape. Colors look very good, image clarity is strong, and any compression issues are not a deal breaker. Though black levels fare well, they are not as convincing as they should be.

Audio: 3/5

This release comes with one audio option, a Dolby Digital mono mix in Japanese with removable English subtitles. The audio sounds clean, clear, and balanced, and range-wise, this audio track is satisfactory.

Extras:

Extras for this release include a theatrical trailer (1 minute 13 seconds, Dolby Digital mono Japanese with removable English subtitles), and a 4-page booklet with an essay about Sex Hunter written by Jasper Sharp.

Summary:

Toshiharu Ikeda directed Sex Hunter. He’s known for his work in the horror genres Evil Dead Trap, Evil Dead Trap 3: Broken Love Killer, and Shadow of the Wraith. Notable Nikkatsu romantic pornography films he directed include Blue Lagoon: A Summer Experience and Angel Guts: Red Porno.

Miki is a ballerina whose star is on the rise. One evening after a performance, Akiko, a once prominent ballerina who has since retired, approached Miki. They haven’t seen each other since Akiko’s brother Genichiro's accident last year. Genichiro’s tragic accident also ended his relationship with Miki. Akiko entices Miki to visit her ballet school in hopes that she might be able to see Genichiro again. Driven by her jealousy, Akiko has ulterior motives for inviting Miki to stay with her at the ballerina school.

Sex Hunter is a story about two women, both ballerinas, that are in love with the same man. There is a strain on these two women’s relationship because Akiko blames Miki for her brothers’ accident. Akiko, desperate for her brother Genichiro's attention and love, takes drastic measures against Miki, who holds it. Akiko puts Miki through a series of humiliations, hoping to obtain her brother's affection.

The opening ballet sequence with Miki is filled with beauty and innocence. The narrative quickly washes away both of them, revealing a much harsher reality throughout. Toshiharu Ikeda designs every inch of Sex Hunter with meticulous care, making sure no visual frame is wasted. The sex scenes get pretty graphic, and there are some moments that are digitally fogged to cover up the private areas.

Miki being fondled for the first time by Akiko is a memorable moment visually; as the scene unfolds, it is revealed that Akiko's manservant is hidden behind a two-way mirror. Besides watching them, Akiko's manservant is sexually satisfying another woman on the other side of the two-way mirror. The use of two-way mirrors heightens this sequence, and Toshiharu Ikeda uses this two-way mirror motif very effectively throughout Sex Hunter.

Nikkatsu’s romantic pornography films are known for their perverse and often shocking moments. Sex Hunter doesn’t disappoint or hold back; some of these things that you will see include whippings, rope bondage, orgies, lesbians, golden showers, snowballing, incest, and a coke bottle enema. The most memorable dialog in the films occurs right after Miki is given a coke bottle enema. “We should share a coke more often." That said, Sex Hunter’s climax ranks among the most memorable to ever close a Nikkatsu romantic pornography film. Ultimately, Sex Hunter is a depraved tale that overflows with visually arresting moments, making it a must-see if you're a fan of Nikkatsu’s romantic pornography films.

Despite a good audio/video presentation and informative liner notes, this release leaves a lot of room for improvement. Hopefully some company will revisit Sex Hunter and give it the release it truly deserves.

Written by Michael Den Boer