The Red Light Bandit – Severin Films (Blu-ray)

Theatrical Release Date: Brazil, 1968
Director: Rogério Sganzerla
Writer: Rogério Sganzerla
Cast: Helena Ignez, Paulo Villaça, Pagano Sobrinho, Luiz Linhares, Sonia Braga, Miriam Mehler, Ítala Nandi 

Release Date: October 29th, 2024
Approximate Running Time: 92 Minutes 11 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Portuguese
Subtitles: English
Region Coding: Region Free
Retail Price: $29.95

"Based on police reports of the real-life bandit who terrorized '60s São Paulo, a charismatic crook (Paulo Villaça) robs the rich, taunts law enforcement and becomes a public hero in an anarchic odyssey that's equal parts crime thriller, urban western, grindhouse roughie, twisted comedy, cultural grenade and still unlike anything you've ever seen." - synopsis provided by the distributor

Video: 3.25/5

Here’s the information provided about this release's transfer, "now scanned in 2K from the original camera negative."

The Red Light Bandit comes on a 50 GB dual layer Blu-ray.

Disc Size: 42 GB

Feature: 26.4 GB

Though there is source damage, it is mostly minor instances of debris. When it comes to image clarity, contrast, and black levels, things fluctuate throughout. That said, at least the image retains an organic look, and there are no issues with compression.

Audio: 3.25/5

This release comes with one audio option, a DTS-HD mono mix in Portuguese with removable English subtitles. There is background hiss and other minor imperfections. That said, dialog comes through clearly, everything sounds balanced, and range-wise, this audio track is limited.

Extras:

Extras for this release include a short film titled Horror Palace Hotel directed by Jairo Ferreira, this documentary is about the Cinema Marginal Movement (40 minutes 43 seconds, 1.33:1 aspect ratio, Dolby Digital mono Portuguese with removable English subtitles), an extra with filmmaker Dennison Ramalho titled Introduction to Horror Palace Hotel (5 minutes 32 seconds, Dolby Digital stereo Portuguese with removable English subtitles), a short film titled Comics directed by Rogério Sganzerla (10 minutes 11 seconds, 1.33:1 aspect ratio, Dolby Digital mono Portuguese with removable English subtitles), a newly created trailer for The Red Light Bandit (1 minute 56 seconds, DTS-HD mono Portuguese with removable English subtitles), a career overview interview with actress Helena Ignez titled The Anti-Muse (24 minutes 35 seconds, Dolby Digital stereo Portuguese with removable English subtitles), and an interview with producer and film conservationist Paulo Sacramento titled Cinema Marginal (31 minutes 18 seconds, Dolby Digital stereo Portuguese with removable English subtitles).

Summary:

A loner thief who uses a red flashlight and rapes his female victims terrorizes a city while the police struggle to capture him.

The Red Light Bandit is part of the third wave of Brazil’s Cinema Nova known as Cinema Marginal, films geared towards the working class with B film elements. Outside of Brazil, the most well-known marginal filmmaker is José Mojica Marins, aka Coffin Joe. Even if your knowledge of Brazilian cinema is limited, The Red Light Bandit is a film that you should enjoy if you're familiar with the films of José Mojica Marins.

The Red Light Bandit is inspired by the real-life crimes of João Acácio Pereira da Costa, also known as The Red Light Bandit. His crimes were fresh in people's mind being apprehended only a year before The Red Light Bandit’s release. That said, Cinema Marginal's Cinéma vérité style has a lot in common with Italian Neorealism.

The creative force behind The Red Light Bandit was Rogério Sganzerla, who was 22 years old when it was released. So many things in The Red Light Bandit, like narrative structure, editing, and use of sound, are unconventional. The events that unfold have an in-the-moment rawness to them. The performances work well within the parameters being laid out, especially Paulo Villaça’s pitch-perfect portrayal of the protagonist. The score is just as eclectic as every other aspect of The Red Light Bandit; it features Brazilian music, a few American rock and roll songs, classical music, and odd sounds. The visuals, besides being in the moment, have a film noir quality to them. Ultimately, The Red Light Bandit is truly a unique cinematic experience that defies classification.

The Red Light Bandit gets a solid release from Severin Films, recommended.

Written by Michael Den Boer

Sparrow – Chameleon Films (Blu-ray)

Theatrical Release Date: Hong Kong, 2008
Director: Johnnie To
Writers: Chan Kin-Chung, Fung Chih-chiang
Cast: Simon Yam, Kelly Lin, Gordon Lam, Law Wing-cheung, Kenneth Cheung, Lo Hoi-pang, Lam Suet

Release Date: February 19th, 2025
Approximate Running Time: 87 Minutes 2 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD 5.1 Cantonese, DTS-HD 5.1 Mandarin
Subtitles: English
Region Coding: Region Free
Retail Price: $34.95 AUD (Australia)

"The most sheer delight you will ever experience from a Johnnie To film? Filmed over three years between other projects, this story of men who pick pockets and a woman who steals hearts is nothing less than a love letter to Hong Kong. Shot on the streets and backed by a playful lounge jazz score that is equal parts Paris and China, it tells the story of Kei (Simon Yam) and his group of pickpocket brothers who fall under the dangerous spell of a damsel in distress (Kelly Lin). This sets up a series of set pieces that show To working at the peak of his mastery. A man, a woman, a balloon; the erotic possibilities of a shared cigarette; a face-off in a cramped elevator—this is the intoxicating stuff that explains why we love Hong Kong cinema. The balletic finesse of the climactic scene, shot in slow motion in the rain, invokes a Hong Kong of grace and gallantry and professional skill, a Hong Kong that exists now only in the imagination." - synopsis provided by the distributor

Video: 4.5/5

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

Disc Size: 40.3 GB

Feature: 25.2 GB

No information is provided about the source; that said, this transfer looks excellent. Flesh tones and colors look correct; image clarity, contrast, black levels, and compression are solid; and there are no issues with digital noise reduction.

Audio: 5/5 (DTS-HD 5.1 Cantonese, DTS-HD 5.1 Mandarin)

This release comes with two audio options, a DTS-HD 5.1 mix in Cantonese and a DTS-HD 5.1 mix in Mandarin. Quality- and range-wise, these two audio tracks are comparable. That said, dialog comes through clearly, everything sounds balanced, and ambient sounds are well represented. Included are removable English subtitles for the Cantonese language track.

Extras:

Extras or this release include an image gallery (poster/stills), UK trailer (2 minutes 4 seconds, LPCM stereo Cantonese with non-removable English subtitles), Hong Kong theatrical trailer (2 minutes 24 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival featurette titled The Making of Sparrow (2 minutes 2 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival extra titled Press Conference (9 minutes 12 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival extra titled Gala Premiere (4 minutes 15 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival with director Johnnie To (7 minutes 26 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival with actor Simon Yam (13 minutes 7 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival with actress Kelly Lin (4 minutes 29 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival with actor Gordon Lam Ka-tung (8 minutes 38 seconds, LPCM stereo Cantonese with non-removable English subtitles), an archival interview with co-composer Xavier Jamaux, editor David Richardson and production supervisor Ding Yuin-shan (12 minutes 46 seconds, LPCM stereo English, no subtitles), a video essay on Sparrow by filmmaker Zach Closs titled A Playful Departure (8 minutes 34 seconds, LPCM stereo English with non-removable English subtitles for film clips), an audio commentary with Hong Kong cinema expert Frank Djeng, reversible cover art, a slipcase, and a 20-page booklet with cast & crew information, and an essay titled (Pick)pocket Full of Miracles written by Sean Gilman.

Summary:

Four pickpockets become entangled with a trapped woman that they try to help.

Made over the course of three years, Sparrow is a more lighthearted film than the crime films that Johnnie To is most known for. Besides tone, another way in which Sparrow differs from Jonnie To’s crime films is its visuals, which are more colorful instead of monochrome. That said, Sparrow is Johhnie To’s love letter to Hong Kong that takes inspiration from French New Wave cinema and Hollywood musicals.

Though there is a simplicity to the narrative, the way Johnnie To puts everything together ensures there is never a shortage of engaging moments. What unfolds is a cat-and-mouse game between the four pickpockets and the woman, in which characters try to get one over on each other. Also, the narrative moves quickly, momentum is never an issue and everything builds towards a very satisfying conclusion.

Sparrow has a superb cast who are all excellent in their roles, especially Simon Yam (Full Contract), who portrays Kei, the leader of a gang of pickpockets. Some actors are typecast, and Simon Yam falls into this category; that said, it is always refreshing seeing an actor outside of their norm. He delivers a delightful performance in the role of Kei. Another performance of note is Kelly Lin (Fulltime Killer), who portrays a mysterious woman who tricks the four pickpockets into helping her.

Despite Sparrow’s production schedule having several stops and goes, the result is a surprisingly cohesive film that's polished. Humor plays a role in Sparrow, like in a scene where the four pickpockets and the woman try to fit with two men in an elevator, and another scene where one of the pickpockets dresses like a woman to pull off a con. Though there are long stretches with no dialog, the visuals do a lot of the heavy lifting throughout Sparrow. The main visual set piece is a scene where Kei, carrying the woman’s passport, walks around with an umbrella in the rain while being pursued by others trying to pick it from his pocket. Another strength is an exemplary score that perfectly captures Sparrow’s playfulness. Ultimately, Sparrow is an extraordinary cinematic experience from one of Hong Kong cinema’s best filmmakers.

Being that this release is region-free and has no rating logos anywhere on the packaging, there is no reason not to buy this release if you're a fan of Johnnie To. Sparrow gets an excellent release from Chameleon Films that comes with a solid audio/video presentation and comes with an abundance of informative extras, highly recommended.

Written by Michael Den Boer

A Chinese Odyssey: Parts 1 & 2 – Shout! Factory (Blu-ray)

Theatrical Release Dates: Hong Kong, 1995 (A Chinese Odyssey Part One: Pandora's Box, A Chinese Odyssey Part Two: Cinderella)
Director: Jeffrey Lau (Both Films)
Cast: Stephen Chow, Athena Chu, Ng Man-tat, Yammie Lam, Karen Mok, Law Kar-ying, Jeffrey Lau, Lu Shuming, Ada Choi

Release Date: February 4th, 2025
Approximate Running Times: 88 Minutes 26 Seconds (A Chinese Odyssey Part One: Pandora's Box), 99 Minutes 49 Seconds (A Chinese Odyssey Part Two: Cinderella)
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: DTS-HD Mono Cantonese, DTS-HD 5.1 Cantonese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A
Retail Price: $39.98

"Joker (Chow) leads a band of outlaws, but soon discovers his purpose in life is something far greater. Learning that he is the reincarnation of the fabled Monkey King who had betrayed his master five hundred years earlier, Joker finds himself beset by all manner of outrageous obstacles on his journey to come to terms with his past life." - synopsis provided by the distributor

Video: 4.25/5

A Chinese Odyssey Part One: Pandora's Box comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.4 GB

Feature: 25.9 GB

A Chinese Odyssey Part Two: Cinderella comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.9 GB

Feature: 30.1 GB

Though all of these transfers come from what looks like a dated source; they actually look very good. Flesh tones look healthy, colors look correct, image clarity and black levels are strong, and compression is very good. 

Audio: 4.25/5 (DTS-HD Mono Cantonese, DTS-HD 5.1 Cantonese)

Each film comes with two audio options, a DTS-HD 5.1 mix in Cantonese and a DTS-HD mono mix in Cantonese. You can’t go wrong with any of these audio tracks; they are all in great shape, dialogue comes through clearly, everything sounds balanced, and action sequences are robust. That said, the 5.1 audio track does a great job expanding the original mono source. Included are non-removable English subtitles for the Cantonese language tracks. Audio can only be changed and subtitles disabled via the main menu and not during playback.

Extras:

Extras for A Chinese Odyssey Part One: Pandora's Box include an image gallery (stills), a theatrical trailer (1 minute 41 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with director Jeffrey Lau (12 minutes 44 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview titled The King of Cantonese Comedy with Gary Bettinson, editor of the book The Cinema of Stephen Chow (27 minutes 47 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with academic and filmmaker Gilbert Po (30 minutes 4 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), and an audio commentary with Frank Djeng of the New York Asian Film Festival.

Extras for A Chinese Odyssey Part Two: Cinderella include an image gallery (poster/stills), an interview with director Jeffrey Lau (8 minutes 3 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with cinematographer Ray Wong (24 minutes 35 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview titled Vision For An Odyssey with James Mudge, veteran Hong Kong film critic at easternKicks (18 minutes 11 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), and an audio commentary with Frank Djeng.

Other extras include reversible cover art, and a slipcover (limited to the first pressing).

Summary:

Jeffrey Lau directed A Chinese Odyssey Part One: Pandora's Box and A Chinese Odyssey Part Two: Cinderella. His other notable films include The Haunted Cop Shop, All for the Winner, Treasure Hunt, and Out of the Dark.

A Chinese Odyssey Part One: Pandora's Box: A monkey king who betrayed his master is transformed into a mortal man. Now a man, he is a leader of a group of outlaws who are attacked by two demons who are looking for three dots on their feet, a sign that they are the monkey king.

A Chinese Odyssey Part Two: Cinderella: Still in the form of a man, the monkey king travels 500 years back in time, and he tries to rectify the mistakes he’s made.

A Chinese Odyssey Part One: Pandora's Box and A Chinese Odyssey Part Two: Cinderella is a loose adaptation of Wu Cheng'en's novel Journey to the West, published in the 16th century. Trying to fit an epic story like Journey to the West into one, let alone two films, is a daunting task. And yet, despite both films' relatively short running times—88 and 100 minutes—both films are able to retain an epic feel. That said, though the core elements remain, the end result is a pair of films that are tailored to Stephen Chow’s strengths as an actor.

Unlike the other films that Stephen Chow was appearing in around this time, A Chinese Odyssey Part One: Pandora's Box and A Chinese Odyssey Part Two: Cinderella are ensemble casts. All around, the performances are all exceptional. Notable cast members include Karen Mok (So Close) and Yammie Lam (Flirting Scholar); they portray two demons, Bak Jing-jing and Spiderwoman, and Ng Man-tat, a frequent collaborator of Stephen Chow’s whose character is often the recipient of his jokes. That said, when it comes to humor, most of the funniest moments are delivered by Stephen Chow, whose character is reincarnated as a man with sight problems.

The funniest moments in A Chinese Odyssey Part One: Pandora's Box is a running gag in which Stephen Chow’s character's crotch is on fire, and those around him put it out by stomping on his genitals. The funniest moment in A Chinese Odyssey Part Two: Cinderella is a scene where a monk sings The Platters Only You to Stephen Chow’s character. Though humor plays a significant role in the stories that unfold, both films are straight-up fantasy films. There are characters that look like pigs, monkeys, and other animals, and a spider with a woman’s head. Also, characters use magic to make themselves invisible, and there is a scene where two characters battle inside the body of one of these characters. 

When it comes to action sequences, they are all well-executed moments, most of which defy gravity and reality. The stunt work, especially in regards to physical comedy, is impressive. Though these two films used CGI that at that time looked very good, it looks dated by today's standards. Fortunately, the story that unfolds does a superb job pulling you in, and this shortcoming is easy to overlook.

From a production standpoint, A Chinese Odyssey Part One: Pandora's Box and A Chinese Odyssey Part Two: Cinderella are films that fully exploit their resources. Both films' narratives do a phenomenal job building momentum, rarely giving you a chance to catch your breath. Besides A Chinese Odyssey Part Two: Cinderella picking up where its predecessor left off, its narrative also has a recap of key moments from A Chinese Odyssey Part One: Pandora's Box. Ultimately, A Chinese Odyssey Part One: Pandora's Box and A Chinese Odyssey Part Two: Cinderella are highly entertaining films that fans of Chinese fantasy films and Mo lei tau humor should thoroughly enjoy.

Shout! Factory’s A Chinese Odyssey: Parts 1 & 2 brings together two films, gives them strong audio/video presentations, and includes informative extras, highly recommended.

Written by Michael Den Boer

Dragon Fist: Deluxe Limited Edition – 88 Films (UHD/Blu-ray Combo)

Theatrical Release Date: Hong Kong, 1979
Director: Lo Wei
Writer: Wang Chung-pin
Cast: Jackie Chan, Nora Miao, James Tien, Yen Shi Kwan, Eagle Han-ying, Wu Wen-sau, Im Eun-Joo 

Release Date: February 24th, 2025
Approximate Running Time: 96 Minutes 53 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 18 (UK)
Sound: LPCM Mono Mandarin, LPCM Mono Cantonese, Alternate LPCM Mono Cantonese, LPCM Mono English
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region B (Blu-ray)
Retail Price: £29.99 (UK)

"Director Wei Lo and martial arts legend Jackie Chan are back together in a kung-fu saturated story of revenge and justice. Tong Huo-wan (Chan) is on the hunt for retribution for the death of his mentor whilst also balancing out the power between locals and violent gangsters as well as dealing with the devastating news that his master’s family are joining a rival school! Chan is on red-hot form here, as a seemingly indestructible man determined to right all wrongs, even if that means going against his teachings." - 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, "4K Restoration from the Original Camera Negative."

Dragon Fist comes on a 100 GB triple layer 4K UHD.

Disc Size: 86.7 GB

Feature: 73.7 GB

The source looks excellent; it is a massive improvement over the 88 Films 2018 Blu-ray release. Flesh tones look correct, color saturation, image clarity, black levels, and compression are solid, and the image retains an organic look.

Dragon Fist comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.6 GB

Feature: 31.7 GB

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

Audio: 4.5/5 (LPCM Mono Mandarin, LPCM Mono Cantonese, Alternate LPCM Mono Cantonese), 4/5 (LPCM Mono English) 

This release comes with four audio options: a LPCM mono mix in Mandarin, a LPCM mono mix in Cantonese, a LPCM mono mix in Cantonese labeled alternate, and a LPCM mono mix in English. The two Cantonese and Mandarin language tracks sound excellent. Though the English language track is in great shape, it has some minor sibilance issues. That said, dialog always comes through clearly, everything sounds balanced, and action sequences sound robust. There are three removable English subtitle tracks, one for the Mandarin language track, and each Cantonese language track gets its own subtitle track.

Extras:

Extras on the 4K UHD disc include a lobby card image gallery with music from the film playing in the background, a Then & Now image gallery with music from the film playing in the background, Japanese TV spot (14 seconds, Dolby Digital mono Japanese with removable English subtitles), Japanese theatrical trailer (1 minute 52 seconds, Dolby Digital mono Mandarin with Japanese text and removable English subtitles), Japanese opening credits (2 minutes 30 seconds, Dolby Digital mono Mandarin with Japanese text and removable English subtitles), an archival interview with NEO magazine writer and journalist David West titled A Dragon’s Rules (21 minutes 52 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Frank Djeng (NY Asian Film Festival) and FJ DeSanto.

The extras are the same on both discs.

Other extras include reversible cover art, a rigid slipcase, 6 art cards, a fold-out double sided poster, and a 80-page perfect bound book with cast & crew information, an essay titled Rumble in Korea a Look Back on the Hong Kong Kung-Fu Filming in Korea written by Paul Bramhall, an essay titled Exit the Dragon written by Andy Heskins, and an essay titled Portrait of the Artist as a Young Man Jackie Chan, Dragon Fist and a (Partial) Defense of Lo Wei written by James Oliver.

Summary:

Lo Wei directed Dragon Fist. He is most remembered for directing two Bruce Lee films, The Big Boss and Fists of Fury. He collaborated with Jackie Chan on six films.

A student's quest for revenge against his master's killer is interrupted when he gets entangled in a feud between two clans.

Though Dragon Fist was filmed before Jackie Chan’s breakout films Snake in the Eagle’s Shadow and Drunken Master, it was not released until a year after these two films. Content-wise, Dragon Fist has a more serious darker tone that is devoid of the humor that became synonymous with Jackie Chan after Snake in the Eagle’s Shadow and Drunken Master.

Despite being yet another martial arts film about revenge, Dragon Fist actually puts an interesting twist on a familiar scenario. There are double crosses, traitors waiting for the best moment to strike. And everything comes to a head in a rage-filled finale that serves as a perfect climax.

The cast is all great in their roles. Jackie Chan (Twin Dragons) delivers a solid performance in the role of an avenger. Though his character's Dragon Fist fighting style is not in line with his style of martial arts, he still excels when it comes to his fight sequences. In the supporting cast, there are a few recognizable faces: Nora Miao (Way of the Dragon) and James Tien (The Big Boss).

Dragon Fist’s weakest link is Lo Wei; despite directing some memorable 1970s martial arts films, he had no distinct style as a filmmaker. He was a workman-like director whose stars, Bruce Lee and Jackie Chan, made his films better in spite of his direction. That said, Dragon Fist’s fight sequences are, for the most part, great, especially in moments with Im Eun-Joo in the role of the daughter of the man who killed Jackie Chan’s character's master.

Though heavy on action, the narrative actually does a great job building up characters and maintaining momentum. The scores for so many 1970s martial arts films use uncredited music cues; Dragon Fist has music cues from Jerry Goldsmith’s score for The Sand Pebbles. Dragon Fist would mark the sixth and final film that Jackie Chan made with Lo Wei as director. These six films directed by Lo Wei all pale in comparison to the films Jackie Chan made with other directors. That said, Dragon Fist is the best of these six Jackie Chan/Lo Wei films.

Dragon Fist gets a definitive release from 88 Films, highly recommended.

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

Written by Michael Den Boer