Inflatable Sex Doll of the Wastelands: Standard Edition – Deaf Crocodile (Blu-ray)

Theatrical Release Date: Japan, 1967
Director: Atsushi Yamatoya
Writer: Atsushi Yamatoya
Cast: Miki Watari, Yûichi Minato, Shôhei Yamamoto, Masayoshi Nogami, Noriko Tatsumi, Mari Nagisa, Akaji Maro, Taka Ôkubo, Hatsuo Yamaya

Release Date: November 11th, 2025
Approximate Running Time: 86 Minutes 46 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

“Every day at 3 o’clock I’ve been killing you in my daydreams,” murmurs low-rent hitman Shô (Yûichi Minato), haunted by the death of his girlfriend five years earlier and seeking revenge on the gangster who killed her." - synopsis provided by the distributor

Video: 3.75/5

Here’s the information provided about this release's transfer, "Inflatable Sex Doll of the Wastelands was restored from the only known remaining 35mm element - a badly worn and damaged release print, scanned by Rapid Eye Movies in Germany.

Before restoration work could begin, the piece-meal scan of bits and pieces of that tattered print needed to be put back together (conformed) - both the audio and picture separately and then synced. That's an undertaking all its own. Once we had that, we could really dig in and see just what kind of work was ahead of us.

The print was damaged with numerous broken and even missing frames. As would be expected from a worn release print, there were considerable scratches and dirt present and large tape splices needed to be digitally repaired at each cut. There were considerable stability issues throughout. Large sections of the film had significant moisture damage which presents itself on screen as a wildly irregular "flicker". The audio was equally challenging and well beyond our in-house audio restoration abilities. It was time to call in the audio pros at Audio Mechanics in Burbank, CA. They did a heroic job clearing up the audio, fixing badly out of sync shots and miraculously removing a loud repetitive noise that ran throughout a large portion of the film.

An element in this condition would normally never be used for a restoration effort, but in this case it was the only element known to exist and the film deserves to be seen in the best possible condition it can."

Inflatable Sex Doll of the Wastelands comes on a 25 GB single layer Blu-ray.

Disc Size: 22.8 GB

Feature: 16.5 GB

The detailed information provided about the transfer gives you a clear idea of what to expect. That said, things look better than expected, and Fidelity in Motion delivers a solid encode. 

Audio: 4/5

This release comes with one audio option, a DTS-HD mono mix in Japanese with removable English. Dialog comes through clearly, everything sounds balanced, and ambient sounds are well-represented.

Extras:

Extras for this release include reversible cover art, a restoration demo (2 minutes 46 seconds, Dolby Digital mono Japanese, no subtitles), a  video essay by journalist and physical media expert Ryan Verrill (The Disc Connected) and film professor Dr. Will Dodson titled Tomorrow Won’t be a Dream: Duality and Triangles in Inflatable Sex Doll of the Wastelands (13 minutes 4 seconds, Dolby Digital stereo English, no subtitles), an interview with film professor Alexander Zahlten on the Pink Film subgenre in Japanese cinema, moderated by Dennis Bartok of Deaf Crocodile (82 minutes 36 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film historians Arne Venema and Mike Leeder, and an insert with a URL that has a PDF for the video essay.

Summary:

Atsushi Yamatoya directed Inflatable Sex Doll of the Wastelands; his only other notable film as a director is Trapped in Lust, a Roman Porno remake of Branded to Kill. He is most known for his work as a screenwriter: Branded to Kill, Stray Cat Rock: Sex Hunter, A Tale of Sorrow and Sadness, Star of David: Beautiful Girl Hunter, and Dogra Magra.

A private detective is hired to find a woman who is believed to have been killed in a snuff film.

While Inflatable Sex Doll of the Wastelands incorporates many elements typical of Pinku eiga, it ultimately resembles the action films produced by Nikkatsu in the latter half of the 1960s. Where most pinku eiga focus on sex, violence, and politically charged commentary, Inflatable Sex Doll of the Wastelands, similar to the works of Atsushi Yamatoya, places greater emphasis on experimentation. That said, when it comes to sex and violence, Inflatable Sex Doll of the Wastelands seems relatively mild compared to other Pinku eiga films from the 1960s and 1970s.

While watching Inflatable Sex Doll of the Wastelands, I could not help but think about Branded to Kill, a film to which Atsushi Yamatoya contributed as a writer. Both films revolve around protagonists who manage to stay ahead of their enemies in a kill-or-be-killed world. That said, Inflatable Sex Doll of the Wastelands has a surprisingly strong narrative that is heavy on exposition in favor of more exploitative elements. Another strength of the narrative is how it fleshes out its protagonist's backstory: his girlfriend was murdered by a gangster, and his quest for revenge aligns with the case he’s working on.

The most surprising aspect of Inflatable Sex Doll of the Wastelands is the performances, especially Yûichi Minato (Madame O), who portrays a private detective named Shô. He delivers a strong performance that draws you into the story that is unfolding. Another performance of note is Miki Watari, who portrays Mina, a woman who has an affair with Shô despite being involved with a man named Kô, the knife thrower.

The dark premise of Inflatable Sex Doll of the Wastelands depicts a world where women are abducted, tortured, violated, and killed on film, and this concept is effectively brought to life. The film features a diverse cast of eccentric characters, including a man who engages intimately with his inflatable doll. While alliances are formed among them, numerous betrayals occur throughout the story. Visually there are an abundance of arresting moments, and a jazz-infused score reinforces the unsettling mood. That said, there are times when image and sound verge on avant-garde. Ultimately, Inflatable Sex Doll of the Wastelands is a satisfying blend of arthouse and exploitation cinema that quickly draws you in and holds your attention.

Deaf Crocodile gives Inflatable Sex Doll of the Wastelands its best home media release to date; highly recommended.

Note: There is a deluxe release of Inflatable Sex Doll of the Wastelands that comes with a slipcase, and a 60-page book with an essay titled Erotics of the Gun Gender, Geo-Politics, and Inflatable Sex Doll of the Wastelands written by Alexandra Heller-Nicholas, an essay titled Inflatable Sex Doll of the Wastelands written by Walter Chaw, an essay titled Atsushi Yamatoya’s Inflatable Sex Doll of the Wastelands - Quantum Mechanics and the Destroyer of Worlds written by Chris D., an interview with producer Keiko Satô of Kokuei Films, conducted by producer Hiromi Aihara of Bewiz, and information about the restoration.

Written by Michael Den Boer

Laurel & Hardy: The Definitive Restorations Volume 2 - Kit Parker Films (Blu-ray)

Theatrical Release Dates: USA, 1929 (Men O' War, Perfect Day), USA, 1930 (Brats, Blotto, Another Fine Mess), USA, 1933 (Dirty Work), USA, 1934 (Going Bye-Bye!, Them Thar Hills), USA, 1935 (Tit for Tat)
Directors: Lewis R. Foster (Men O' War), James Parrott (Perfect Day, Brats, Blotto, Another Fine Mess), Lloyd French (Dirty Work), Charley Rogers (Going Bye-Bye!, Them Thar Hills, Tit for Tat)
Cast: Stan Laurel, Oliver Hardy, Anne Cornwall, Gloria Greer, Edgar Kennedy, Kay Deslys, Isabelle Keith, Anita Garvin, Charles K. Gerrard, Thelma Todd, Lucien Littlefield, Walter Long, Mae Busch, Charlie Hall

Release Date: November 11th, 2025
Approximate Running Times: 20 Minutes 1 Second (Men O' War), 20 Minutes 58 Seconds (Perfect Day), 20 Minutes 7 Seconds (Brats), 21 Minutes 46 Seconds (Blotto - Silent Version), 26 Minutes 22 Seconds (Blotto - Sound Version), 28 Minutes 29 Seconds (Another Fine Mess), 19 Minutes 40 Seconds (Dirty Work), 21 Minutes 7 Seconds (Going Bye-Bye!), 20 Minutes 50 Seconds (Them Thar Hills), 19 Minutes 54 Seconds (Tit for Tat)
Aspect Ratio: 1.33:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: NR
Sound: LPCM Mono English (All Films Except Brats and Blotto Silent Version), LPCM Mono (Brats and Blotto Silent Version)
Subtitles: English Intertitles (Brats and Blotto Silent Version)
Region Coding: Region Free
Retail Price: $39.95

"Laurel & Hardy: The Definitive Restorations Volume 2 returns the beloved comedy duo to their full brilliance in this restored Blu-ray collection. Sourced from the original 35mm archival elements, this set offers fans an opportunity to see long-unavailable original release versions and previously unseen materials—over six hours of timeless laughter! Included are eight of Laurel & Hardy's most celebrated short films: • Men O' War (1929) • Perfect Day (1929) • Blotto (1930) • Another Fine Mess (1930) • Dirty Work (1933) • Going Bye-Bye! (1934) • Them Thar Hills (1934) • Tit for Tat (1935) These restored gems showcase the comedic genius of the legendary pair, with enhanced picture and audio that make every gag feel fresh again." - synopsis provided by the distributor

Video: 4/5 (Perfect Day, Dirty Work, Going Bye-Bye!, Them Thar Hills, Tit for Tat), 3.5/5 (Men O' War, Brats, Blotto, Another Fine Mess)

Here’s the information given about the transfers, "Sourced from the original 35mm archival elements restored by the UCLA Film and Television Archive."

Disc one is a 50 GB dual layer Blu-ray.

Disc Size: 44 GB (4 Short Films)

Disc two is a 50 GB dual layer Blu-ray.

Disc Size: 39.1 GB (4 Short Films)

The source looks great; any debris or imperfections that remain are minor. Flesh tones look correct, image clarity, contrast, and black levels are strong, and compression is solid.

Audio: 3.75/5 (All Films Except Blotto, Another Fine Mess), 3.5/5 (Blotto, Another Fine Mess)

All of the short films except Brats and the silent version of Blotto come with one audio option, a LPCM mono mix in English. Brats and the silent version of Blotto come with one audio option, a LPCM mono with English intertitles. There is a background hiss that is present throughout Blotto and Another Fine Mess. All of the audio tracks are clear and balanced, and range-wise they are satisfactory.

Extras:

Extras on disc one include image galleries for Men O' War, Perfect Day, Blotto, Blotto (French version), Brats, and Another Fine Mess; audio commentaries with Richard W. Bann for Men O' War, Blotto, and Another Fine Mess; an audio commentary with Randy Skretvedt for Perfect Day, the 1937 reissue version of Perfect Day; previously lost silent versions of Brats and Blotto with scores by Andrew Earle Simpson; and alternate voice and effects-only versions of Blotto and Another Fine Mess. 

Extras on disc two include image galleries for Dirty Work, Going Bye-Bye!, Them Thar Hills and Tit for Tat, trailers for Pardon Us—German version (2 minutes 4 seconds, LPCM mono German, no subtitles), Fra Diavolo—British version (2 minutes 49 seconds, LPCM mono English, no subtitles), Bohemian Girl (1 minute 44 seconds, LPCM mono English, no subtitles), Our Relations (1 minute 7 seconds, LPCM mono English, no subtitles), and Swiss Miss (2 minutes 24 seconds, LPCM mono English, no subtitles), a 1936 MGM promotional film with Laurel & Hardy titled Galaxy of Stars (8 minutes 36 seconds, 1.33:1 aspect ratio, LPCM mono English, no subtitles), a theatrical trailer for There Goes My Heart (3 minutes 40 seconds, LPCM mono English, no subtitles), outtakes for There Goes My Heart trailer (3 minutes 59 seconds, silent footage), a promotioinal interview short with with Laurel & Hardy titled Ship’s Reporter (5 minutes 47 seconds, 1.33:1 aspect ratio, LPCM mono English, no subtitles), an episode of the TV show This Is Your Life, sourced from 35mm kinescope negative (29 minutes 23 seconds, LPCM mono English, no subtitles), a promotioinal interview short with with producer Hal Roach titled Hal Roach Backlot Interview (4 minutes 59 seconds, 1.33:1 aspect ratio, LPCM mono English, no subtitles), and audio commentary tracks with Randy Skretvedt for Dirty Work, Going Bye-Bye!, Them Thar Hills, and Tit for Tat.

Other extras include a 32-page booklet with a text piece titled Preservation and Restoration written by Jeff Joseph, production notes for each film written by Randy Skretvedt, and a text piece titled Behind the Scenes at Hal Roach Studios written by Richard W. Bann.

Summary:

Men O' War: On shore leave from the navy, two sailors invite two women they have just met out for sodas. Once there, they discover that they do not have enough money for four sodas so they order three.

Perfect Day: Trouble with their car derails a couple's day in the country. From there a series of events unfold with their neighbor, who they have been feuding with.

Brats: Two rambunctious sons constantly interrupt their fathers, who are trying to have a peaceful game of checkers. In this short, Stan Laurel and Oliver Hardy portray the fathers and the sons.

Blotto: A husband wanting to get away for the evening from his nagging wife sends himself a fake telegram that allows him to leave. Knowing that her husband is up to no good, the wife empties the bottle of alcohol he plans on taking without her permission, and she refills it with a concoction of household things from the kitchen.

Another Fine Mess: Two homeless vagabonds hiding from the police lock themselves in a mansion whose owners have just left for vacation. Shortly after their arrival, someone arrives looking to rent the place, and they are forced to pretend that they are the owner, his butler, and maid.

Dirty Work: Two men hired to clean a professor's chimney cause a lot of damage while they are working. From there they end up in the professor's laboratory and come into contact with his rejuvenation potion.

Going Bye-Bye!: Fearful, two men are forced to quickly leave town after testifying. Short on cash, they place an ad for a third person to come along on the trip. The woman who answers their ad is the girlfriend of the gangster who wants to kill them. 

Them Thar Hills: Two friends go to the country because one of them is recovering from gout and needs the fresh mountain air. Once there, they drink from a well that is filled with bootlegger's liquor instead of water.

Tit for Tat: Two friends opening a new business next door to the couple they crossed paths with from Them Thar Hills. They spend all of their time fighting with their neighbor while neglecting their new business.

There is a brevity to these short films. They keep things simple and move at a brisk momentum. Laurel & Hardy, like other comedic duos, have a formula; there is a physicality to their humor, and another source of their comedy comes from how they work against each other instead of taking an obvious route. That said, the quality of these nine short films is excellent; they represent some of their best films.

Laurel & Hardy: The Definitive Restorations Volume 2 is an exceptional release that comes with a wealth of content, making it a must-purchase for Laurel & Hardy fans. Highly recommended.

 

Written by Michael Den Boer

Terrifying Girls' High School: Women's Violent Classroom – Discotek Media (Blu-ray)

Theatrical Release Date: Japan, 1972
Director: Norifumi Suzuki
Writers: Masahiro Kakefuda, Ikuo Sekimoto, Norifumi Suzuki
Cast: Miki Sugimoto, Natsuko Miura, Masataka Naruse, Ryôko Ema, Miwako Onaya, Naomi Oka, Yôko Mihara, Akira Ôizumi, Nobuo Kaneko, Hiroshi Nawa, Reiko Ike

Release Date: October 28th, 2025
Approximate Running Time: 78 Minutes 43 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $24.95

"If you’re lucky enough to make it out of Seikou Girls’ Academy, they say it’ll make you a wise wife and a gentle mother. Yeah, right. In these harrowing halls, most students survive by keeping their heads down or having them smashed in! Out of all the academy’s gangs, there’s none more terrifying than O-Michi (Miki Sugimoto) and the Stormbreakers. But when a mysterious transfer student (Reiko Ike) steps on O-Michi’s turf, the ensuing gang war reveals a trail of blood that leads straight back to the school itself!" - synopsis provided by the distributor

Video: 3.75/5

Terrifying Girls' High School: Women's Violent Classroom comes on a 25 GB single layer Blu-ray.

Disc Size: 16.3 GB

Feature: 15.6 GB

No information is provided about the source used for this transfer. That said, the source is in good shape, and any source debris is minimal. Flesh tones and colors look correct, the image looks crisp, black levels are strong, and there are no issues with compression.

Audio: 4/5

This release comes with one audio option, a LPCM mono mix in Japanese, and included with this release are removable English subtitles. The audio sounds clean, clear, and balanced. Range-wise, things sound very good.

Extras:

Extras for this release include a theatrical trailer (3 minutes 14 seconds, LPCM mono Japanese with removable English subtitles) and a slipcover.

Summary:

Norifumi Suzuki directed Terrifying Girls' High School: Women's Violent Classroom. He’s known for Tokugawa Sex Ban, The Lustful Shogun and His 21 Concubines, School of the Holy Beast, The Killing Machine, Star of David: Hunting for Beautiful Girls, and Roaring Fire. He also directed several films in the Girl Boss and Terrifying Girls' High School film series.

A new student enrolls at the prestigious Seikou Girls’ Academy, determined not to yield to a gang of delinquent girls known as the Stormbreakers. She has hidden motives for attending the academy, and no one will hinder her quest for revenge.

By the time Toei called upon Norifumi Suzuki to direct Terrifying Girls' High School: Women's Violent Classroom, he had already directed three sukeban films. Norifumi Suzuki is more synonymous with these types of films than any other filmmaker working in Toei's "pinky violence" subgenre. Terrifying Girls' High School: Women's Violent Classroom also pairs Miki Sugimoto and Reiko Ike, the biggest stars of Toei’s “pinky violence.”

There are three things at play in Terrifying Girls' High School: Women's Violent Classroom. The first is a storyline that revolves around a new idealistic teacher named Keiichi Yoshioka. He believes the best way to combat delinquents is by force, while those around him warn him to tone down his aggressive behavior. The other storyline revolves around a new student named Yuki Onozaki; she’s an orphan and her past trauma is linked to someone at Seikou Girls’ Academy. Outwardly she appears to be a model student in a school overrun by delinquents. These two storylines intersect with Michiko Nakata, the leader of a girl gang known as the Stormbreakers.

All around, the cast are excellent, especially Miki Sugimoto (Zero Woman: Red Handcuffs) in the role of Michiko and Reiko Ike (Girl Boss: Revenge) in the role of Yuki. The character of Michiko is much more than an adolescent with a brutal outlook; a traumatic event from her past changed her into what she's now become. Ultimately, it is the weight of past trauma that unites Michiko and Yuki for a final confrontation with their oppressors.

At just under 80 minutes, the narrative covers a lot of ground and always moves briskly. There is an ample amount of depravity and violence, two of Toei’s “pinky violence” staples. Norifumi Suzuki's direction is exemplary; he really excels when it comes to the type of subject matter covered in Toei’s “pinky violence” films. Another area where Terrifying Girls' High School: Women's Violent Classroom shines is its use of music that perfectly contrasts the brutality. Ultimately, Terrifying Girls' High School: Women's Violent Classroom is one of the best examples of Toei's "pinky violence" subgenre.

Although it is great that a film like Terrifying Girls' High School: Women's Violent Classroom is getting an English-friendly release, the lack of extras is a disappointment since most boutique labels releasing Asian cinema come with extras that provide insight about these films. Terrifying Girls' High School: Women's Violent Classroom is another barebones release from Discotek Media that comes with a strong audio/video presentation.

 

Written by Michael Den Boer

Sirius: Standard Edition – Deaf Crocodile (Blu-ray)

Theatrical Release Date: Hungary, 1942
Director: Dezsõ Ákos Hamza
Writers: Imre Földes, Ferenc Herczeg, Péter Rákóczi
Cast: Elemér Baló, Ilona Bánhidy, Géza Berczy, Jenö Bodnár, Endre C. Turáni, Jenö Danis,Sári Déry, Dóra Fáy Kiss

Release Date: November 11th, 2025
Approximate Running Time: 103 Minutes 29 Seconds
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Hungarian
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"In the 1940s, a brash Hungarian playboy (László Szilassy) travels back two hundred years with a mad scientist to the mid-18th century world of wigs and pompadours, where he falls in love with a penniless opera singer (Katalin Karády) and makes enemies of all the aristocratic fools he encounters (including his own great-grandfather). But can he make it back to the present before dawn with his new love—or will he lose her forever?" - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "beautifully restored from the original 35mm B&W nitrate negative by the NFI, and released for the first time on Blu-ray in the U.S. by Deaf Crocodile."

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

Disc Size: 33 GB

Feature: 27.7 GB

The source looks excellent, free of debris or other imperfections. Flesh tones look correct, image clarity and compression are solid, black levels are strong, and there are no issues with digital noise reduction. Fidelity In Motion delivers another exemplary encode.

Audio: 4.5/5

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

Extras:

Extras for this release include a newly created trailer (2 minutes 48 seconds, Dolby Digital mono Hungarian with removable English subtitles), Sirius Werkfilm—ultra-rare behind-the-scenes footage of Sirius during production that was shot by a 19-year-old studio trainee and shows the director and lead actors setting up for filming (2 minutes 27 seconds, silent footage), a video essay by journalist and physical media expert Ryan Verrill and film professor Dr. Will Dodson of Someone’s Favorite Productions titled Vissza a Jovobe: Hungary at a Tipping Point (20 minutes 18 seconds, Dolby Digital stereo English with non-removable English subtitles for Hungarian film clips), an interview with György Ráduly, director of the National Film Institute (NFI) – Film Archive on the making and preservation of Sirius, moderated by Dennis Bartok (18 minutes 54 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with hall of fame comics artist, film historian, and author Stephen R. Bissette.

Summary:

A professor offers his wealth and his daughter's hand in marriage to any man willing to travel with him in his time machine.

Time travel is a device used countless times in cinemas, and while each film has offered its own interpretation, the main constant is how one's actions in the past alter the future. The protagonist, navigating the past using time travel, always wants to alter history. Despite its use of time travel, Sirius best fits the description of a melodrama with limited sci-fi elements.

The opening up does a superb job drawing you in, and from there the narrative creates an engaging story that always holds your attention. Although there is a predictability to the events that unfold, everything builds effectively to a very satisfying finale. Another strength of the narrative is its ability to create dramatic moments that build upon each other.

The protagonist, a count named Tibor Ákos, is a brash character whose refusal to conform to rituals and etiquette puts him at odds with those from the past that he encounters. Rosina Beppo, a singer, is the only person who's not averse to his demeanor. She has become fond of him despite only knowing him briefly. Rosina is also a doppelganger of the professor's daughter. That said, the performances all suit the story that unfolds.

Sirius is a film that delights and exceeds the sum of its parts, notably when it comes to its exemplary production design. Although the visuals let the performances take center stage, that is not to say that they don’t greatly contribute to reinforcing the mood. Ultimately, Sirius is a well-crafted romantic costume drama that effectively employs time travel.

Sirius gets an excellent release from Deaf Crocodile that comes with a solid audio/video presentation and insightful extras; highly recommended. 

Note: There is a deluxe release of Sirius that comes in a slipcase and a 60-page book with an essay by film historian Rolf Giesen and an essay by film critic Walter Chaw (Film Freak Central).

Written by Michael Den Boer

Eva Man / Return of Eva Man – Mondo Macabro (Blu-ray)

Theatrical Release Dates: Spain/Italy, 1980 (Eva Man), Spain/Italy, 1982 (Return of Eva Man)
Directors: Antonio D'Agostino (Both Films), Zacarías Urbiola (Return of Eva Man)
Cast: Eva Robin's, Ajita Wilson, Ramón Centenero, Sara Mora, Fabián Conde, Giuseppe Alotta, Pippo Valente, Annj Goren, Brunello Chiodetti, Héctor Peppino Cuerva, Marco Casanova  

Release Date: November 11th, 2025
Approximate Running Times: 84 Minutes 9 Seconds (Eva Man), 81 Minutes 57 Seconds (Return of Eva Man)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: DTS-HD Mono Spanish (Both Films)
Subtitles: English (Both Films)
Region Coding: Region Free
Retail Price: $29.99

"The beautiful Eva (played by Eva Robin’s) is unusual in a number of ways, not the least of them being that she was born with both male and female sexual attributes. She asks her uncle, professor Pissinger, to operate on her and remove the male parts. However, the professor is so taken with the idea of a person who can be both male and female that he refuses to perform the operation. He believes that the future of humanity would be best served by increasing the number of intersex individuals. So he creates what he calls a “sex maker”—something like a pacemaker but this time installed in the crotch area. It gives the recipient the ability to control and increase their sexual intensity. The professor believes his invention could change the world for the better, bringing about a more peaceful and balanced society. Unfortunately for him, a gang of incompetent criminals has been hired to kidnap Eva and remove the sex maker from her body, then give it to their boss who, being impotent, believes the device will save his relationship with his wife, the glamorous but frustrated Gerda. Eva and her friend Ajita (played by Ajita Wilson) set off in search of the criminals. But unfortunately, the gang kidnap Eva and plan to remove the sex maker… Using a sharpened axe!" - synopsis provided by the distributor

Video: 4.25/5 (Eva Man), 4/5 (Return of Eva Man)

Here’s the information provided about the transfer, "Brand new 4k restorations from original negative for both films."

Eva Man and Return of Eva Man come on a 50 GB dual layer Blu-ray.

Disc Size: 42.8 GB

Feature: 15.7 GB (Eva Man), 13.7 GB (Return of Eva Man)

The sources for these two films have similar qualities; that said, Return of Eva Man’s grain is more pronounced. Flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and both always look organic.

Audio: 4/5 (Both Films)

Each film comes with one audio option, a DTS-HD mono mix in Spanish with removable English subtitles. Both audio tracks sound clean, clear, and balanced.

Extras:

Extras for this release include an alternate ending for Eva Man (15 seconds, Dolby Digital mono Spanish, no subtitles), a short film directed by Antonio D’Agostino titled Metamorfosi (13 minutes 20 seconds, 1.33:1 aspect ratio, Dolby Digital stereo, there are no spoken words), a video essay by Ian Higbee titled The Double Life of Antonio D’Agostino (20 minutes 14 seconds, Dolby Digital stereo English, no subtitles), an featurette with Alex Mendibil who discusses the life and career of Ajita Wilson (47 minutes 58 seconds, Dolby Digital stereo Spanish with removable English subtitles), an interview with sound recordist Luciano Muratori (11 minutes 16 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with cinematographer Hans Burmann (22 minutes 42 seconds, Dolby Digital stereo Spanish with removable English subtitles), an interview with actress Eva Robin's (21 minutes 16 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Willow Catelyn Maclay and Caden Mark Gardner.

Metamorfosi: A woman covered in medical bandages removes them until she’s nude.

Summary:

Eva Man and Return of Eva Man were directed by Antonio D'Agostino, who mostly made hardcore sex films. Eva Man and Return of Eva Man were both shot by cinematographer Hans Burmann for his two collaborations with Alejandro Amenábar: Thesis and Open Your Eyes.

Eva Man: An impotent gangster tries to steal a prototype device whose ability to harness sexual energy will give him back his manhood.

Return of Eva Man: A professor invents a gun that fulfills sexual desire in anyone who it is pointed at.

Eva Man and its sequel are mirror images of each other. They share the same cast (some in different roles), and their premises and their narratives have little separation. Although sex is front and center in both films, Return of Eva Man relies on these moments more than its predecessor. That said, there is just enough exposition in these two films to keep things moving forward.

The main draw of these two films is Eva Robin's (Tenebrae) in the role of the protagonist, Eva Man, a sort of secret agent type character. Her character is essentially an extension of herself, a transgender woman. Another performance of note is Ajita Wilson (Macumba Sexual), another transgender actress who gained fame in the late 1970s and 1980s appearing in Italian genre films and a pair of Jess Franco films. That said, their performances are the only ones of note in these two films.

From a production standpoint, Eva Man and Return of Eva Man often exceed the limitations of their resources. Although neither film's narrative manages to maintain any momentum, both are playful films that never take themselves too seriously. That said, Eva Man and Return of Eva Man ultimately succeed because of their two leading ladies.

Eva Man and Return of Eva Man receive a solid release from Mondo Macabro. Recommended.

Written by Michael Den Boer