The Survivor – Indicator Series (4k UHD)

Theatrical Release Date: Australia, 1981
Director: David Hemmings
Writer: David Ambrose
Cast: Robert Powell, Jenny Agutter, Joseph Cotten, Angela Punch McGregor, Peter Sumner, Lorna Lesley, Ralph Cotterill, Adrian Wright

Release Date: March 30th, 2026 (UK), March 31st, 2026 (USA)
Approximate Running Times: 99 Minutes 8 Seconds (Director's Cut), 98 Minutes 22 Seconds (Australian Theatrical Version), 81 Minutes 7 Seconds (U.S. Version)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Director's Cut, Original Theatrical Version), 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (U.S. Version)
Rating: 15 (UK), NR (USA)
Sound: DTS-HD Mono English (Director's Cut, Australian Theatrical Version), Dolby Digital Mono English (U.S. Version)
Subtitles: English SDH (All Versions)
Region Coding: Region Free
Retail Price: £24.99 (UK), $49.95 (USA)

"When pilot David Keller (Powell) is the sole survivor of a plane crash, he begins to experience terrifying visions. Assisted by a clairvoyant (Agutter) who claims to have contacted the crash victims, Keller starts to investigate the cause of the accident, only to find that those who can help him keep turning up dead..." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, "The Survivor was scanned in 4K by the National Film and Sound Archive of Australia (NFSA), using the original 35mm negative, which it preserves. Picture restoration and color correction work were carried out in 4K HDR by Renasci Films in the UK. Thousands of instances of dirt were removed, scratches, stains, and other imperfections were eliminated, and a number of torn or damaged frames were repaired. No grain management, edge enhancement, or sharpening tools were employed to artificially alter the image in any way.”

The Survivor comes on a 100 GB triple layer 4K UHD.

Disc Size: 92.2 GB

Feature: 65.9/65.4 GB (Director's Cut/Australian Theatrical Version via seemless branching), 10.8 GB (US version in HD 1080P)

The source is in excellent shape; flesh tones look healthy, colors look correct, image clarity, contrast, black levels, and compression are solid, and the image always looks organic. This release uses seamless branching for the director’s cut and the original theatrical version.

Audio: 5/5

This release comes with one audio option, a DTS-HD mono mix in English with removable English SDH. The audio sounds excellent; dialogue comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include image and script galleries: original promotional material (55 images-stills/posters), behind-the-scenes (98 stills), fifth draft screenplay (58 images), spotting list (20 images) and trailer dialogue continuity script (5 images), a TV spot (27 seconds, Dolby Digital mono English, no subtitles), a theatrical trailer (2 minutes 52 seconds, Dolby Digital mono English, no subtitles with optional audio commentary by Brian Trenchard-Smith), Super 8mm footage filmed and narrated by stuntman Dean Bennett titled Behind the Scenes: ‘The Survivor’ (21 minutes 19 seconds), an appreciation by the academic and Australian cinema specialist Stephen Morgan (20 minutes 29 seconds, Dolby Digital stereo English, no subtitles), an interview with Mayhem Film Festival’s Chris Cook titled The Legacy of James Herbert (9 minutes 19 seconds, Dolby Digital stereo English, no subtitles), The Survivor’s original promotional film (15 minutes 3 seconds, Dolby Digital mono English with removable English SDH), excerpts from the Australian TV programme Clapperboard, featuring behind-the-scenes footage and interviews with actors Joseph Cotten, Peter Sumner, Jenny Agutter, Ralph Cotterill and Angela Punch McGregor (30 minutes 4 seconds, Dolby Digital mono English, no subtitles), an archival TV interview with Peter Sumner titled Touch of Elegance (3 minutes 40 seconds, Dolby Digital mono English, no subtitles), an archival interview with actor Robert Powell who discusses James Herbert (3 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an archival interview with producer Antony I Ginnane (10 minutes 5 seconds, Dolby Digital stereo English, no subtitles), cinematographer John Seale’s ‘Not Quite Hollywood’ interview (7 minutes 6 seconds, Dolby Digital stereo English, no subtitles), Antony I Ginnane’s ‘Not Quite Hollywood’ interview (15 minutes 15 seconds, Dolby Digital stereo English, no subtitles), an isolated score track, an archival audio commentary with Antony I Ginnane and film critic and archivist Jaimie Leonarder, an archival audio commentary with Antony I Ginnane and horror hostess Katarina Leigh Waters, and an 80-page book with cast & crew information, an essay titled Terror Firma: The Spirit of Elizabeth Will Not Return written by Sergio Angelini, an exclusive extract from producer Antony I Ginnane’s unpublished memoirs, an archival production report titled Inferno! written by David Parker, an archival interview with actor Joseph Cotten titled Joseph Cotten, Hitchcock-Era Survivor conducted by Dan Grooves, an archival interview with director David Hemmings conducted by Bertrand Borie, an archival interview with actress conducted by Bertrand Borie, and information about the restoration.

Summary:

David Hemmings, who is most known for acting, directed The Survivor. Other notable films that he directed are Running Scared and Just a Gigolo. The Survivor is an adaptation of the novel of the same name.

The lone survivor of a plane crash looks for the answers as to why he was spared.

The Survivor begins with an ominous opening sequence that immediately grabs attention. The narrative effectively retraces the events leading up to the deadly plane crash, culminating in a satisfying climax that emphasizes the supernatural elements present throughout the story. When it comes to the more eerie moments, these are all rooted in atmosphere. Although there is an air of mystery to the main character, the way in which the narrative unfolds more than makes up for his lack of backstory.

When it comes to the performances, the cast all deliver and then some. Robert Powell’s (Harlequin) portrayal of the lone survivor, a pilot named Keller, is the heart and soul. His character's inability to remember the events leading up to the crash is convincingly portrayed, and it is through his eyes that the audience ultimately discovers the truth. Other notable performances include Jenny Agutter (An American Werewolf in London) as Hobbs, a psychic who assists Keller, and Joseph Cotten (Citizen Kane) in what would be his final role as a priest.

From a production standpoint, there is not an area where The Survivor does not excel. The premise is flawlessly executed, key moments are given an ample amount of time to resonate, and an extremely satisfying finale brings everything into focus. David Hemmings' direction is rock solid, and the visuals fully embrace the supernatural aspects of the story that unfolds. Other areas of note are how effective the special effects are, especially the plane crash sequences, and Brian May's (Mad Max) score does an exemplary job reinforcing the foreboding mood. Ultimately, The Survivor is an outstanding supernatural horror film that quickly draws you in and stays with you.

The Survivor gets an excellent release from Powerhouse Films, highly recommended.

Note: This release is a limited edition of 10,000 numbered units (6,000 4K UHDs and 4,000 Blu-rays) for the UK and US.

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

Dead Kids (aka Strange Behavior) – Indicator Series (4k UHD)

Theatrical Release Date: Australia, 1981
Director: Michael Laughlin
Writers: Bill Condon, Michael Laughlin
Cast: Michael Murphy, Louise Fletcher, Dan Shor, Fiona Lewis, Arthur Dignam, Dey Young, Marc McClure, Scott Brady, Charles Lane, Elizabeth Cheshire

Release Date: March 30th, 2026 (UK), March 31st, 2026 (USA)
Approximate Running Time: 102 Minutes 1 Second (Dead Kids), 99 Minutes 10 Seconds (Strange Behavior)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Both Versions)
Rating: 18 (UK), R (USA)
Sound: DTS-HD Mono English (Both Versions)
Subtitles: English SDH (Both Versions)
Region Coding: Region Free
Retail Price: £24.99 (UK), $49.95 (USA)

"In a small midwestern town, police chief John Brady (Murphy) investigates a bizarre series of murders. As the corpses pile up, all signs point to the hellish mind-control experiments of a twisted scientist..." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “Dead Kids was scanned in 4K by the National Film and Sound Archive of Australia (NFSA), using the original 35mm negative, which it preserves. Picture restoration and color correction work were carried out in 4K HDR by Renasci Films in the UK. Thousands of instances of dirt were removed, scratches, stains, and other imperfections were eliminated, and a number of torn or damaged frames were repaired. No grain management, edge enhancement, or sharpening tools were employed to artificially alter the image in any way.”

Dead Kids (aka Strange Behavior) comes on a 100 GB triple layer 4K UHD.

Disc Size: 90.2 GB

Feature: 69.4/67.9 GB (Australian Theatrical Version/US Theatrical Version via seemless branching)

The source is in excellent shape; flesh tones look healthy, colors look correct, image clarity, contrast, black levels, and compression are solid, and the image always looks organic. This release uses seamless branching for the two versions.

Audio: 5/5

This release comes with one audio option, a DTS-HD mono mix in English with removable English SDH. The audio sounds excellent; dialogue comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include image galleries: original promotional material (139 images—posters/lobby cards/stills/home video art) and behind-the-scenes (99 stills), Trailers from Hell with Patton Oswalt (3 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an international theatrical trailer (3 minutes 16 seconds, Dolby Digital mono English, no subtitles), a U.S. theatrical trailer (1 minute 39 seconds, Dolby Digital mono English, no subtitles), an appreciation by the academic and Australian cinema specialist Stephen Morgan titled Perfect Strangers (17 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an new presentation of a 2004 interview with producer Antony I Ginnane titled Lightning Strikes (4 minutes 49 seconds, Dolby Digital stereo English, no subtitles), ‘Not Quite Hollywood' interview with Antony I Ginnane (10 minutes 51 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Michael Murphy (20 minutes 40 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Fiona Lewis Lasting Bonds (10 minutes 18 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Dey Young titled An Actor’s Dream (15 minutes 21 seconds, Dolby Digital stereo English, no subtitles), Podcasting After Dark: Dan Shor, excerpts from a career-spanning audio interview (13 minutes 7 seconds, Dolby Digital stereo English, no subtitles), an extensive interview with Dan Shor titled A Very Delicious Conversation with Dan Shor (44 minutes 21 seconds, Dolby Digital stereo English, no subtitles), an interview with special make-up effects artist Craig Reardon titled The Effects of ‘Strange Behavior’ (20 minutes 45 seconds, Dolby Digital stereo English, no subtitles), an isolated score track, an archival audio commentary with director Michael Laughlin, and filmmaker David Gregory, an archival audio commentary with screenwriter Bill Condon and Dan Shor and Dey Young, and an 80-page book with cast & crew information, an essay titled Rockin’ and Reelin’ in Auckland New Zealand written by Paul Duane, an exclusive extract from producer Antony I Ginnane’s unpublished memoirs, an archival interview with Michael Laughlin titled Strange Creator conducted by Alan Jones, an archival interview with Michael Murphy conducted by Vadim Rizov, an archival interview with composers Tangerine Dream titled Electronic Music Pioneers Want You to Get the Message, and information about the restoration.

Summary:

Strange Behavior was the directional debut of Michael Laughlin, who is most known for producing The Whisperers and Two-Lane Blacktop. He directed only two other films, Strange Invaders and Mesmerized. The former, along with Strange Behavior, was part of a "strange"-themed trilogy of films; the third film was never made. Strange Behavior was written by Bill Condon, who would become a director known for Sister, Sister; Gods and Monsters; and Dream Girls.

Scientists in a rural town where nothing out of the ordinary happens conduct controversial medical experiments that are turning the teenagers into murderers.

Although the premise and vibe of Dead Kids is an homage to 1950s horror films, another influence is the 1980s slasher film. The opening setup does an excellent job drawing you in with a sequence where someone murders a teenager while his parents are away. This sequence shows the carnage that unfolds via the victim's and the killers' shadows on the wall. Instead of going the graphic route right out of the gate, Dead Kids deceptively shoots the scene like a film from the 1950s would. That said, when it comes to the later kill scenes, they are more graphic and hold nothing back.

While the influence of the slasher film is evident in the killings, Dead Kids distinguishes itself from other films of the era by revealing the killers' identities. Besides the horror genre, there are a multitude of other genres at play throughout Dead Kids. These genres are science fiction, melodrama, and thriller, making Dead Kids a well-blended melting pot where everything perfectly comes together.

Dead Kids excels in its casting, and overall, the performances are exceptional. The most notable performance is Fiona Lewis (The Fury) in the role of Gwen Parkinson; her character is carrying on her mentor's experiments. She delivers a sinister performance that serves as an homage to the 1950s mad scientist character. Another performance of note is Dan Shor (TRON) in the role of Pete Brady, the sheriff's son. Notable cast members include Michael Murphy (Count Yorga, Vampire), Louise Fletcher (One Flew Over the Cuckoo’s Nest), Jim Boelsen (The Curious Case of the Campus Corpse), Dey Young (Rock ‘n’ Roll High School), and Marc McClure, who is most remembered as Jimmy Olson from Christopher Reeve's Superman films.

While watching Dead Kids, you notice nothing about it that indicates it's an Australian film that was shot in New Zealand. In fact, Dead Kids does a remarkable job creating a Midwestern setting that is utterly convincing. Another area where Dead Kids delivers and then some is Tangerine Dream’s (Thief) mood-reinforcing score and an exemplary soundtrack of rock songs, notably Lou Christie’s Lightning Strikes, which plays during a costume party. Ultimately, Dead Kids does a phenomenal job drawing you and holding your attention, and most importantly, it is a lot of fun.

Dead Kids gets an excellent release from Powerhouse Films, highly recommended.

Note: This release is a limited edition of 10,000 numbered units (6,000 4K UHDs and 4,000 Blu-rays) for the UK and US.

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

The Key: 2-Disc Edition – Cult Epics (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1983
Director: Tinto Brass
Writer: Tinto Brass
Cast: Stefania Sandrelli, Frank Finlay, Barbara Cupisti, Franco Branciaroli, Ricky Tognazzi, Ugo Tognazzi

Release Date: March 24th, 2026
Approximate Running Time: 111 Minutes 12 Seconds
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: NR
Sound: DTS-HD Mono Italian/English
Subtitles: English
Region Coding: Region Free
Retail Price: $49.95

"Art professor Nino (Frank Finlay) feels he can no longer satisfy his younger, passionate wife Teresa (Stefania Sandrelli) the way she desires. He articulates his innermost thoughts and sexual fantasies in a diary, including the secret wish to see his daughter's fiancé's Laszlo (Franco Branciaroli) make love to Teresa. Nino leaves the key to the drawer, containing the diary, out for his wife to find." - synopsis provided by the distributor

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

Here’s the information provided about the transfer, "4K Transfer and Restoration from the original camera negative."

The Key comes on a 66 GB dual layer 4K UHD

Disc Size: 59.8 GB

Feature: 56.3 GB

This transfer looks exceptional. Flesh tones look healthy; colors are vibrant; image clarity and black levels are solid; compression is very good; and the image looks organic. That said, there are two things I considered when coming up with a score for this transfer. How does it compare to this film’s previous home video releases, and does it look any better than this transfer? It looks exceptional.

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

Disc Size: 44.1 GB

Feature: 29.8 GB 

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

Audio: 5/5

This release comes with one audio option, a DTS-HD mono mix in Italian and English. The audio sounds excellent; dialogue always comes through clearly, everything sounds balanced, and ambient sounds and the score are well-represented. Included are removable English subtitles for the dialogue and text in Italian.

Extras:

Extras on the 4K UHD disc include a theatrical trailer for All Ladies Do It (3 minutes 21 seconds, LPCM mono Italian and English, no subtitles), a theatrical trailer for Frivolous Lola (2 minutes 17 seconds, LPCM mono Italian with removable English subtitles), a theatrical trailer for Cheeky (3 minutes 24 seconds, LPCM mono Italian and English, no subtitles), a theatrical trailer for The Key (3 minutes 7 seconds, LPCM mono Italian and English, no subtitles), and an audio commentary with film historians Eugenio Ercolani and Marcus Stiglegger.

Extras on the Blu-ray disc include a theatrical trailer for All Ladies Do It (3 minutes 21 seconds, LPCM mono Italian and English, no subtitles), a theatrical trailer for Frivolous Lola (2 minutes 17 seconds, LPCM mono Italian with removable English subtitles), a theatrical trailer for Cheeky (3 minutes 24 seconds, LPCM mono Italian and English, no subtitles), a theatrical trailer for The Key (3 minutes 7 seconds, LPCM mono Italian and English, no subtitles), a Tinto Brass photo gallery with music playing in the background, The Key poster gallery (33 images), Outtakes of The Key: Venice (10 minutes 14 seconds, Dolby Digital mono with music from the film playing in the background), an archival interview with Tinto Brass (16 minutes 52 seconds, Dolby Digital stereo English, no subtitles), an interview with music critics Pier Paolo De Sanctis and Claudio Fulano titled Sensuous Morricone (28 minutes 29 seconds, Dolby Digital stereo Italian with removable English subtitles), a location featurette titled Keyhole Venice (7 minutes 34 seconds, Dolby Digital mono with music from the film playing in the background), an interview with actor Franco Branciaroli titled Brass’ Talisman (38 minutes 55 seconds, Dolby Digital stereo Italian with removable English subtitles), an option to listen to Ennio Morricone’s score (32 minutes 5 seconds, LPCM mono, 10 tracks), and an audio commentary with Eugenio Ercolani and Marcus Stiglegger. 

Other extras include reversible cover art with original Italian poster art, a slipcase (limited to the first pressing) and a 20-page booklet with an essay titled The Body of a Generation: Stefania Sandrelli From Sicily to Venice written by Eugenio Ercolani, and archival images.

Summary:

Tinto Brass directed The Key. He’s known for Deadly Sweet, Salon Kitty, Snack Bar Budapest, and All Ladies Do It. The Key was adapted from Kagi, a novel written by Junichiro Tanizaki. Kagi has been adapted 7 times to date, the first adaptation directed by Kon Ichikawa under the title Odd Obsession and the most recent being Hiroki Inoue's The Key: Professor's Pleasure.

After noticing his wife Teresa’s interest in their daughters’ fiancées. Nino decides to spice up their sex life by encouraging his wife’s desires for this other man. Nino and Teresa's discovery of each other's diaries complicates matters significantly. This revelation ends up putting additional strains on their already troubled marriage. Will Nino be able to put his jealousy aside or will he let things go so far that there will be no turning back from the damage that has been done?

Tinto Brass's career can be broken down into three stages: the initial stage saw him making what are arguably his most mainstream films; then he made a shift in the latter half of the 1960s, where these films are best described as avant-garde, and the third stage saw him venture into erotic cinema. People know him most for this latter stage, and at the same time, his detractors are unfair in their assessment of films. To dismiss his films from Salon Kitty onward as mere pornography completely overlooks Tinto Brass's true intentions. His works prioritize emotional depth over mere titillation, and his incorporation of humor distinguishes him from other erotic filmmakers.

Although Tinto Brass had directed two erotic films before The Key, Salon Kitty and Caligula, they lean more into exploitation cinema than any of his other erotic films. The Key is a turning point in Tinto Brass's career, establishing a consistent look and vibe in his subsequent works. He first discovered the novel Kagi in the 1960s and reportedly waited two decades to adapt it so that Stefania Sandrelli would be age-appropriate for the role of the wife.

All around, the cast are outstanding, especially Stefania Sandrelli (Seduced and Abandoned) in the role of Teresa Rolfe, the wife of a man who takes secret erotic photographs of her while she sleeps. From the beginning of her career, Stefania Sandrelli has consistently played characters regarded as objects of desire. In The Key, she arguably delivers her finest performance to date. Notable cast members include Frank Finlay (Twisted Nerve) in the role of Teresa’s husband, Barbara Cupisti (Stage Fright) in the role of Teresa’s daughter, and Ugo Tognazzi (Weak Spot) portrays a drunk.

From a production standpoint, The Key is Tinto Brass’s most accomplished film. Set in the early months of 1940, this period film features exemplary production design that effectively recreates the era. The narrative is perfectly constructed, successfully capturing your attention and building momentum. Ennio Morricone, in his one and only collaboration, delivers an exceptional score that gives The Key elegance while retaining its sensual atmosphere. Visually, The Key is a beautifully photographed film that takes full advantage of Venice’s locations and Stefania Sandrelli’s ample assets. Ultimately, The Key is an extraordinary exploration of jealousy and desire, making it Tinto Brass's crowning achievement as a filmmaker.

The Key gets an exceptional release from Cult Epics that comes with a solid audio/video presentation and a trio of insightful extras, highly recommended.

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

 

Written by Michael Den Boer

Confessions of a Police Captain: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Italy, 1971
Director: Damiano Damiani
Writers: Damiano Damiani, Salvatore Laurani, Fulvio Gicca Palli
Cast: Franco Nero, Martin Balsam, Marilù Tolo, Claudio Gora, Luciano Catenacci, Giancarlo Prete, Arturo Dominici, Michele Gammino, Adolfo Lastretti, Nello Pazzafini

Release Date: April 20th, 2026 (UK), April 21st, 2026 (USA)
Approximate Running Time: 104 Minutes 12 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English, English SDH
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"In Palermo, Sicily, seasoned police captain Bonavia (Martin Balsam, 12 Angry Men) orders the release of a criminally insane inmate—then watches him set out to assassinate a local construction magnate. When the plan backfires, Bonavia faces the scrutiny of young and idealistic district attorney Traini (Franco Nero, Django)." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “Confessions of a Police Captain was restored in 2K and supplied to Radiance as a high-definition file.”

Confessions of a Police Captain comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 30.2 GB

While the source for Filmart’s Blu-ray was in excellent shape, this new transfer from Radiance Films is a solid upgrade and easily the best Confessions of a Police Captain has ever looked on home media. Flesh tones look healthy; colors are nicely saturated; image clarity, contrast, black levels, and compression are solid; and the image always looks organic.

Audio: 4.25/5 (LPCM Mono English), 4.5/5 (LPCM Mono Italian)

This release comes with two audio options, a LPCM mono mix in Italian and a LPCM mono mix in English. Both tracks sound clean, clear, and balanced; ambient sounds and the score are well represented. Included are removable English subtitles for the Italian language track, removable English SDH for the English language track, and removable English subtitles for Italian text when watching the English language track.

Extras:

Extras for this release include an image gallery (78 images—lobby cards/stills/Japanese press book/posters), an interview with editor Antonio Sicilianoi (26 minutes 49 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Michele Gammino (22 minutes 47 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Franco Nero (29 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with film score expert Lovely Jon who discusses Riz Ortolani’s score (31 minutes, Dolby Digital stereo English, no subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 24-page booklet (limited to 3000 copies) cast & crew information, an archival interview Damiano Damiani titled Justice is Never Neutral, conducted by Gérard Langlos, an archival interview Damiano Damiani conducted by Guy Braucourt, and information about the transfer.

Summary:

Damiano Damiani directed Confessions of a Police Captain. His notable films include The Witch (La strega in amore), A Bullet for the General, The Most Beautiful Wife (La moglie più bella), The Day of the Owl, A Complicated Girl, The Case Is Closed, Forget It, A Man on His Knees, and How to Kill a Judge.

Although Confessions of a Police Captain addresses many themes associated with Poliziotteschi cinema, it predates films like Execution Squad, which would later serve as a template for the genre. At the heart of Confessions of a Police Captain is a morality tale that revolves around two characters, a jaded police commissioner named Giacomo Bonavia and a deputy district attorney named Traini, who’s yet to be jaded or corrupted by the system. What distinguishes Confessions of a Police Captain from other films with similar themes is its focus on the characters of Bonavia and Traini. In Confessions of a Police Captain, their interactions are the focal point, not the surrounding criminal activities.

Damiano Damiani explored a range of film genres throughout his career, never conforming to genre clichés. His filmography is characterized by a desire to take on contemporary issues, providing insightful social commentary. In Confessions of a Police Captain, he highlights a broken system that fails to address the underlying problems.

As impressive as all the performances are, the heart and soul of Confessions of a Police Captain lie in the dynamic portrayals of its two leads: Franco Nero as deputy district attorney Traini and Martin Balsam (Psycho, Two Evil Eyes) as police commissioner Giacomo Bonavia. The scenes they share are captivating, showcasing their strong chemistry. This dynamic is especially evident in their cat-and-mouse game, where Bonavia consistently remains one step ahead of Traini.

While there are no car chases or other overtly dramatic Poliziotteschi elements, that doesn’t mean that Confessions of a Police Captain lacks the intensity that defines Poliziotteschi cinema. From its opening moments to its unforgettable finale, Confessions of a Police Captain is a film that rarely gives you a chance to catch your breath.

Confessions of a Police Captain gets an exceptional release from Radiance Films that comes with a solid audio/video presentation and insightful extras. Highly recommended.

Written by Michael Den Boer

The Cat and the Canary – Kino Lorber (UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1927
Director: Paul Leni
Writers: Robert F. Hill, Alfred A. Cohn, Walter Anthony, Edward J. Montagne
Cast: Laura La Plante, Creighton Hale, Forrest Stanley, Tully Marshall, Gertrude Astor, Flora Finch, Arthur Edmund Carewe, Martha Mattox, George Siegmann, Lucien Littlefield

Release Date: October 28th, 2025
Approximate Running Time: 84 Minutes 25 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 2160 Progressive / HEVC / H.265
Rating: NR
Sound: DTS-HD 5.1 With English Intertitles, DTS-HD Stereo With English Intertitles
Subtitles: N/A
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $44.95

"A decaying mansion and a stormy night provide the archetypal setting for mystery and chaos when a pack of greedy relatives gather for the reading of a twenty-year-old will. But before the West fortune can be handed down, the family must endure a night in the cavernous manor, unnerved by the news that an escaped lunatic is at large." - synopsis provided by the distributor

Video: 4/5 (4K UHD), 3.75/5 (Blu-ray)

Here’s the information given about the transfer, “Brand new UHD/SDR master by Photoplay – A 4K restoration from original nitrate prints."

The Cat and the Canary comes on a 66 GB dual layer 4K UHD.

Disc Size: 57.6 GB

Feature: 55.7 GB

Kino Lorber’s release uses a different source than what Eureka Video used for their 2024 Blu-ray release. Besides using alternate takes, Kino Lorber’s release uses one color tint for the duration, while Eureka Video’s Blu-ray used two, one for day and the other for night. Kino Lorber’s release has more source-related debris and opens with a 4 1/2-minute overture.

The Cat and the Canary comes on a 50 GB dual layer Blu-ray.

Disc Size: 30 GB

Feature: 24.5 GB

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

Audio: 5/5 (Both Audio Tracks)

This release comes with two audio options, a DTS-HD 5.1 with English intertitles and a DTS-HD stereo with English intertitles. Both audio tracks sound clear and balanced.

Extras:

Extras on the 4K UHD disc include an audio commentary with film historian David Del Valle and silent film expert Randy Haberkamp and an audio commentary with film historian Anthony Slide.

Extras on the Blu-ray disc include a short film directed by Paul Leni titled Rebus-Film No. 1 (15 minutes 25 seconds, 1.33:1 aspect ratio, DTS-HD stereo with English intertitles), an audio commentary with David Del Valle and Randy Haberkamp and an audio commentary with Anthony Slide.

Other extras on the Blu-ray disc include trailers for Supernatural, The Cat and the Canary (1939 version), The Mad Doctor, The Undying Monster, The Lodger (1944 version), The Spider Woman Strikes Back, and Queen of Spades.

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

Summary:

Directed by Paul Leni, whose other notable films include Waxworks (Das Wachsfigurenkabinett), The Last Warning, and The Man Who Laughs.

The heirs of an eccentric millionaire gather on the 20th anniversary of his death for the reading of his will.

The Cat and the Canary was the first of four films Paul Lani directed in Hollywood before his untimely death at the age of 44. The Cat and the Canary was the first film adaptation of John Williard’s play of the same name. There have been numerous film adaptations since Paul Leni's film.

The Cat and the Canary is an early example of what is now known as an old dark house film. These types of films involve some sort of gathering at an old, neglected house. And though these films rely on things that go bump in the night, humor also plays a role. The Cat and the Canary has the core elements that one would expect from an Old Dark House film: an escaped lunatic, secret corridors, and a monster with a hairy arm.

The Cat and the Canary’s greatest asset is not the story that unfolds but the way the visuals tell that story. German expressionist cinema played a significant role for German filmmakers who made the transition to Hollywood cinema. That said, it is easy to see how German expressionist cinema influenced the look of The Cat and the Canary.

Though there were some inventive camera techniques employed in the early days of cinema, more often than not, it was stationary shots that cut from character to character. The Cat and the Canary’s camera is more active than in most silent films; there are shots that glide down corridors and shots of the camera zooming in on characters. The striking use of superimposing and juxtapositioning people and objects is another area where the visuals stand out.

From a production standpoint, there is no area where The Cat and the Canary does not excel. The well-executed narrative does an excellent job building tension towards a phenomenal finale. The production design is exquisite, and the eye for detail is astonishing. Ultimately, The Cat and the Canary is an extraordinary film and cinematic achievement that is one of silent cinema’s high-water marks.

Kino Lorber brings The Cat and the Canary 4K UHD via an alternate, shorter version that’s only recommended for completists who already own Eureka Video’s Blu-ray.

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