Hi, Mom!: Limited Edition – Radiance Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1970
Director: Brian De Palma
Writers: Charles Hirsch, Brian De Palma
Cast: Charles Durning, Robert De Niro, Allen Garfield, Lara Parker, Jennifer Salt, Paul Bartel, Gerrit Graham

Release Date: May 18th, 2026 (UK), May 19th, 2026 (USA)
Approximate Running Time: 86 Minutes 48 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 15 (UK), R (USA)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), A,B (Blu-ray)
Retail Price: £24.99 (UK), $49.95 (USA)

"Aspiring adult filmmaker Jon Rubin (Robert De Niro, Taxi Driver) returns from a tour of Vietnam and, armed with his film camera, attempts to find meaning and inspiration in the counterculture of New York in 1970. Rubin graduates from surreptitiously filming his neighbors to joining a militant Black experimental theater group before flirting with full-scale domestic terrorism, in this hilariously madcap satire that has still retained its outrageous power to shock, fifty years after initially stunning American audiences." - synopsis provided by the distributor

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

Here’s the information provided about the transfers, "Hi, Mom! was scanned in 4K resolution at Illuminate Hollywood in Studio City, California. The film has been meticulously restored and color graded in 4K HDR (Dolby Vision) at FilmFinity, London, working from a new 4K 16-bit scans of the original 35mm camera negative. FilmFinity's Digital Restoration Specialists used advanced image-processing tools to remove mant thousands of instances of dirt, erase scratches and gently correct age-related imperfections frame by frame. Paired with the new HDR grade, this restoration reveals striking clarity and depth while staying true to the film's original photographic character. No grain management, edge enhancement or artificial sharpening tools were used at any stage, preserving the authentic texture of the cinematography.

Dionysus in 69 is presented from the only available digital source, provided by Richard Schechner."

Hi, Mom! comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.1 GB

Feature: 60.8 GB

This new transfer is a marked improvement over Arrow Video’s 2018 Blu-ray release. The source looks excellent and the encode is solid. Flesh tones and colors look healthy; contrast, black levels, image clarity, and compression are solid, and the image always retains an organic look. That said, grain looks thicker in some scenes than others.

Hi, Mom! comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.6 GB

Feature: 23 GB

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

Audio: 4.25/5

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

Extras:

Extras for the 4K UHD disc include an audio commentary with writer Travis Woods.

Extras for the Blu-ray include a theatrical trailer (1 minute 56 seconds, LPCM mono English, no subtitles), an archival interview with producer Charles Hirsch titled Charles Hirsch on Hi, Mom! (9 minutes 41 seconds, Dolby Digital stereo English, no subtitles), an interview with film critic Ellen E Jones (12 minutes 23 seconds, Dolby Digital stereo English, no subtitles), Son of Greetings: a collection of behind-the-scenes footage from the making of Hi, Mom! by filmmaker Peter Davis, featuring candid images of the cast and crew (76 minutes 29 seconds, Dolby Digital mono English, no subtitles), an audio commentary with Travis Woods, and Dionysus in 69—an experimental theater production of Euripides' 'The Bacchae,' filmed by Brian de Palma (85 minutes 27 seconds, 1080 progressive, Dolby Digital mono English, no subtitles).

Dionysus in 69: The structure of Dionysus in 69 is loosely based around Euripides' play, which deals with the myth of Dionysus and his revenge on the city responsible for his mortal mother’s death. The cast's improvisation largely causes the chaos and disjointedness of this version of Dionysus. Dionysus in '69 represents Brian De Palma's initial use of split screen, which he employs to its fullest potential. One camera captures the performance, while the other records the audience's reactions to what they are witnessing. The cast immerses themselves in their characters, contributing to the primal intensity of their performances.

Other extras include reversible cover art, a removable OBI strip leaving packaging free of certificates and markings and a 24-page booklet (limited to 3000 copies) with cast & crew information, an essay titled The Medium is the Message: The Interplay of Ideas in Brian De Palma’s Hi, Mom! written by Matt Zoller Seitz, A Note on Dionysus in 69, and information about the transfers.

Summary:

Vietnam veteran Jon Rubin has developed a peeping tom fetish since returning to New York. He watches his neighbors with his recently acquired camera. Joe Banner is a producer of pornographic films. Jon convinces him to finance a film about the sex lives of his neighbors. A falling out with Joe Banner leads Jon to an unlikely collaboration with one of his neighbors, Gerrit Wood, an avant-garde artist and an extremist Black Power organization. Has Jon found what he’s been looking for, or has he gone off the deep end?

By the late 1960s, the studio in Hollywood was on its last legs, and several ambitious filmmakers decided it was time to push the envelope. During this period of his career, Brian De Palma's cinema was heavily influenced by new French directors like Jean-Luc Godard and the films of Alfred Hitchcock. There are several similarities in Hi, Mom! that trace back to the cinema of Alfred Hitchcock. Jon Rubin likes L. B. Jefferies in Alfred Hitchcock’s Rear Window. Both characters like to explore their voyeuristic side through the lens of a camera as they watch their neighbor's every move.

Hi, Mom! Like most of De Palma’s earliest films, it is overflowing with biting dark humor and a distrust of authority. No scene in Brian De Palma’s filmography epitomizes subversive humor and distrust of authority more than the Be Black, Baby! sequences. Be Black, Baby! is a series of black-and-white scenes centered around a theater troupe that exposes a white audience to the experience of being Black. Additionally, the narrative focuses on Jon Rubin’s obsession with filming the sexual habits of his neighbors.

Where Greetings relied heavily on improvisation, Hi, Mom! features a more defined narrative structure. Visually, Hi, Mom! showcases greater experimentation with camera techniques compared to its predecessor. Robert De Niro returns in the role of Jon Rubin, and this time around he delivers a more fleshed-out performance. Eric Kaz delivers another solid score that is in line with his score for Greetings. Ultimately, Hi, Mom! effectively captures the essence of the late 1960s and serves as a platform for showcasing the talents of Brian De Palma and Robert De Niro before they achieved widespread recognition.

Hi, Mom! gets a definitive release from Radiance 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.

                                                Dionysus in 69 Blu-ray Screenshots.

Written by Michael Den Boer

Panic in Year Zero: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: USA, 1962
Director: Ray Milland
Writers: Jay Simms, John Morton
Cast: Ray Milland, Jean Hagen, Frankie Avalon, Mary Mitchel, Joan Freeman, Richard Bakalyan, Rex Holman, Neil Nephew

Release Date: November 18th, 2024
Approximate Running Time: 92 Minutes 2 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region B
Retail Price: OOP

"When Harry Baldwin (Ray Milland, The Lost Weekend) takes his family on a fishing trip, their holiday is brutally interrupted as a catastrophic atomic war breaks out, destroying their suburban Los Angeles home. What remains of the United Nations announces on the radio that society has broken down, and the Baldwins realize that they must quickly learn how to navigate this new ‘year zero’, and do whatever it takes in order to survive." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “Panic in Year Zero was delivered to Radiance Films as a high-definition digital file by Park Circus. The film was transferred from a 35mm fine-grain positive.”

Panic in Year Zero comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.3 GB

Feature: 25.2 GB

Although this new release from Radiance Films likely shares the same HD source that Kino Lorber used for their Blu-ray release, Radiance's release is the clear winner, as it has a substantially better encode. Flesh tones look healthy; contrast, black levels, image clarity, and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in English with removable English SDH. The audio is clean, clear, and balanced, with a good representation of ambient sounds.

Extras:

Extras for this release include a theatrical trailer (2 minutes 23 seconds, LPCM mono English, no subtitles), an interview with author and film critic Kim Newman (20 minutes 55 seconds, LPCM stereo English, no subtitles), an archival interview with filmmaker Joe Dante titled Atomic Shock! (9 minutes 10 seconds, LPCM stereo English, no subtitles), an archival interview with actor Ray Milland filmed at the university of London in 1972 (30 minutes 31 seconds, LPCM mono English, no subtitles), an archival audio commentary with film Richard Harland Smith, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 3000 copies) with cast & crew information, an essay titled Five Good Ones: Panic in Year Zero and the Real Nuclear Family written by Christina Newland, and information about the transfer.

Summary:

Panic in Year Zero was directed by and stars Ray Milland, who as an actor reached his peak during the 1940s and '50s, starring in films like The Uninvited, Ministry of Fear, Lost Weekend, and Dial M for Murder. In addition to Panic in Year Zero, he directed four other theatrical films: A Man Alone, Lisbon, The Safecracker, and Hostile Witness. Panic in Year Zero is based on two short stories by Ward Moore titled Lot and Lot’s Daughter.

A family going on a camping trip leaves Los Angeles moments before a hydrogen bomb destroys the city. In the aftermath, chaos ensues, and the patriarch of the family does everything in his power to keep his family safe.

While the premise tapped into a real fear, nuclear annihilation, that gripped those living in the 1950s and 1960s, when viewed through the conflicts of today's world, it has not lost any of its potency. The opening setup does a phenomenal job establishing the tone, and from there the narrative is extremely effective at creating tense moments that build upon each other. Fear and paranoia are at the forefront in the unfolding narrative, as lawlessness takes over in the absence of societal institutions to support the citizens.

The most surprising aspect of Panic in Year Zero was the performances, which do a remarkable job conveying the characters' state of mind. The standout performance is Joan Freeman (Tower of London) in the role of Marilyn Hayes, a young woman who's being held prisoner by three young men who cause destruction and death everywhere they go. Other performances of note are Ray Milland in the role of the father taking his family on a camping trip and Jean Hagen (The Asphalt Jungle) in the role of his wife. Where Ray Milland’s character keeps calm and is decisive in his actions, Jean Hagen’s is the opposite.

For a post-apocalyptic film, Panic in Year Zero demonstrates that significant achievements are possible even with limited resources. This is particularly evident in its impressive production design, which lends the film a much grander scope than what its budget would suggest. While the narrative is primarily dialogue-driven, the visuals also significantly contribute to enhancing the mood. Ultimately, Panic in Year Zero is a well-crafted film that explores human instincts for survival when confronted with overwhelming challenges.

Panic in Year Zero gets an excellent release from Radiance Films that comes with a solid audio/video presentation and insightful extras. Highly recommended.

 

Written by Michael Den Boer

Jack the Ripper: Limited Edition – Cauldron Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: West Germany, 1976
Director: Jesús Franco
Writer: Jesús Franco
Cast: Klaus Kinski, Andreas Mannkopff, Josephine Chaplin, Andreas Mannkopff, Herbert Fux, Lina Romay

Release Date: April 28th, 2026
Approximate Running Time: 92 Minutes
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: Dolby Digital Mono English, DTS-HD Stereo English, DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $54.99

"During the late 1800’s, the Whitechapel area of London was gripped in fear as Jack the Ripper (Klaus Kinski — Code Name: Wild Geese) literally tore through the prostitutes of the area.  Desperately trying to solve the grisly murders and placate the panicking residents, Inspector Selby (Andreas Mannkopff) finds himself obsessed with finding the killer and protecting his girlfriend (Josephine Chaplin — The Canterbury Tales) who may be next…” – 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, "Jack the Ripper was scanned in 4K from the original camera negative & best available film materials by Ascot Films. Grading and restoration by Gamma Ray Digital. SDH subtitles, additional grading restoration by Outer Realm Studio. Authoring and Dolby Vision HDR grade by Duplitech."

Jack the Ripper comes on a 100 GB triple layer 4K UHD

Disc Size: 68.2 GB

Feature: 60.4 GB

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

Jack the Ripper comes on a 50 GB dual layer Blu-ray. 

Disc Size: 45.5 GB

Feature: 26.5 GB

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

Audio: 4.25/5 (DTS-HD 5.1 English), 4/5 (DTS-HD Stereo English), 3.75/5 (Dolby Digital Mono English)

This release comes with three audio options, a DTS-HD 5.1 mix in English, a DTS-HD stereo mix in English, and a Dolby Digital mono mix in English. All tracks sound clean, clear, and balanced, and ambient sounds are well-represented. The DTS-HD 5.1 track is the strongest of the three. Included are removable English SDH.

Extras

Extras on the 4K UHD disc include an audio commentary with Ryan Verrill and Dr Will Dodson.

Extras on the Blu-ray disc include a theatrical trailer (2 minutes 57 seconds, Dolby Digital mono German with removable English subtitles), a deleted gore scene (15 seconds, no sound), a video essay by Eugenio Ercolani titled Whitechapel Shadows (17 minutes 7 seconds, Dolby Digital stereo English, no subtitles), a video essay by Troy Howarth titled Klaus the Ripper (21 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Andreas Mannkopff titled He Caught Jack the Ripper (26 minutes 47 seconds, Dolby Digital stereo German with non-removable English subtitles), an archival featurette titled Erwin C. Dietrich's Tribute to Jess Franco’s Jack the Ripper (22 minutes 31seconds, Dolby Digital stereo German with non-removable English subtitles), and an audio commentary with Ryan Verrill and Dr Will Dodson.

Other extras include reversible cover art, a rigid slipcase (limited edition only), a double-sided poster (limited edition only), and a 40-page booklet (limited edition only) with cast & crew information, an essay titled Jess and Erwin: A Match Made in Switzerland written by Troy Howarth, an essay titled Jess Franco’s Jack the Ripper written by Dr Stella Marie Gaynor, and information about the transfer.

Summary:

Jack the Ripper was one of eighteen films that Jess Franco made with producer Erwin Dietrich over a three-year period. Their collaboration began with Downtown and ended with Girls After Midnight.

The story of Jack the Ripper, the most infamous killer whose identity to this day has not been uncovered, has been told countless times. Many films about Jack the Ripper have taken liberties with the known evidence surrounding his crimes. Some of these films merely use his notorious acts as a foundation for their stories, while a select few attempt to remain closer to the actual events. While Jess Franco’s Jack the Ripper falls somewhere in between, it does lean more to the latter.

Over the course of his 18 film collaborations with Jess Franco, producer Erwin Dietrich takes advantage of Jess Franco’s three greatest assets: his ability to work quickly, his ability to overcome anemic budgets, and his knack for crafting exploitation cinema that perfectly blends erotica and horror. Although Jack the Ripper incorporates all of these elements, it stands out as the most resource-intensive project that Jess Franco collaborated on with Erwin Dietrich. Additionally, Jack the Ripper distinctly differs from their other 17 collaborations by being the most mainstream film among the 18 they produced together.

Known for his frequent collaborators, Jess Franco works with Klaus Kinski (Nosferatu the Vampyre) for the fourth and last time. Klaus Kinski is frequently cast in roles that demand limited screentime, but in the role of Jack the Ripper, he is given his most substantial part among his four collaborations with Jess Franco. He has a natural intensity and menace to him that makes his casting a perfect choice.

When it comes to the rest of the performances, they are very good, especially Hans Gaugler in the role of a blind man who’s the police’s only witness to Jack the Ripper’s identity. The rest of the cast is rounded out by Josephine Chaplin in the role of the inspector’s girlfriend, who uses herself as bait for Jack the Ripper, and Jess Franco’s muse, Lina Romay (Female Vampire); she has a brief role as a dancer who becomes one of Jack the Ripper’s victims.

The opening setup effectively draws you in, but after this initial hook, Jess Franco’s characteristic slow pacing begins, which some viewers may find overly drawn out. While the film includes the essential elements typical of a Jack the Ripper story, it is far less graphic than one might anticipate from Franco's work. The most notable moments that reflect Jess Franco's style include a scene in which Jack the Ripper experiences hallucinations and a lively can-can dance sequence set in a nightclub. Ultimately, Jack the Ripper stands out as one of Jess Franco’s more accessible films.

Cauldron Films gives Jack the Ripper a first-rate release that comes with a solid audio/video presentation and a wealth of informative 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

Danger: Diabolik – Eureka Video (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1968
Director: Mario Bava
Writers: Adriano Baracco, Mario Bava, Brian Degas, Tudor Gates
Cast: John Phillip Law, Marisa Mell, Michel Piccoli, Adolfo Celi

Release Date: April 20th, 2026
Approximate Running Time: 103 Minutes 5 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 12 (UK)
Sound: DTS-HD Mono Italian, DTS-HD Mono English, DTS-HD Mono English (Alternate Dub), DTS-HD 5.1 English
Subtitles: English (DTS-HD Mono Italian), English SDH (DTS-HD Mono English, DTS-HD 5.1 English)
Region Coding: Region Free (4K UHD), Region B (Blu-ray)
Retail Price: £34.99 (UK)

"Somewhere in Europe, Inspector Ginko (Michel Piccoli) is the police officer charged with overseeing the transportation of $10 million from a bank, determined to stop it from falling into the hands of the infamous thief known as Diabolik (Law) and his accomplice Eva Kant (Marisa Mell). But, despite his best efforts, Ginko fails – Diabolik nabs the cash before setting his sights on stealing a priceless emerald and twenty tons of gold, embarking on a crimewave that will see him make a mockery of both the police and the government officials they answer to." - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "A Brand New HD Master by Paramount Pictures—From a 4K Scan of the 35mm Original Camera Negative."

Here are additional comments by Eureka Video about their transfer, "During the disc authoring process, we discovered a metadata inconsistency with the original 4K master supplied to us by Paramount. If we had used this master, it would have resulted in HDR grading either too saturated or too dull. After consulting with Fidelity in Motion we went back to Paramount who agreed there was a mistake and sent over corrected metadata which is what we used for the final authoring process and are confident is the intended look of the film."

Danger: Diabolik comes on a 100 GB triple layer 4K UHD.

Disc Size: 86.4 GB

Feature: 71.5 GB

The most significant difference between Eureka Video’s release and Kin Lorber’s release is that the latter is in the wrong color space. That said, Eureka Video’s release looks gorgeous; flesh tones look healthy, colors look vivid, contrast, black levels, image clarity, and compression are solid, and the image always looks organic.

Danger: Diabolik comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.2 GB

Feature: 31.2 GB

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

Audio: 5/5 (DTS-HD Mono Italian, DTS-HD Mono English, DTS-HD Mono English - Alternate Dub), 4.5/5 (DTS-HD 5.1 English)

Another area where Eureka Video surpasses Kino Lorber’s release is in its audio tracks. Both releases include the same DTS-HD mono English and DTS-HD 5.1 tracks; however, Eureka Video’s version adds a DTS-HD mono mix in Italian, as well as an alternate DTS-HD mono mix in English. This alternative English audio track was originally recorded for the film’s laserdisc release. All of the tracks sound excellent; the dialogue always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and Ennio Morricone’s score sounds appropriately robust. This release includes removable English subtitles for the Italian language track, as well as removable English SDH. The SDH corresponds with the DTS-HD mono and 5.1 English tracks, but not with the alternate English language track.

Extras:

Extras on the 4K UHD disc include a U.S. theatrical teaser (1 minute 5 seconds, Dolby Digital mono English, no subtitles), a U.S. theatrical trailer (2 minutes 23 seconds, LPCM mono English, no subtitles), the Beastie Boys music video Body Movin’ with optional audio commentary by Adam Yauch (6 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an archival featurette titled Danger: Diabolik – From Fumetti To Film (20 minutes 23 seconds, Dolby Digital stereo English and Italian with removable English subtitles), a video essay by genre cinema expert Rachael Nisbet Radical Behaviour, in which she discusses Danger: Diabolik as anti-establishment pop culture (26 minutes 42 seconds, Dolby Digital stereo English, no subtitles), an interview with Leon Hunt, author of the Cultographies volume on Danger: Diabolik titled Criminal Intent; he discusses  the origins and evolution of Diabolik from page to screen (21 minutes 44 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with John Phillip Law and Tim Lucas, author of Mario Bava: All the Colors of the Dark, an audio commentary with Tim Lucas, and an archival audio commentary with Nathaniel Thompson and Troy Howarth.

The extras are the same on both discs.

Other extras include a hard case (limited to 2,000 copies) and a 60-page book (limited to 2,000 copies) with cast & crew information, an essay titled The Movie That Lived Twice: Mario Bava’s Danger: Diabolik written by Roberto Curti, an essay titled Panels and Frames: Danger: Diabolik as Comic Book Film written by Jochen Ecke, an introduction to fumetti neri titled Noir Comics, Italian Style: Notes on Fumetti Neri written by Sergio Angelini, an essay titled On Vikings and Masked Villains: Mario Bava Beyond Horror written by Troy Howarth, and information about the transfer titled Notes on Viewing.

Summary:

Mario Bava is most remembered as a director of Gothic horror films, though he worked in just about every genre imaginable. Two things that have always been present in virtually every color film that he has directed are his ability to frame picturesque shots in his cinematography and his exquisite use of colors. Both of these assets would help him greatly when it came time to direct Danger: Diabolik, which was based on one of the longest-running fumetti, Diabolik, that was created by two Milan sisters, Angela and Luciana Giustani.

Right off the bat, Danger: Diabolik is a direct contrast to what we normally recognize as a superhero, especially since he really is the villain of the piece, who at best could be considered an antihero. He is cold and calculated to the point that he will kill anyone who gets in his way. His girlfriend, Eva Kant, is not as sadistic, as her personality relies more on her sexuality, which often gets her whatever she wants.

Mario Bava’s $400,000 budget for Danger: Diabolik would be the largest budget of his career, and the film benefits greatly from this. Many of Bava’s films struggle due to limited budgets. Although he excels at creating impressive results with minimal resources, these films often lack the overall polish that Danger: Diabolik achieves. The optical effects used in this film now feel dated, but still, no one could manipulate a miniature or a matte painting like Mario Bava. The sets and costumes are deliriously over the top in their design, which adds to the comic book feel of the film.

Acting-wise, Danger: Diabolik is blessed with strong leads and an equally strong supporting cast. John Philip Law has had a long and varied career as an actor, with 1968 being his most memorable year, as he starred in Death Rides a Horse, Barbarella: Queen of the Galaxy, and Danger: Diabolik. His performance as Diabolik is as good as any I've seen from him, perfectly balancing his sinister side with his laid-back ladies' man persona. Marisa Mell (Perversion Story, Gang War in Milan) has been known to steam up the screen in the various films that she has starred in, and as Eva Kant, she exudes sensuality with her sex kitten approach to the character.

No discussion of Danger: Diabolik is complete without the acknowledgment of Ennio Morricone’s contribution to the film via his masterful score. Just like his collaborations with Sergio Leone, he sets the mood and tone of the film with musical cues that are, in many cases, associated with certain characters. The music is playful most of the time, like in an early scene when the police officers are getting ready to transport the money.

There are many wonderful set pieces throughout Danger: Diabolik, with my favorite being the scene in which Diabolik and Eva make love on a rotating bed filled with money. Also, this version of Danger: Diabolik is a longer version that restores footage missing from the American release, most notably the scene where Diabolik and Eva make love in a bed filled with money. Visually Dangerous: Diabolik is a dazzling feast for the eyes that’s rich with texture as Mario Bava lays it on, layer after layer of eye candy. Ultimately, Danger Diabolik is Mario Bava’s greatest achievement as a director.

In terms of audio/video presentation and packing, I can’t see how anyone could top this release. That said, Eureka Video gives Danger: Diabolik a definitive release. Highly recommended.

                                                           Blu-ray Screenshots.

 

Written by Michael Den Boer

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

Theatrical Release Date: Hong Kong, 1982
Director: Jackie Chan
Writers: Jackie Chan, Edward Tang, Barry Wong
Cast: Jackie Chan, Mars Cheung, Hwang In-shik, Tien Feng, Paul Chang, Wai-Man Chan, Fung Hak-on, Corey Yuen, Mang Hoi, Chiu Chung-san  

Release Date: February 23rd, 2026
Approximate Running Times: 96 Minutes 6 Seconds (Hong Kong Theatrical Cut), 90 Minutes 54 Seconds (English Export Cut), 103 Minutes 2 Seconds (Extended Cut), 110 Minutes 39 Seconds (Hybrid Cut)
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (Hong Kong Theatrical Cut, English Export Cut, Extended Cut, Hybrid Cut)
Rating: 18 (UK)
Sound: LPCM Mono Cantonese (Hong Kong Theatrical Cut, Extended Cut, Hybrid Cut), LPCM Mono English (Hong Kong Theatrical Cut, English Export Cut), DTS-HD 5.1 English (Hong Kong Theatrical Cut)
Subtitles: English (All Films)
Region Coding: Region Free (4K UHD), Region B (Blu-ray)
Retail Price: £35.00 (UK)

"The story follows childhood friends Lung (Jackie Chan) and Ngau (Mars), whose carefree days of dodging schoolwork and stirring up mischief take a dangerous turn when they stumble into a ruthless gang smuggling priceless Chinese artifacts out of the country." - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "Brand-new 4K restorations in 2.35:1 aspect ratio from the original 35mm camera negatives."

Dragon Lord, the Hong Kong theatrical cut and the English export cut come on a 100 GB triple layer 4K UHD.

Disc Size: 86 GB

Feature: 61.6 GB (Hong Kong Theatrical Cut), 57.5 GB (English Export Cut)

This disc uses seamless branching for the two versions.

Dragon Lord, the extended cut and the hybrid cut come on a 100 GB triple layer 4K UHD.

Disc Size: 83.6 GB

Feature: 64.8 GB (Extended Cut), 18.1 (Hybrid Cut)

Dragon Lord, the Hong Kong theatrical cut and the English export cut come on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 30 GB (Hong Kong Theatrical Cut), 28.3 GB (English Export Cut)

This disc uses seamless branching for the two versions.

Dragon Lord, the extended cut and the hybrid cut come on a 50 GB dual layer Blu-ray.

Disc Size: 45.6 GB

Feature: 27.3 GB (Extended Cut), 18.1 (Hybrid Cut)

This is another significant upgrade from 88 Films. Flesh tones look healthy; colors are nicely saturated; contrast, black levels, image clarity, and compression are solid; and the image always looks organic.

Audio: 4.5/5 (LPCM Mono Cantonese - Hong Kong Theatrical Cut, LPCM Mono Cantonese - Extended Cut, LPCM Mono Cantonese - Hybrid Cut, LPCM Mono English - English Export Cut), 4.25/5 (LPCM Mono English - Hong Kong Theatrical Cut), 4/5 (LPCM Mono Cantonese Home Media Release - Hong Kong Theatrical Cut, DTS-HD 5.1 English - Hong Kong Theatrical Cut)

The Hong Kong theatrical cut comes with four audio options, a LPCM mono mix in Cantonese from the film's theatrical release, a LPCM mono mix in Cantonese from a previous home media release for the film, a LPCM mono mix in English, and a DTS-HD 5.1 mix in English. There are about five minutes in Cantonese with English subtitles when watching the mono-English language track. All of the tracks sound clean, clear, balanced, and robust when they should. The theatrical Cantonese track sounds fuller than the home media release Cantonese track. Included are removable English subtitles for the Cantonese language tracks and simplified English subtitles for the Jianzi match.

The English export cut comes with one audio option, a LPCM mono mix in English with removable English subtitles for Cantonese text.

The extended cut comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles.

The hybrid cut comes with one audio option, a LPCM mono mix in Cantonese with removable English subtitles.

These three tracks sound excellent. Dialogue always comes through clearly; everything sounds balanced and robust when they should.

Extras:

Extras on the 4K UHD disc with the Hong Kong theatrical cut and the English export cut include a Hong Kong theatrical trailer (4 minutes 13 seconds, DTS-HD mono Cantonese with removable English subtitles), an English-language theatrical trailer (1 minute 31 seconds, DTS-HD mono English, no subtitles), a behind-the-scenes teaser (5 minutes 21 seconds, DTS-HD mono Cantonese with removable English subtitles), an archival interview with actor Wong In-Sik titled The Master Returns (11 minutes 52 seconds, DTS-HD stereo English, no subtitles), an archival interview with actor/stuntman Mars Cheung titled The Fall Guy (29 minutes 46 seconds, DTS-HD stereo Cantonese with removable English subtitles), an archival interview with actor Louis Sit titled The Insider (9 minutes 38 seconds, DTS-HD stereo English, no subtitles), an interview with assistant director Angie Chen titled Dragon Lord Titbits (12 minutes 17 seconds, DTS-HD stereo English, no subtitles), an interview with Mars Cheung, he discusses Dragon Lord, and an audio commentary with East Asian film experts Frank Djeng (NY Asian Film Festival) and F.J. DeSanto for the Hong Kong cut.

Extras on the Blu-ray disc with the Hong Kong theatrical cut and the English export cut include a Hong Kong theatrical trailer (4 minutes 13 seconds, DTS-HD mono Cantonese with removable English subtitles), an English-language theatrical trailer (1 minute 31 seconds, DTS-HD mono English, no subtitles), a behind-the-scenes teaser (5 minutes 21 seconds, DTS-HD mono Cantonese with removable English subtitles), an archival interview with actor Wong In-Sik titled The Master Returns (11 minutes 52 seconds, DTS-HD stereo English, no subtitles), an archival interview with actor/stuntman Mars Cheung titled The Fall Guy (29 minutes 46 seconds, DTS-HD stereo Cantonese with removable English subtitles), an archival interview with actor Louis Sit titled The Insider (9 minutes 38 seconds, DTS-HD stereo English, no subtitles), an interview with assistant director Angie Chen titled Dragon Lord Titbits (12 minutes 17 seconds, DTS-HD stereo English, no subtitles), an interview with Mars Cheung, he discusses Dragon Lord, and an audio commentary with East Asian film experts Frank Djeng (NY Asian Film Festival) and F.J. DeSanto for the Hong Kong cut.

There are no extras on the 4K UHD and Blu-ray discs with the extended cut and the hybrid cut.

Other extras include reversible cover art, a collectible double-sided poster, a rigid slipcase, an O-ring slipcover, and a 40-page perfect-bound book with cast & crew information, an essay titled About the Film written by Thorsten Boose and Will Blaik, an essay titled Keeping up with the Jianzi written by C.J. Lines, an essay titled Young Master in Overdrive written by Andrew Heskins, and an essay titled The Last Dragon written by David West.

Summary:

An aristocrat's son, known for his troublemaking and disregard for his martial arts lessons, stumbles upon a gang of thieves planning to steal artifacts from the townspeople.

After parting ways with Lo Wei and before his breakthrough with Project A, Jackie Chan’s early 1980s output was uneven. Two films from this era stand out: The Young Master and Dragon Lord. Although the latter began as a sequel to The Young Master, it eventually morphed into its own entity. The thing that links these two films is that they are period-set kung fu films. While these were the films that initially rose Jackie Chan to prominence, Dragon Lord would see him move away from period-set kung fu films in favor of a modern setting.

Jackie Chan's role in Dragon Lord feels all too familiar, portraying a mischievous character who doesn't take his martial arts lessons seriously. His character arc transitions from an irresponsible individual focused solely on chasing girls and having fun with friends to someone who must quickly enhance his skills when confronted with an obstacle. He delivers another exemplary performance in the role of Lung, in which he is able to show off his impeccable comedic timing.

Throughout his career, Jackie Chan has been paired with another actor, and in Dragon Lord he teams up with Mars Cheung, who portrays Lung’s best friend, Ngau. Anyone familiar with 1970s and '80s martial arts films is sure to recognize Mars Cheung, a frequent collaborator of Jackie Chan. While Mars Cheung is most known for his work as a stuntman, Dragon Lord is one of few times he’s given a substantial role, and his chemistry with Jackie Chan makes the moments they share the most memorable.

Once Jackie Chan decided to take a more active role in his films, there was a massive jump in the quality of the action set pieces. While some martial arts actors tend to have a niche and excel in it, Jackie Chan consistently strives to surpass himself with every new action sequence. The action sequences in Dragon Lord are inventive, with many occurring in situations not typically associated with martial arts cinema, particularly a Jianzi match.

Although the premise covers familiar ground, there are enough surprises along the way that things never get predictable. Another strength of Dragon Lord is how well it balances comedy and action. Ultimately, Dragon Lord is a highly entertaining film that is unjustly underrated and a must-see for fans of martial arts cinema from the 1970s and 80s.

Dragon Lord 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