The 5-Man Army - Warner Archive (Blu-ray)

Theatrical Release Date: Italy, 1969
Director: Don Taylor
Writers: Marc Richards, Dario Argento
Cast: Peter Graves, James Daly, Bud Spencer, Nino Castelnuovo, Tetsurō Tanba, Claudio Gora, Daniela Giordano, Annabella Andreoli, Carlo Alighiero, Giacomo Rossi Stuart, Marino Masé

Release Date: May 26th, 2026
Approximate Running Time: 110 minutes 23 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $24.98

"The 5-Man Army is an action-packed spaghetti western about mercenaries with a mission to rob a trainload of gold. Make that a suicide mission, because this train is heavily armed with troops and machine guns, and traveling a route guarded by more soldiers. Peter Graves stars in the role of the Dutchman, leader of a handpicked commando squad consisting of a strongman, an explosives expert, and a Samurai swordsman." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, "New 4K restoration from the original camera negative."

The 5-Man Army comes on a 50 GB dual layer Blu-ray.

Disc Size: 30.2 GB

Feature: 29.5 GB

The source looks excellent; flesh tones and colors look correct, image clarity, black levels, and compression are solid, and the image retains an organic appearance.

Audio: 5/5

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

Extras:

Extras for this release are limited to a theatrical trailer (2 minutes 7 seconds, Dolby Digital mono English, no subtitles). 

Summary:

Don Taylor directed The 5-Man Army. He’s known for The Island of Dr. Moreau (1977), Damien: Omen II, and The Final Countdown.

A mercenary collaborating with Mexican revolutionaries puts together a team of five men to rob a train carrying $500,000 in gold.

While the spaghetti westerns were predominantly directed by Italian filmmakers, The 5-Man Army was one of a handful of films that were directed by U.S. and UK filmmakers. Other notable spaghetti westerns directed by U.S. and UK filmmakers are Red Sun, A Man Called Sledge, The Man Called Noon, and Chino. Dario Argento, a filmmaker who gained prominence through his work in the giallo genre, co-wrote The 5-Man Army.

Set during the Mexican Revolution, The 5-Man Army follows familiar spaghetti western tropes, notably men driven by their own personal gain and who are willing to take on insurmountable odds to obtain it. The 5 men who make up the ragtag group of mercenaries have served time for various crimes; they are all victims of circumstances and not your typical criminals. That said, when their moments of truth come, it offers them a chance at redemption for their past crimes.

While spaghetti westerns are known for their casts that are made up of actors and actresses from a multitude of countries, The 5-Man Army has one of the most diverse casts, Italy, US, and Japan. Peter Graves (Mission Impossible) is cast in the role of the Dutchman, the ringleader of the group of mercenaries who rob the military train carrying gold. The most notable performance is Bud Spencer (They Call Me Trinity), who portrays Mesito, a mercenary with a furious appetite. It should be noted that The 5 Man Army is a rare example where Bud Spencer provides his voice for the English-language track. Other notable cast members are Tetsurō Tanba (You Only Live Twice), Daniela Giordano (Four Times That Night), Nino Castelnuovo (Camille 2000), and Giacomo Rossi Stuart (Kill, Baby, Kill).

The opening setup does an excellent job setting the tone. From there, the narrative is very effective at building momentum with a series of tense moments that culminate with one final surprise. The action sequences are all well-executed, especially the main set piece, the train robbery. Ennio Morricone (The Good, the Bad and the Ugly) delivers another superlative score that greatly enhances the mood. Ultimately, The 5-Man Army is a solid spaghetti western that fans of this genre are sure to enjoy.

Warner Archive gives The 5-Man Army a solid audio/video presentation. Recommended.

Written by Michael Den Boer

The Phantom of the Opera – Vinegar Syndrome (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1998
Director: Dario Argento
Writers: Gérard Brach, Dario Argento
Cast: Julian Sands, Asia Argento, Andrea Di Stefano, Nadia Rinaldi, Coralina Cataldi-Tassoni, István Bubik, Lucia Guzzardi, Aldo Massasso, Zoltan Barabas, Gianni Franco

Release Date: January 20th, 2026
Approximate Running Time: 103 Minutes 47 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: NR
Sound: DTS-HD 5.1 Italian, DTS-HD 5.1 English
Subtitles: English, English SDH
Region Coding: Region Free (UHD), Region A (Blu-Ray)
Retail Price: $59.98

"In late nineteenth-century Paris, strange things are happening at the Opera House. Legends abound of a mysterious phantom who, raised from infancy by rats, inhabits the subterranean caverns deep beneath the famous building, occasionally emerging above ground to wreak bloody havoc. Enchanted by the voice of the beautiful Christine Daaé, an understudy in the upcoming production of Romeo and Juliet, the phantom quickly brings the singer under his spell, setting himself on a collision course with her would-be suitor, Raoul. As the gala performance of Romeo and Juliet draws near, and Christine falls ever deeper under his influence, the phantom hatches a diabolical plan to secure his young protégé the starring role—and claim her as his, once and for all." - 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, "Newly scanned & restored in 4K from its 35mm original camera negative."

The Phantom of the Opera comes on a 100 GB triple layer 4K UHD.

Disc Size: 72.8 GB

Feature: 72.2 GB

The source is in excellent shape and has never looked better on home media. Flesh tones look healthy, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and there are no issues with digital noise reduction.

The Phantom of the Opera comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 29.8 GB

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

Audio: 5/5 (DTS-HD 5.1 Italian, DTS-HD 5.1 English)

This release comes with two audio options: a DTS-HD 5.1 mix in Italian and a DTS-HD 5.1 mix in English. Both audio tracks sound excellent. Dialogue always comes through clearly, everything sounds balanced, ambient sounds are well represented, and the score sounds appropriately robust. Included are removable English subtitles for the Italian language track, removable English SDH for the English language track, and an English subtitle track for text that's in Italian when watching with the English language track.

Extras:

Extras on the 4K UHD disc include an audio commentary with film historians Troy Howarth and Nathaniel Thompson.

Extras on the Blu-ray disc include alternate English-language titles (7 minutes 38 seconds, Dolby Digital stereo with text in English), an archival interview with producer Giuseppe Colombo titled Welcome to the Opera (18 minutes 8 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with production designer Antonello Geleng titled In the Phantom Cave (18 minutes 13 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with director/screenwriter Dario Argento titled Behind the Red Curtain (18 minutes 7 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with camera operator Marco Pieroni titled Behind the Camera (12 minutes 28 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with editor Anna Napoli titled Like a Thunder (20 minutes 34 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with special effects artist Sergio Stivaletti titled Opera of Wounds (19 minutes 47 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Gianni Franco titled Acts of Fear (10 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Nadia Rinaldi titled Of Screams and Arias (22 minutes 32 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Troy Howarth and Nathaniel Thompson.

Other extras include reversible cover art and a spot gloss slipcover (limited to 6,000 units).

Summary:

Dario Argento’s The Phantom of the Opera is an adaptation of Gaston Leroux’s novel of the same name. Gaston Leroux’s source novel has been adapted numerous times, notably a 1925 adaptation starring Lon Chaney and a 1943 adaptation starring Claude Rains. Although many films have remained faithful to the source novel, there have been several films that are more of a loose adaptation, like Phantom of the Mall: Eric's Revenge and The Phantom Lover. That said, Dario Argento’s The Phantom of the Opera falls somewhere in the middle of these two examples.

The Phantom of the Opera is a story that most will be familiar with even if they have never seen any adaptation or read Gaston Leroux’s novel. With that in mind, I will not be providing a synopsis for Dario Argento’s The Phantom of the Opera, a film that retains the core elements of the source material. Something that sets The Phantom of the Opera apart from Dario Argento’s films that preceded it is that, for the first time, he worked from a source that was not an idea that originated with him.

Whether through his words or watching his films, it's clear that Universal's classic monster films of the 1930s influenced Dario Argento. These classic monster films established a foundational template for horror cinema that filmmakers still draw upon today. While Dario Argento’s adaptation of The Phantom of the Opera certainly incorporates the horror elements from its source material, the most unexpected aspect is the film's pronounced romanticism.

Dario Argento’s adaptation of The Phantom of the Opera features a notable change in the phantom's appearance compared to other film versions. Whereas the majority of The Phantom of the Opera adaptations feature a disfigured protagonist, Dario Argento’s protagonist is attractive outwardly but dark inside. His character was abandoned as an infant and raised by rats, which he emulates when he expresses his rage. Julian Sands (Warlock) plays the role of the phantom and delivers a powerful performance.

Asia Argento (The Stendhal Syndrome) is cast in the role of Christine, an aspiring opera singer whom the phantom becomes infatuated with. Out of all the films she’s made with her father, this performance is her weakest, and most of the burden of the blame goes to the screenwriters, who do not give her enough to work with. That said, most of the performances are best described as serviceable.

Despite being a polished film where the set design looks exemplary and the visuals exhibit the stylish flourishes one expects from Dario Argento, The Phantom of the Opera will be a hard sell for even the most diehard Argento fan. Other areas that are lacking include a narrative that fails to build any momentum and special effects that have not aged well. An area where The Phantom of the Opera excels is Ennio Morricone’s score, which perfectly underscores the mood. The Phantom of the Opera would mark the fifth and final time Ennio Morricone worked with Dario Argento. Ultimately, Dario Argento’s The Phantom of the Opera is a film that’s never going to top anyone’s best-of list, recommended only for Dario Argento completists.

Vinegar Syndrome gives Dario Argento’s The Phantom of the Opera its best home media release to date. 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

The Stendhal Syndrome – Vinegar Syndrome (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1996
Director: Dario Argento
Writers: Dario Argento, Franco Ferrini
Cast: Asia Argento, Thomas Kretschmann, Marco Leonardi, Luigi Diberti, Julien Lambroschini, John Quentin, Paolo Bonacelli, Vera Gemma, Veronica Lazar, Cinzia Monreale

Release Date: December 2nd, 2025
Approximate Running Time: 119 Minutes 44 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: NR
Sound: DTS-HD 5.1 Italian, DTS-HD 5.1 English
Subtitles: English, English SDH
Region Coding: Region Free (UHD), Region A (Blu-Ray)
Retail Price: $66.98

"Detective Anna Manni is on the hunt for a sadistic serial rapist and murderer when, whilst working her way through the various artworks on display in Florence’s Uffizi Gallery, she falls into a trance and faints. After regaining consciousness and returning to her hotel room in a dissociative state, Anna is brutally attacked and raped by the killer before she eventually manages to escape his clutches. In the wake of this ordeal, Anna’s psychiatrist explains to her that she suffers from Stendhal syndrome, a rare condition in which individuals become overwhelmed in the presence of great works of art. Returning to her hometown of Viterbo where she has been advised to rest up, Anna continues to psychologically unravel, all the while sensing that the killer has unfinished business with her…" - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm original camera negative."

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

Disc Size: 85.5 GB

Feature: 84.4 GB

The source looks excellent; flesh tones look healthy, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and the image always looks organic.

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

Disc Size: 46.1 GB

Feature: 34.4 GB

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

Audio: 5/5 (DTS-HD 5.1 Italian, DTS-HD 5.1 English)

This release comes with two audio options, a DTS-HD 5.1 mix in Italian and a DTS-HD 5.1 mix in English. Both audio tracks sound excellent. Dialogue always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and Ennio Morricone’s score sounds appropriately robust. Included are removable English subtitles for the Italian language track, removable English SDH for the English language track, and removable English subtitles for scenes only in Italian when watching the English language track.

Extras:

Extras on the 4K UHD disc include an audio commentary with film historians Eugenio Ercolani, Troy Howarth, and Nathaniel Thompson.

Extras on the Blu-ray disc include an English-language trailer (1 minute 1 second, Dolby Digital stereo English, no subtitles), English-language opening credits (1 minute 40 seconds, Dolby Digital stereo English, no subtitles), an interview with special make-up effects artist Franco Casagni titled Inside the Wounds (13 minutes 8 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Asia Argento titled Through Her Gaze (25 minutes 23 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with producer Giuseppe Colombo titled The Price of Vision (17 minutes 48 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with screenwriter Franco Ferrini titled Scripted Visions (15 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with second unit director Luigi Cozzi titled Shadow Unit (15 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with production designer Antonello Geleng titled Architect of Illusion (34 minutes 11 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with special effects artist Sergio Stivaletti titled Behind the Canvas (33 minutes 16 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with director/screenwriter Dario Argento titled Lost in Art (27 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Eugenio Ercolani, Troy Howarth, and Nathaniel Thompson.

Other extras include reversible cover art, a spot gloss hard slipcase + slipcover combo (limited to 8,000 units), and a 40-page perfect-bound book (limited to 8,000 units) with an essay titled Art Attack: Voyeurism and Violation in The Stendhal Syndrome written by Michael Blyth, an essay titled The Perils of Perception written by Alexandra Heller-Nicholas, and an essay titled Art and Monsters: Analyzing Dario Argento’s The Stendhal Syndrome written by Francesco Massaccesi.

Summary:

Anna Manni, a detective with the anti-rape squad, receives a tip shortly after arriving in Florence that a serial rapist who she has been pursuing is in town. Anna’s informant agrees to meet her at the Uffizi Gallery with more info about the serial rapist. Shortly after Anna enters the gallery, she is overcome by the paintings, which transform themselves before her eyes, causing her to faint and hit her head on a table. When Anna regains consciousness, an attractive man named Alfredo helps her. Not knowing who she is or why she was there, she refuses Alfredo's help. 

Anna, now in the safety of her hotel recovering from the events early in the day, is confronted by Alfredo, who happens to be the serial rapist she has been tracking. Although he overpowers her as he psychically and mentally rapes her, somehow Anna manages to escape from Alfredo before he has a chance to kill her. Anna, now suffering from the dementia brought on by “The Stendhal Syndrome,” must also deal with the fact Alfredo is still at large, with the possibility that he might come back and finish her off.

For most fans of Dario Argento, there are two periods, before and after Opera. The Stendhal Syndrome, more than any film that came after Opera, divides Argento fans with its gritty and at times too realistic take on events unfolding. The idea that great works of art can overcome a person is a superb premise and Dario Argento flawlessly executes it. What ultimately makes The Stendhal Syndrome even more disturbing is that the things it portrays often occur in the real world and that they are not just the author's imagination.

When discussing the performances, one cannot ignore the role that dubbing plays. The Stendhal Syndrome plays so much better in Italian than in English. Asia Argento is cast in the role of Anna Manni, a protagonist who slowly transforms into the man who violated her. Of the six films directed by her father, Dario Argento, that she appeared in, The Stendhal Syndrome is easily her best. Her character's evolution is outstanding and she never delivers a false note. That said, her character goes through an identity crisis that rivals the two characters from Ingmar Bergman’s Persona.

Although Asia Argento’s performance is the heart and soul of The Stendhal Syndrome, she is surrounded by an outstanding cast who are all excellent in their roles. One performance of note is Thomas Kretschmann's (The Pianist) chilling portrayal of serial rapist Alfredo Grossi. Notable cast members include Cinzia Monreale (The Beyond) in the role of Alfredo’s wife, Marco Leonardi (Cinema Paradiso) in the role of Marco, a co-worker and former lover of Anna, and Veronica Lazar (Inferno) in the role of Marie’s mother.

While music has always played a significant role in the cinema of Dario Argento, The Stendhal Syndrome would reunite Argento with Ennio Morricone for the first time since Four Flies on Grey Velvet. His score immediately grabs you as the opening credits roll, and it does a phenomenal job setting the tone for what follows. That said, Ennio Morricone delivers a hallucinogenic score of cacophonous sounds, which evoke their own Stendhal-like syndrome in the listener.

From a production standpoint, there are not many areas where The Stendhal Syndrome does not excel. The CGI special effects are an area that's lacking; they do not hold up well, and they looked iffy even when the film was initially released. Dario Argento has always delivered visually arresting and picturesque moments, and throughout his career he’s collaborated with several gifted cinematographers. For The Stendhal Syndrome, he works for the first and only time with Giuseppe Rotunno, whose credits include Rocco and His Brothers, The Leopard, Carnal Knowledge, Amarcord, and Popeye. Ultimately, The Stendhal Syndrome is Dario Argento’s most transitional film; it is finally getting the recognition it deserves for its daring and at times innovative take on the thriller genre.

The Stendhal Syndrome gets a definitive release from Vinegar Syndrome. 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

Sleepless - Vinegar Syndrome (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 2001
Director: Dario Argento
Writers: Dario Argento, Franco Ferrini
Cast: Max von Sydow, Stefano Dionisi, Chiara Caselli, Roberto Zibetti, Gabriele Lavia, Paolo Maria Scalondro

Release Date: October 21st, 2025
Approximate Running Time: 117 Minutes 15 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: DTS-HD 5.1 Italian, DTS-HD 5.1 English
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $64.98

"A series of grisly murders are taking place across the Italian city of Turin, prompting the authorities to fear that a copycat killer is on the loose and emulating a gruesome spree that occurred seventeen years prior. Those murders were pinned on a writer with dwarfism by the name of Vincenzo de Fabritiis, who subsequently passed away, effectively closing the case. Now, Detective Ulisse Moretti, who led the original investigation, finds himself drawn out of retirement, and, together with the young Giacomo Gallo—whose mother was a victim of the supposed “Dwarf Killer”—attempts to unravel the mystery of these new slayings as the mutilated corpses continue to pile up." - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm original camera negative."

Sleepless comes on a 100 GB triple layer 4K UHD.

Disc Size: 84.3 GB

Feature: 83.5 GB

From a mediocre DVD from Artisan Entertainment to this new release from Vinger Syndrome, Sleepless is an evolution of home media that has been rough. That said, this new release from Vinger Syndrome finally gives Sleepless the release it always deserved. The source looks exceptional; flesh tones look correct, colors look vibrant and are nicely saturated, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look.

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

Disc Size: 45.8 GB

Feature: 31.9 GB

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

Audio: 5/5 (DTS-HD 5.1 Italian, DTS-HD 5.1 English)

This release comes with two audio options: a DTS-HD 5.1 mix in Italian and a DTS-HD 5.1 mix in English. Both audio tracks sound excellent. Dialogue always comes through clearly, everything sounds balanced, ambient sounds are well represented, and the score sounds appropriately robust. Included are removable English subtitles for the Italian language track, removable English SDH for the English language track, and an English subtitle track for text that's in Italian when watching with the English language track.

Extras:

Extras on the 4K UHD disc include an archival audio commentary with film historians Nathaniel Thompson and Troy Howarth.

Extras on the Blu-ray disc include an archival interview with actor Gabriele Lavia titled Killed Three Times (12 minutes 32 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with production designer Antonello Geleng titled Blood on the Tracks (15 minutes 48 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with screenwriter Franco Ferrini titled The Cop and the Parrot (11 minutes 11 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with actor Paolo Maria Scalondro titled Don't Go to Sleep (17 minutes 6 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with director Dario Argento titled He Never Sleeps (18 minutes 31 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with special effects artist Sergio Stivaletti titled Bloodwork (19 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Claudio Simonetti titled One Last Score (21 minutes 39 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with editor Anna Napoli titled The Invisible Work (25 minutes 9 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Roberto Zibetti titled Behind the Smile (21 minutes 39 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Stefano Dionisi titled The One Who Saw (9 minutes 36 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Chiara Caselli titled Still Awake (15 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), and an archival audio commentary with Nathaniel Thompson and Troy Howarth.

Other extras include reversible cover art and a spot gloss slipcover (limited to 8,000 units).

Summary:

After the failure of The Phantom of the Opera, many critics and fans of Dario Argento thought that the maestro had lost it. His more violent and technically dazzling era, which includes the films from Deep Red to Opera, feels like a distant memory. That said, with Nonhosonno, known outside of Italy as Sleepless, Dario Argento would return to the Giallo genre for the first time since Opera and deliver what’s arguably his last classic film.

Besides revisiting themes and elements from his most celebrated films, Sleepless would see Dario Argento reunite with Goblin, who previously collaborated with Dario Argento on his most celebrated films, Deep Red and Suspiria. With Sleepless Goblin, they deliver another symphonic masterpiece that’s anchored by an earworm main theme that instantly draws you in. Needless to say, Dario Argento and Goblin are a magical combination.

Content-wise, Sleepless has all the elements that have become synonymous with Giallo cinema. While the plot may tread familiar territory, Dario Argento transforms it into a film brimming with bravado and energy. The murder set pieces are inventive, at times brutal, and sufficiently gory. And when it comes to concealing the killers’ identities, Sleepless is one of Dario Argento’s most deceptive films.

Sleepless is a rare exception of a Dario Argento film that doesn’t have a strong female character; the two main protagonists are male. The cast are excellent in their roles, particularly Max von Sydow (The Virgin Spring), who plays a retired detective named Moretti. He delivers another superb performance that’s a joy to watch. Another performance of note is Stefano Dionisi in the role of Giacomo, a man who saw his mother’s death when he was a boy. Moretti and Giacomo are an odd pair, even by Dario Argento's standards. Ultimately, I really enjoyed the way these two characters interacted with each other.

Dario Argento is a filmmaker whose films have gained admiration over time. Sleepless, like so many Dario Argento films, was not initially well received. The primary criticism of Sleepless is that it merely revisits Dario Argento’s greatest hits. However, in this reviewer’s opinion, Sleepless transcends the notion of a filmmaker resting on his laurels by merely reliving his most memorable moments. Sleepless is a film that was clearly made by a filmmaker at the top of their game.

That said, I do have a minor complaint about Sleepless. At times, the middle section of the film drags, and it pales in comparison to the stunning, blood-soaked train murder set piece that opens the film. Fortunately, things pick up considerably by the last act, especially in those last fifteen minutes. Ultimately, Sleepless is a prime example of Dario Argento's best work, and since its release, he has yet to create a film that surpasses it.

Sleepless gets an exceptional release from Vinegar Syndrome that comes with a solid audio/video presentation and a wealth 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

The Card Player – Vinegar Syndrome (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 2003
Director: Dario Argento
Writers: Dario Argento, Franco Ferrini
Cast: Stefania Rocca, Liam Cunningham, Silvio Muccino, Adalberto Maria Merli, Claudio Santamaria, Fiore Argento, Elisabetta Rocchetti, Vera Gemma, Conchita Puglisi

Release Date: July 22nd, 2025
Approximate Running Time: 103 Minutes 39 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: DTS-HD 5.1 Italian, DTS-HD 5.1 English
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $64.98

"In Rome, Inspector Anna Mari receives a macabre surprise for her birthday when an email lands in her inbox from someone calling themself “The Card Player” and claiming to be the one responsible for the recent kidnapping of a British tourist. In a sadistic twist, the kidnapper challenges the authorities to a game of online poker to determine whether the young woman lives or dies. When the police commissioner forbids his team to go through with the game, the maniac brutally slaughters the tourist before their very eyes via webcam, later dumping the body in a river. As more and more women are abducted from the streets of the Italian capital and subjected to the same treatment, Anna Mari joins forces with Irish policeman John Brennan and young poker whizz-kid Remo in an attempt to beat The Card Player at their own deadly game." - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm original camera negative."

The Card Player comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.7 GB

Feature: 61 GB

The source looks excellent; flesh tones look healthy, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image always looks organic. That said, even if you already own Scorpion Releasing’s solid Blu-ray, this new release still improves upon that release.

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

Disc Size: 43.3 GB

Feature: 29.4 GB

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

Audio: 5/5 (DTS-HD 5.1 Italian, DTS-HD 5.1 English)

This release comes with two audio options, a DTS-HD 5.1 mix in Italian and a DTS-HD 5.1 mix in English. Both audio tracks sound excellent. Dialog always comes through clearly, everything sounds balanced, ambient sounds are well represented, and the score sounds appropriately robust. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track.

Extras:

Extras on the 4K UHD disc include an archival audio commentary track with film historians Troy Howarth and Nathaniel Thompson.

Extras on the Blu-ray disc include an archival Behind-the-Scenes featurette (9 minutes 18 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with actress Fiore Argento titled Game Over (8 minutes 31 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with set designer Massimo Antonello Geleng titled A Chip and a Chair (11 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with screenwriter Franco Ferrini titled Taking Risks (8 minutes 45 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with director Dario Argento titled Watch me when I Kill (17 minutes 45 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with editor Walter Fasano titled Sharp Cuts (20 minutes 4 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with make-up artist Sergio Stivaletti titled Like in War (10 minutes 4 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Claudio Simonetti titled Digital Nightmare (19 minutes 10 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Stefania Rocca titled Playing the Game (26 minutes 44 seconds, Dolby Digital stereo Italian with removable English subtitles), and an archival audio commentary track with Troy Howarth and Nathaniel Thompson.

Other extras include reversible cover art and a spot gloss slipcover (limited to 6,000 units).

Summary:

After the success of Non ho sonno (Sleepless), a film that marked Dario Argento's return to the visceral visual style for which he is best known, and the demise of a project titled Occhiali neri (Dark Glasses), he would shift direction once again with his next project, The Card Player, a film that had originally been planned as a sequel to The Stendhal Syndrome. The story of The Card Player and its protagonist would be revised when Asia Argento, who had starred in The Stendhal Syndrome, was unavailable to star in a proposed sequel.

There are many elements in The Card Player that are in line with the type of killer present in most of Dario Argento’s thrillers. The killer in The Card Player, much like those in many of Dario Argento’s thrillers, wears black gloves and disguises their voice, preventing the audience from discovering their identity and motivations until the finale. The pacing of The Card Player is well-executed, with just the right amount of time allocated between each new twist. There are plenty of red herrings offered along the way, including what many viewers feel is an obvious nod to who the killers are.

The most fascinating aspect of The Card Player is how Dario Argento adapts his style of storytelling to modern technology like cell phones and the internet. This more modern visual style is greatly bolstered by Benoît Debie’s (Irreversible) naturalistic approach to the look of the film. Frequent Dario Argento collaborator, composer Claudio Simonetti, delivers a score that complements the story at hand. Though the murders are mostly kept off-screen and are not as gory as they have been in earlier Dario Argento films, the mutilated corpses are sufficiently gory to convey the killers' brutality.

The one area where The Card Player excels the most is its superb cast, with the standout performance coming from Stefania Rocca in the role of the protagonist, Anna Mari (The Talented Mr. Ripley). Another performance of note is Liam Cunningham (Dog Soldiers) in the role of John Brennan, an Irishman who works for his country's embassy in Rome. Ultimately, The Card Player is a well-made thriller that does a good job of building tension and keeping things interesting throughout.

The Card Player gets a definitive release from Vinegar Syndrome, 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