Shoot First, Die Later: Limited Edition – Raro Video UK (Blu-ray)

Theatrical Release Date: Italy, 1975
Director: Fernando Di Leo
Writers: Fernando Di Leo, Ernesto Gastaldi, Galliano Juso, Nicola Manzari
Cast: Luc Merenda, Richard Conte, Delia Boccardo, Raymond Pellegrin, Gianni Santuccio, Vittorio Caprioli, Salvo Randone

Release Date: May 26th, 2025
Approximate Running Times: 94 Minutes 12 Seconds (Italian Language Version), 94 Minutes 10 Seconds (English Language Version)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 15 (UK)
Sound: LPCM Mono Italian (Italian Language Version), LPCM Mono English (English Language Version)
Subtitles: English (Italian Language Version), English SDH (English Language Version)
Region Coding: Region Free
Retail Price: £14.99 (UK)

"In Shoot First, Die Later, Luc Merenda (Torso) stars as Police Commissioner Domenico Malacarne, a young rising star in the force who is also taking bribes from the mob. A routine complaint comes through to a local station in which a lowly officer, Malacarne's father, takes the statement. Unbeknownst to Malacarne, the complaint implicates someone who the mob wishes to remain hidden, putting Malacarne in a difficult position with his father, who begins to suspect his son isn’t the law-abiding official he was previously so proud of…" - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about the transfer, "High-Definition digital transfer from the original camera negative."

Shoot First, Die Later comes on a 50 GB dual layer Blu-ray.

Disc Size: 32.5 GB

Feature: 26.2 GB

Though this release and Raro’s 2013 release come from the same source, the result is transfers that are like night and day. This release’s transfer is a noticeable improvement over Raro’s 2014 release, which was a VC-1 video transfer. In every area—image clarity, black levels, and compression—this transfer looks better than Raro’s 2013 release.

Audio: 4.25/5 (LPCM Mono Italian), 4/5 (LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. Both audio tracks sound clean, clear, and balanced. That said, the Italian language track sounds slightly fuller than the English language track. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras for this release include a Italian language theatrical trailer (3 minutes 21 seconds, LPCM mono Italian with removable English subtitles), English language theatrical trailer (3 minutes 21 seconds, LPCM mono English, no subtitles), an archival interview with director Fernando Di Leo titled Master of the Game (24 minutes 58 seconds, LPCM stereo Italian with removable English subtitles), an archival interview with actor Luc Merenda titled The Second Round of the Game (21 minutes 20 seconds, LPCM stereo Italian with removable English subtitles), an audio commentary with film critic Travis Woods, reversible cover art, and a 12-page booklet (limited to 3000 copies) with cast & crew information, and an essay titled Life’s a Bitch: The Nihilistic Despair and Moral Clarity of Dl Leo’s Shoot First, Die Later written by Sam Moore.

Summary:

Fernando Di Leo directed Shoot First, Die Later. He’s a filmmaker who is most known for his work in the Poliziotteschi genre. His notable films include To Be Twenty, Slaughter Hotel, and Caliber 9.

A highly respected police commissioner tries to conceal his corruption.

Though Fernando Di Leo worked in various genres, he is most known for his work in the Poliziotteschi, and he is widely regarded as this genre's best director. In Fernando Di Leo’s first three Poliziotteschi films, referred to as the Milieu Trilogy, the focus was on the criminal underworld. However, in Shoot First, Die Later, the police are portrayed as equally corrupt as the criminals. When discussing the cinema of Fernando Di Leo, particularly his work in the Poliziotteschi genre, it is important to highlight composer Luis Bacalov's significant contributions to the overall atmosphere. His score for Shoot First, Die Later stands out as another exemplary example of a mood-enhancing soundtrack.  

With Shoot First, Die Later, Fernando Di Leo creates a compelling morality tale. On one side you have a son who respects his father, and yet he works outside of the lines because he wants more than the meager salary his job provides. Then you have the father who is morally centered, and there is nothing that will make him cross that line. Things come to a head when the son needs his father's help to make some evidence disappear, which leads to a rift between them.

When it comes to the performances, they are outstanding, especially Luc Merenda (The Violent Professionals) in the role of police commissioner Domenico Malacarne. This is one of his strongest performances, as he does a superb job portraying a man living on the edge. Another performance of note is Vittorio Caprioli (To Be Twenty), who portrays Esposito, an old man who unknowingly reports evidence linked to a murder. Other notable cast members include Richard Conte (Tony Arzenta) in a familiar role of a crime boss, Delia Boccardo (Detective Belli), who portrays Domenico’s girlfriend, and Salvo Randone (The Working Class Goes to Heaven), who portrays Domenico’s father.

When it comes to creating gritty action sequences and conveying raw intensity, Fernando di Leo is unparalleled. Shoot First, Die Later, like so many of his Poliziotteschi, opens big with a bloodbath where characters are beaten and excessively shot for encroaching on someone’s territory. The most surprising aspect is how much time is spent on establishing characters and their motivations. While there are numerous carnage-driven set pieces, Shoot First, Die Later features two particularly well-executed car chases. Ultimately, Shoot First, Die Later is an exceptional Poliziotteschi that achieves a perfect balance between the more violent moments and an underlying subtext about abuse of power.

Raro Video UK gives Shoot First, Die Later its best home video release to date, recommended.

Written by Michael Den Boer

Rulers of the City: Limited Edition – Raro Video UK (Blu-ray)

Theatrical Release Date: Italy, 1976
Director: Fernando Di Leo
Writers: Fernando Di Leo, Peter Berling
Cast: Jack Palance, Al Cliver, Harry Baer, Gisela Hahn, Enzo Pulcrano, Carmelo Reale, Edmund Purdom, Vittorio Caprioli

Release Date: March 24th, 2025
Approximate Running Time: 96 Minutes 2 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: £14.99 (UK)

"Tony (Harry Baer, Fox and His Friends), a debt collector for a small-time Roman boss, dreams of making it big. He meets Rick (Al Cliver, Zombie Flesh Eaters) and decides to back him up in order to screw over an American gangster, called Scarface Manzari (Jack Palance, Batman), who monopolizes all the crime in the city. But Rick is driven by revenge on Manzari because he had treacherously killed his father after a robbery years earlier." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, “2020 4K restoration of the original negative."

Rulers of the City comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.4 GB

Feature: 29.7 GB

This is another solid upgrade from Raro Video UK when compared to their earlier 2012 Blu-ray release. Colors have never looked better; image clarity, black levels, and compression are solid.

Audio: 3.75/5 (LPCM Mono Italian), 3.5/5 (LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. Though both audio tracks sound clean, clear, and balanced, they are limited in range. That said, the Italian language track has a fuller sound compared to the English language track. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras for this release include an interview with Eurocrime authority Mike Malloy on the childhood revenge theme in poliziotteschi (13 minutes 6 seconds, Dolby Digital stereo English, no subtitles), an archival featurette titled Violent City, featuring comments by director Fernando Di Leo, actor Al Cliver, editor Amedeo Giomini, and weapons expert Gilberto Galimberti (15 minutes 33 seconds, Dolby Digital stereo in Italian with non-removable English subtitles), reversible cover art, and a 12-page booklet (limited to 3000 copies) with cast & crew information, and an essay titled Running in Hell: Italian Crime Films and Fernando Di Leo’s Poetics written by Francesco Massaccesi.

Summary:

Fernando Di Leo directed Rulers of the City. He’s a filmmaker who is most known for his work in the Poliziotteschi genre. His notable films include To Be Twenty, Slaughter Hotel, and Caliber 9.

A debt collector joins forces with a man seeking revenge against a crime boss who rules the city.

When it comes to Poliziotteschi, Fernando Di Leo stands in a class all his own. Though there are films in this genre directed by other directors that are on par with his most celebrated Poliziotteschi, no other filmmaker influenced this genre more than he did. That said, even one of Fernando Di Leo’s lesser Poliziotteschi is superior to most of his contemporaries' films; case in point, Rulers of the City.

Though revenge is central to the story that unfolds in Rulers of the City, its narrative has two stories that intersect by the time the finale arrives. One of these stories revolves around a debt collector named Tony who wants the other guys he works with to respect him, and to prove his worth he takes on a dangerous job of collecting from a notorious crime boss nicknamed Scarface. The other story revolves around Rick, a man who works for Scarface. Rick is not your average criminal; he has ulterior motives for working with Scarface that are tied to the death of his father. These two characters' stories intersect, and they work together to bring down Scarface.

This cast is one of the weaker ones that Fernando Di Leo worked with; that said, the main draw is Jack Palance (The Mercenary) in the role of a crime boss named Manzari, aka Scarface. He is an actor known for delivering sinister and cold-hearted performances, and once again he delivers an exemplary performance. When it comes to the two leads, Harry Baer (Fox and His Friends) and Al Cliver (Zombie), who portray Tony and Rick, they both deliver one-note performances. Of these two performances, Al Cliver’s bland performance was especially disappointing.

Though Rulers of the City is not part of the Milieu Trilogy, content-wise, it bears many similarities to the three films that make up the Milieu Trilogy. Fernando Di Leo’s direction is solid, especially when it comes to action set pieces. The narrative opens and closes with its two best action sequences. Also, though there is a car chase, a staple of Poliziotteschi cinema, Rulers of the City does something different with a lengthy on-foot chase. The well-constructed narrative has an ample amount of tense moments, and it does a superb job building to a bloody shootout finale. Composer Luis Bacalov (Django), a frequent collaborator of Fernando Di Leo, delivers another excellent score that reinforces the mood. Ultimately, despite its shortcomings, Rulers of the City is a highly entertaining film, making it a must-see for fans of Poliziotteschi cinema.

Raro Video UK gives Rulers of the City its best home video release to date, recommended.

Written by Michael Den Boer

Madness - Raro Video (Blu-ray)

Theatrical Release Date: Italy, 1980
Director: Fernando Di Leo
Writers: Mario Gariazzo, Fernando Di Leo
Cast: Joe Dallesandro, Lorraine De Selle, Patrizia Behn, Gianni Macchia, Omero Capanna

Release Date: September 17th, 2024
Approximate Running Time: 89 minutes 41 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono Italian
Subtitles: English
Region Coding: Region Free
Retail Price: $29.95

"After brutally killing two farmers with a pitchfork, escaped prisoner Joe (Dallesandro) makes a bee-line for the holiday cottage he had stashed some loot five years before. But before he can retrieve his cash a car pulls up with the womanizing Sergio (Gianni Macchia, Emanuelle Around the World), his trusting wife Liliana (Patrizia Behn) and her flirty sister Paola (Lorraine De Selle, Cannibal Ferox). Joe proceeds to torment this already dysfunctional trio with increasing depravity." - synopsis provided by the distributor

Video: 3.75/5

Madness comes on a 25 GB single layer Blu-ray.

Disc Size: 21.3 GB

Feature: 20.9 GB

This release does not provide any information about its source, but it is in good condition. Colors generally look good, image clarity is solid, black levels are strong, there are no issues with compression, and there does not appear to be any egregious digital noise reduction.

Audio: 4/5

This release comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. Though the audio is in good shape, range-wise it is limited. That said, dialog always comes through clearly enough to follow.

Extras:

Extras for this release include a theatrical trailer (3 minutes 42 seconds, Dolby Digital mono Italian with non-removable English subtitles), and an audio commentary with film historian Troy Howarth.

Summary:

Fernando Di Leo directed Madness. He’s a filmmaker who is most known for his work in the Poliziotteschi genre. His notable films include To Be Twenty, Slaughter Hotel, and Caliber 9. Madness's composer, Luis Bacalov, primarily created its score using music cues he previously wrote for other films, including Caliber 9.

An escaped criminal returns to the place where he hid the money he had stolen many years before.

Content-wise, Madness owes a lot to the film The Last House on the Left. Though it was not the first or the last film loosely inspired by The Last House on the Left, the end result is something that sets it apart from the rest of The Last House on the Left ‘clones’. Unlike The Last House on the Left, Madness has no characters that the viewer can sympathize with. From its opening moments Madness is a film that is dead set on bombarding its viewers with an onslaught of moments of degradation. That said, what sets Madness apart from other The Last House on the Left ‘clones’ is its amoral characters.

Madness is an ‘intimate’ affair; it has one primary location and four characters. It is a film that relies heavily on its performances. Anchoring the cast is Joe Dallesandro’s (Blood for Dracula) portrayal of an escaped prisoner. Though he is not the type of actor that is ever going to wow you with his performance, he is very good-looking and menacing on screen. The strongest performance is Lorraine De Selle House on the Edge of the Park in the role of Paola, a woman who’s having an affair with her sister's husband.

Another area where Madness delivers, and then some are its rough and ready visuals. Though the visuals never call attention to themselves, they perfectly complement the bleak story that unfolds. That said, despite the fact that there is never a shortage of violence, its sexual moments are where most of its shock and potency lie. Ultimately, Madness is a well-crafted slice of exploitation that exceeds the sum of its parts.

Kino Lorber gives Madness a good release that comes with a strong audio/video presentation and an informative audio commentary.

Written by Michael Den Boer

The Italian Connection: Limited Edition – Raro Video UK (Blu-ray)

Theatrical Release Date: Italy, 1972
Director: Fernando Di Leo
Writers: Fernando Di Leo, Augusto Finocchi, Ingo Hermes
Cast: Mario Adorf, Henry Silva, Woody Strode, Adolfo Celi, Luciana Paluzzi, Franco Fabrizi, Femi Benussi, Cyril Cusack, Sylva Koscina, Lara Wendel

Release Date: August 26th, 2024
Approximate Running Time: 95 Minutes 37 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: £14.99 (UK)

"the New York mob dispatch two hitmen (Henry Silva, The Boss and Woody Strode, Once Upon a Time in the West) to apprehend pimp Luca Canali (Mario Adorf, Milano Calibro 9), who they believe to have stolen a shipment of heroin. The local mob also join the hunt, but despite being outnumbered Luca refuses to go quietly and fights back against his pursuers, leading a thrilling series of chases and shootouts, and a trail of bloody destruction." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, “2020 4K restoration of the original negative".

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

Disc Size: 36.5 GB

Feature: 27.7 GB

This brand new restoration looks excellent; it's a massive upgrade over Raro’s 2012 Blu-ray release. That release was one of Raro’s worst-looking Blu-rays; this new organic-looking transfer will come as a revelation when compared to that release. Colors have never looked better; image clarity, black levels, and compression are solid.

Audio: 4.25/5 (LPCM Mono Italian), 3.75/5 (LPCM Mono English)

This release comes with two audio options, a LPCM mono mix in Italian and a LPCM mono mix in English. Though both audio tracks sound clear and balanced, the English-language track has some minor background hiss. Included are English subtitles for the Italian language track and English SDH subtitles for the English language track.

Extras:

Extras for this release include archival documentary The Roots of the Mafia  (20 minutes 36 seconds, LPCM stereo Italian with non-removable English subtitles), a video essay narrated by Howard S. Berger titled ...And a Tiny Bullet for a Tiny Kitten (47 minutes 2 seconds, LPCM stereo English, no subtitles), reversible cover art, and a 24-page booklet (limited to 3000 copies) with cast & crew information, an essay titled Transatlantic Traffic and The Italian Connection written by Austin Fisher.

Summary:

Directed by Fernando Di Leo, a filmmaker who is most known for his work in the Poliziotteschi genre. Notable films he directed are To Be Twenty, Slaughter Hotel, and Caliber 9. The Italian Connection (also known as Manhunt) is the 2nd film, which makes up a trilogy of films known as the Milieu Trilogy. The other two films are Caliber 9 (also known as Milano Caliber 9) and The Boss (also known as Wipeout!).

The narrative revolves around two American hitmen who go to Milan to teach a lesson to a small-time pimp who is accused of stealing heroin from the mafia.

You can always count on a sensational opening sequence when it comes to Fernando Di Leo crime films. Case in point: The Italian Connection’s pre-credit opening, which does an excellent job establishing tone and setting the foundation for the events that unfold. From there, the narrative does a superb job building momentum via a series of tension moments, which lead to a phenomenal finale.

Though The Italian Connection has all of the core elements that made Caliber 9 an extraordinary film, the result is a film that’s more stripped down than its predecessor. The narrative keeps things simple; it's a cast-and-mouse game between the two hitmen and an ever-resourceful pimp, whose survival instincts are superior to trained killers. And when he proves too difficult to pin down, those trying to kill him go after the people he cares about.

Casting wise, The Italian Connection is filled with recognizable films like Henry Silva (The Manchurian Candidate) and Woody Strode (Once Upon a Time in the West) in the roles of the two hitmen. And what makes their performances so damn enjoyable is how polar opposite their characters are. As amazing as their performances are, they still take a backseat to Mario Adorf’s (The Bird with the Crystal Plumage) portrayal of a pimp named Luca. Instead of portraying a by-the-numbers pimp, his character's connection with his daughter and wife humanizes him in a way that other similar characters are devoid of.

From a production standpoint, The Italian Connection is a film that delivers and then some. Its well-constructed narrative moves at a brisk momentum that ensures there is never a dull moment. When it comes to the action sequences, they are all top-notch, and despite there being a few violent sequences, most of these are brawls, then out and out bloodletting. Also, The Italian Connection sets itself apart from its contemporaries with the way it uses humor. Ultimately, The Italian Connection is another exemplary crime film from Fernando Di Leo.

Raro Video UK gives The Italian Connection its best home media release to date, highly recommended.

Written by Michael Den Boer

The Boss: Limited Edition – Raro Video UK (Blu-ray)

Theatrical Release Date: Italy, 1973
Director: Fernando Di Leo
Writers: Peter McCurtin, Fernando Di Leo
Cast: Henry Silva, Richard Conte, Gianni Garko, Antonia Santilli, Howard Ross, Pier Paolo Capponi

Release Date: April 29th, 2024
Approximate Running Times: 109 Minutes 16 Seconds (Italian Theatrical Version), 108 Minutes 21 Seconds (English Export Cut)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 18 (UK)
Sound: DTS-HD Mono Italian (Italian Theatrical Version), DTS-HD Mono English (English Export Cut)
Subtitles: English (Italian Theatrical Version), English SDH (English Export Cut)
Region Coding: Region Free
Retail Price: £14.99 (UK)

"In Di Leo’s The Boss, Henry Silva plays mob enforcer Nick Lanzetta, who assassinates key members of a rival gang in order to put his boss in a position to seize power. However, one surviving member of the gang, Cocchi (Pier Paolo Capponi, The Cat o' Nine Tails) plots his revenge involving corrupt cop Torri (Gianni Garko, If You Meet Sartana Pray For Your Death), leading to a bloody series of double-crosses and power plays to find who will ultimately become the boss." - synopsis provided by the distributor

Video: 4.5/5 (Both Versions)

Here’s the information provided about the transfer, “2020 4K restoration of the original negative".

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

Disc Size: 37.1 GB

Feature: 30.6 GB

This release uses seamless branching for the two versions. Despite Raro’s 2012 Blu-ray being MPEG-4 AVC instead of VC-1 like most of the earliest Blu-ray releases, That transfer looked awful; it was plagued by digital noise reduction. Fortunately, this new release corrects all of the issues present in their previous Blu-ray release. That said, this new transfer is a substantial upgrade that obliterates their 2012 Blu-ray release.

Audio: 4.25/5 (DTS-HD Mono Italian), 3.75/5 (DTS-HD Mono English)

The Italian theatrical version comes with one audio option, a DTS-HD mono mix in Italian with removable English subtitles. The English-language export cut comes with one audio option, a DTS-HD mono mix in English with removable English SDH. Both audio tracks sound clean, clear, and balanced. That said, the Italian language track is noticeably more robust than the English language track.

Extras:

Extras for this release include an image gallery (17 images - posters/lobby cards/German press book), a theatrical trailer (3 minutes 29 seconds, Dolby Digital mono Italian with removable English subtitles), an interview with Fernando Di Leo biographer Davide Pulici (35 minutes, Dolby Digital stereo Italian with removable English subtitles), an archival documentary titled Mafia Stories with actors Gianni Garko, Pier Paolo Capponi, producer Armando Novelli and director Fernando Di Leo (23 minutes 42 seconds, Dolby Digital stereo Italian with non-removable English subtitles), an audio commentary with film critic Rachael Nisbet, reversible cover art, and a 24-page booklet (limited to 3000 copies) with cast & crew information, an essay titled Eccellenza, baciamo le mani: Mafia and Politics in Fernando Di Leo’s Il Boss written by Dr. Giulio Olesen, and an archival interview with Fernando Di Leo.

Summary:

Directed by Fernando Di Leo, a filmmaker who is most known for his work in the Poliziotteschi genre. Notable films he directed are To Be Twenty, Slaughter Hotel, and Caliber 9. The Boss (AKA Wipeout!) is the third and final film, which makes up a trilogy of films known as the Milieu Trilogy. The other two films are Caliber 9 (also known as Milano Caliber 9) and The Italian Connection (also known as Manhunt).

The narrative revolves around Nick Lanzetta, a hitman caught in the middle of a Mafia war between the Sicilians and the Calabrians.

It is not surprising that Fernando Di Leo excelled in the Poliziotteschi genre. Very few filmmakers working in 1970s Italian cinema had the knack for creating tense and brutal action set pieces like Fernando Di Leo. Case in point: The Boss’ pre-credits opening, where Nick Lanzetta launches an assault that burns his targets to a crisp, making them unidentifiable. The hitman carrying out these killings displays ferocity intended to send a message.

Content-wise, all of the elements one would expect from a mafia film are on display throughout The Boss. At the heart of the narrative is a powerful struggle in which characters make and break alliances. And when you think that you know where things are going, along comes another double cross that shakes things up, culminating with an unforgettable finale that perfectly brings everything together.

Performance-wise, the cast is all excellent in their roles, especially Henry Silva’s (Almost Human) portrayal of Nick Lanzetta, a meticulous assassin all too willing to do anything the boss asks him to do. Despite his typecasting, he delivers one of his more memorable performances. Pier Paolo Capponi’s (Forbidden Photos of a Lady Above Suspicion) portrayal of Cocchi is the other notable performance. His character is driven by revenge; his brother was killed by Nick Lanzetta. That said, he delivers a performance that rivals the intensity of Henry Silva’s performance.

From a production standpoint, though, The Boss is the weakest of Fernando Di Leo’s Milieu Trilogy. It is still a great finale that embodies all of the elements that are synonymous with Fernando Di Leo’s best films. Ultimately, The Boss is an unflinching portrayal of the criminal underworld that fans of Poliziotteschi cinema are sure to enjoy.

Raro Video UK gives The Boss its best home media release to date, highly recommended.

Written by Michael Den Boer

Loaded Guns - Raro Video (Blu-ray)

Theatrical Release Date: Italy, 1975
Director: Fernando Di Leo
Writers: Fernando Di Leo, Enzo Dell'Aquila
Cast: Ursula Andress, Woody Strode, Marc Porel, Isabella Biagini, Lino Banfi, Aldo Giuffrè, Maurizio Arena, Rosario Borelli, Carla Brait, Renato Baldini, Raul Lovecchio

Release Date: January 30th, 2024
Approximate Running Time: 96 minutes 23 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: $29.95

"Ursula Andress plays Nora, a stewardess who finds herself in the center of a gang war in Naples. If anyone can undermine an ancient mob blood feud and come out on top, it’s the effortlessly clever, sexy and downright devious Nora, played with verve by the stunning Ursula Andress." - synopsis provided by the distributor

Video: 2.5/5

Loaded Guns comes on a 25 GB single layer Blu-ray.

Disc Size: 23.2 GB

Feature: 22.1 GB

No information is provided about this transfer’s source. Raro Video delivers another disappointing transfer. Image clarity is serviceable, colors lack consistency, black levels are not convincing, and there is noticeable digital noise reduction.

Audio: 4/5 (DTS-HD Mono Italian), 0/5 (DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. The Italian language track is more robust than the English language track. This track is in very good shape; the dialog comes through clearly, and everything sounds balanced. Though dialog comes through clearly enough to follow, the English language track is limited range-wise. Also, there are numerous moments when watching the English-language track where the dialog is spoken in Italian. Unfortunately, the English SDH subtitle track does not translate dialogue spoken in Italian. The lack of a proper translation makes the English-language track worthless. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track.

Extras:

Extras for this release include an archival featurette titled Fernando Di Leo: Parody of a Genre with comments by producer Armando Novelli, assistant director Luca Damiano, editor Amedeo Giomini, director Fernando Di Leo, and journalist Davide Pulici (19 minutes 53 seconds, Dolby Digital stereo Italian with non-removable English subtitles) and an audio commentary with film historian Rachael Nisbet.

Summary:

Fernando Di Leo directed Loaded Guns. He is a filmmaker who is most remembered for his contributions to Poliziotteschi cinema. His most notable films include Naked Violence, Milano calibro 9, and To Be Twenty.

The narrative revolves around a stewardess who finds herself in the middle of a gang war.

Fernando Di Leo would venture away from gritty crime films, which he is most known for; unfortunately, these films pale in comparison to his most celebrated films. Case in point: Loaded Guns, an action/comedy hybrid that is virtually devoid of the flourishes that are synonymous with Fernando Di Leo’s Poliziotteschi’s.

Loaded Guns, from the outset, is a film that doesn't warrant serious consideration. Its jaunty score perfectly reinforces the outlandish moments that unfold. Where Italian crime films are known for their in-your-face depiction of violence, Loaded Guns takes the opposite approach with its cartoonish violence.

The cast is filled with recognizable faces from 1970s Eurocult cinema. That said, despite the performances being serviceable, Ursula Andress (The 10th Victim) in the role of stewardess delivers one of the stronger performances.

Despite the stewardess character being constantly on the move. There are moments where things drag, causing some serious pacing issues, and nowhere is this clearer than how the narrative never builds any momentum. Also, outside of a few moments in the last 30 minutes, the bulk of Loaded Guns bears little resemblance to what one expects from a Fernando Di Leo film. Ultimately, Loaded Guns is a rare misfire from Fernando Di Leo.

Loaded Guns is yet another disappointing audio/video presentation from Raro Video.

Written by Michael Den Boer