Eurocrime Rarities: Volume 1 – Vinegar Syndrome Labs (Blu-ray)

Theatrical Release Dates: Italy, 1980 (The Day of the Cobra), Italy, 1977 (The Rascal's Gang), Italy, 1978 (The Iron Commissioner)
Directors: Enzo G. Castellari (The Day of the Cobra), Stelvio Massi (The Rascal's Gang, The Iron Commissioner)
Cast: Franco Nero, Sybil Danning, Mario Maranzana, Licinia Lentini, Ennio Girolami, Mickey Knox, Massimo Vanni, Romano Puppo, William Berger (The Day of the Cobra), Luc Merenda, Katia Christine, Corrado Solari, Franco Citti, Tomas Milian, Mario Brega, Massimo Vanni, Salvatore Billa (The Rascal's Gang), Maurizio Merli, Janet Agren, Ettore Manni, Chris Avram, Mariangela Giordano, Franco Garofalo, Enzo Fiermonte, Elisa Mainardi (The Iron Commissioner)

Release Date: April 21st, 2026
Approximate Running Times: 95 Minutes 7 Seconds (The Day of the Cobra), 99 Minutes 55 Seconds (The Rascal's Gang), 83 Minutes 3 Seconds (The Iron Commissioner)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Day of the Cobra), 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Rascal's Gang), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Iron Commissioner)
Rating: NR
Sound: DTS-HD Mono Italian (All Films), DTS-HD Mono English (The Day of the Cobra, The Rascal's Gang)
Subtitles: English (All Films), English SDH (The Day of the Cobra, The Rascal's Gang)
Region Coding: Region Free
Retail Price: $59.98

The Day of the Cobra: "Larry Stanziani is a bottom-of-the-barrel private eye in San Francisco, quietly scraping by to make ends meet. But in a former life, Stanziani (Franco Nero) was The Cobra, one of the most capable and deadly secret agents the world had ever seen. Called back into action in Italy after a narcotics agent is killed, Larry uncovers a syndicate that'll attempt every dirty trick in the book to finish him off. But they don't know that The Cobra always stays one step ahead of any double-cross ever invented." - synopsis provided by the distributor

The Rascal's Gang: "Naples is being crippled by crime, and now an important police leader has been assassinated. The grizzled Commissario Ghini (Luc Merenda) is tough enough to tackle the crime wave and is the only one to fill his shoes. Meanwhile, Monnezza (Tomas Milian) has his hands full, too: he's running his cheeky trattoria while also teaching a new batch of hapless schemers at his low-rent school for thieves." - synopsis provided by the distributor 

The Iron Commissioner: "Commissario Mariani (Maurizio Merli) has been taking down crooks for years, and these days the weight of it shows. He's divorced, his son thinks of him more as a friend than a father, his superiors are critical of him, and even the children of people he put away are coming after him. But he's not the Iron Commissioner for nothing, and however seasoned, he's not afraid to knock around a few hoods to get the job done. When a kidnapping occurs too close to home, Mariani doesn't hesitate to spring into action." - synopsis provided by the distributor

Video: 3.75/5 ((The Day of the Cobra, The Rascal's Gang, The Iron Commissioner)

Here’s the information given about the transfers, “Newly scanned and restored in 2K from its 35mm original negative."

The Day of the Cobra comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.2 GB

Feature: 27.6 GB

The Rascal's Gang comes on a 50 GB dual layer Blu-ray.

Disc Size: 36 GB

Feature: 29 GB

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

Disc Size: 29.9 GB

Feature: 22.7 GB

Although all of the films have some source damage, fortunately it is never overbearing. Flesh tones look healthy, colors generally look good, image clarity and black levels are strong, there are no issues with compression, and they all retain an organic look.

Audio: 4/5 (DTS-HD Mono Italian All Films), 3.75/5 (DTS-HD Mono English - The Rascal's Gang), 3.5/5 (DTS-HD Mono English - The Day of the Cobra)

The Day of the Cobra and The Rascal's Gang each come with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. All of the tracks sound clear, and balanced and ambient sounds are well-represented. That said, The Day of the Cobra’s Italian language track sounds more robust than its English language counterpart. All films come with removable English subtitles for their Italian language tracks, removable English SDH for their English language tracks, removable English subtitles for text in Italian when watching with the English language track, and removable English subtitles for a handful of moments in The Rascal's Gang that were never dubbed into English.

Extras:

Extras for The Day of the Cobra include reversible cover art, an interview with actor/stuntman Massimo Vanni titled Henchman with a Heart of Gold (21 minutes 57 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with director/writer Enzo G. Castellari titled Henchman with a Heart of Gold (24 minutes 16 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with film historians Eugenio Ercolani, Troy Howarth, and Nathaniel Thompson.

Extras for The Rascal's Gang include reversible cover art, an interview with actor Corrado Solari titled A Beautiful Ugly Face (23 minutes 50 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Luc Merenda titled The Nonviolent Professional (22 minutes 1 second, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Eugenio Ercolani and Troy Howarth.

Extras for The Iron Commissioner include reversible cover art, an interview with assistant director Danilo Massi titled The Purest Form of Poliziesco (20 minutes 9 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with cinematographer Sergio Rubini titled Free Hand for a Tough DOP (23 minutes 36 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Eugenio Ercolani and Nanni Cobretti.

Other extras include reversible cover art, a spot gloss hard slipcase + slipcover combo (limited to 4,000 units), and a 40-page perfect-bound book (limited to 4,000 units) with an essay titled Metallic K.O. Down on the Mean Streets with The Iron Commissioner written by James Oliver, an essay titled Warrior Queen: The European Adventures of Sybil Danning written by Adrian Smith, and Trash Cans and Cops: Analyzing Stelvio Massi’s Dirty Gang and Tomas Milian’s Career written by Francesco Massaccisi.

Summary:

The Day of the Cobra: Enzo G. Castellari directed The Day of the Cobra. He’s a filmmaker who worked in just about every genre that was popular in the 1960s, 1970s, and 1980s. Notable films that he directed are Cold Eyes of Fear, High Crime, Street Law, and The Big Racket.

A barely getting-by private eye who used to be a narcotics officer is hired by his former employer to recover a black book that can bring down a drug syndicate.

The pairing Enzo G. Castellari (Cold Eyes of Fear) with Franco Nero (Django) was the most significant of Castellari’s career. Although Enzo G. Castellari had directed 10 films before working with Franco Nero on High Crime, most of these films were spaghetti westerns, as the popularity of that genre was already waning. The one-two punch of High Crime and Street Law elevated Enzo G. Castellari’s stature, making him one of the best directors making action cinema in the 1970s.

Out of their three crime film collaborations, The Day of the Cobra is an odd film that at times leans too much into its quirkiness. Where High Crime and Street Law were brutal in-your-face action films with messages, The Day of the Cobra revolves around a third-rate private eye who looks like a disheveled version of Raymond Chandler’s iconic character Phillip Marlowe. That said, while there are elements in The Day of the Cobra that are associated with eurocrime cinema, it's a film that actually owes more to film noir cinema.

The entire cast give solid performances in which they fully embrace their characters, especially Franco Nero in the role of a private eye named Larry Stanziani. While Franco Nero has delved into the role that allowed him to showcase his comedic side, Larry Stanziani is arguably one of the most absurd characters he ever portrayed. The rest of the cast is rounded out with recognizable faces of 1970s Eurocult cinema: Sybil Danning (The Red Queen Kills Seven Times), William Berger (Face to Face), and Ennio Girolami, Enzo G. Castellari’s brother, most known for Nights of Cabiria.

Whenever Enzo G. Castellari collaborates with Franco Nero, viewers can expect an exhilarating and high-octane thrill ride. In the realm of Castellari's cinema, memorable action sequences and exceptional stunt work are always a hallmark. Although The Day of the Cobra lacks the car chase, one of Eurocrime's central motifs, it does feature a lengthy foot chase that ends with a character exploding. One of the more memorable action moments is a scene where Larry Stanziani is attacked by a woman who turns out to be a man in drag. Ultimately, The Day of the Cobra is a film whose positives make its shortcomings easy to overlook.

The Rascal's Gang: Stelvio Massi directed The Rascal's Gang. He’s most known for his work within the poliziotteschi genre. Notable films that he directed are Emergency Squad, Cross Shot, The Last Round, Highway Racer, and Convoy Busters.

A fearless cop who takes risks and bends the rules will do whatever it takes to avenge the death of his partner.

The Rascal's Gang brings together three notable figures of 1970s poliziotteschi cinema, director Stelvio Massi (Emergency Squad), and actors Luc Merenda (The Violent Professionals) and Tomas Milian (Almost Human). In the case of Tomas Milian, he would portray a petty thief named Monnezza, aka Trash Can, a character that allowed him to explore his more comedic side instead of the usual cold-blooded killer types he portrayed. Poliziotteschi, like most Italian genres, began as films that showed a stark, brutal reality before evolving into a parody with humor becoming a focal point later on. The Rascal's Gang is a solid example of a poliziotteschi that balances the brutal and humorous aspects of the genre.

The Rascal's Gang quickly grabs your attention with an exemplary pre-credits opening sequence that introduces Luc Merenda’s commissioner Ghini, a no-nonsense police inspector who does whatever is needed to bring the bad guys to justice. While the district attorney readily complies with the hostage takers' demands, Ghini and his team meticulously plan an elaborate rescue, entering a top-floor apartment from all angles. This action set piece is indicative of Stelvio Massi’s craftsmanship as a filmmaker of action films; few of his contemporaries rivaled him in this area.

When it comes to the performances, the entire cast gives their all, but it is the two leads who leave the strongest impression, especially Tomas Milian’s portrayal of Monnezza. What makes his performance so special is his ability to improvise and elevate everyone around him. His performance is further enhanced by his ridiculous haircut and accent. Luc Merenda’s portrayal of Ghini deserves recognition; he is an actor who is ideally suited, both physically and in demeanor, to embody the hard-nosed cops that characterized the 1970s poliziotteschi genre.

While The Rascal's Gang checks all of the boxes when it comes to action-related elements one expects from a poliziotteschi, it actually shines the brightest when it comes to its comedic moments. Some of the funniest moments include the scene that introduces Monnezza at his restaurant, where the unique atmosphere is created by cursing at customers. Additionally, there is a scene where criminals create obstacles for a couple trying to make love. There is also a running gag with a bald member of Monnezza’s gang in which everyone calls him Yul Brynner. Ultimately, The Rascal's Gang is a highly entertaining blend of action and humor, making it a film that fans of poliziotteschi cinema should thoroughly enjoy.

The Iron Commissioner: When one discusses Poliziotteschi cinema two names that instantly spring to mind are Stelvio Massi and Maurizio Merli. In all they would collaborate on six Poliziotteschi films, Poliziotto sprint (Highway Racer), Magnum Cop, Convoy Busters, The Iron Commissioner, Sbirro, la tua legge è lenta… la mia… no! (Cop, your law is slow … mine … no!) and The Rebel. Unfortunately each new collaboration faced the thing that plagued so many Italian genre films, minuscule budgets that go more anemic as the 1970’s drew to a close.

This brings us to The Iron Commissioner, a film that followed what’s arguably Stelvio Massi and Maurizio Merli’s best collaboration Convoy Busters. Content wise, though The Iron Commissioner has all the elements that have become synonymous Poliziotteschi cinema. It becomes immediately clear that The Iron Commissioner is a lean film that’s put together on a shoestring budget. And nowhere is the clearer, then when it comes to The Iron Commissioner’s streamlined narrative which serves as not much more than a means for Maurizio Merli to flex his muscles.

The Iron Commissioner’s plot revolves around Mauro Mariani, a no-nonsense police commissioner who shoots first and asks questions later. Though he’s a cop who’s modus operandi straddles the line of what’s lawful and what’s criminal. His methods get results and because of this his superiors give him latitude. Over the years, he’s put a lot of bad guys away, which leads to his son becoming the target of someone who feels Mariani wronged him.

Performance wise Maurizio Merli (The Tough Ones, Violent Naples) dominates the screen. He delivers another take no prisoners performance that’s inline with his other Poliziotteschi films. That said, though he’s character is all about taking down bad guys. The character he portrays in The Iron Commissioner gives him an opportunity to show his softer side. Other notable cast members include, Janet Agren (Eaten Alive!, City of the Living Dead) in the role of Mauro Mariani’s ex-wife, Mariangela Giordano (Malabimba, Burial Ground: The Nights of Terror) and Franco Garofalo (Hell of the Living Dead, The Other Hell) in the roles of kidnappers.

Stelvio Massi is a master craftsman whose ability to deliver high-octane action set pieces on anemic budgets is second to none. Though The Iron Commissioner does not have the obligatory car chase scene. This is quickly forgiven after one witnesses the slow motion abduction opening sequence that sets the tone for the rest of the film. Ultimately, despite its shortcomings, what lies within is a film that fans of Poliziotteschi cinema should thoroughly enjoy.

Vinegar Syndrome Labs Eurocrime Rarities: Volume 1 brings together three Italian crime films, gives them strong audio/video presentations and informative extras. Recommended.

 

Written by Michael Den Boer

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

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

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

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

Video: 5/5

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

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

Disc Size: 46.1 GB

Feature: 30.2 GB

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

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

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

Extras:

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

Summary:

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

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

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

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

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

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

Written by Michael Den Boer

Challenge of the White Fang – Colosseo Film (Blu-ray)

Theatrical Release Date: Italy/West Germany/France, 1974
Director: Lucio Fulci
Writers: Lucio Fulci, Roberto Gianviti, Alberto Silvestri
Cast: Franco Nero, Virna Lisi, John Steiner, Raimund Harmstorf, Yanti Somer, Harry Carey Jr., Renato Cestiè, Werner Pochath, Hannelore Elsner, Renato De Carmine, John Bartha

Release Date: April 3rd, 2020
Approximate Running Time: 98 Minutes 13 seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono English, DTS-HD Mono Italian, DTS-HD Mono German
Subtitles: German, Italian
Region Coding: Region Free
Retail Price: 12,61 EUR

"Writer Jason Scott (Franco Nero) has great success with his adventure novel "Wolfsblut" and is celebrated by the fine society of San Francisco. But life and struggle for survival at the Klondike is missing him, and he longs for new adventures. Dawson City is now abandoned, but a new gold digger town has emerged miles further. There, Sister Evangelina (Virna Lisi) operates a hospital ward and meets an old and deadly enemy: Beauty Smith (John Steiner). But he claims to be another, and the local police chief confirms this.

Jason Scott and his friend Kurt Janson (Raimund Harmstorf) come to the aid of Sister Evangelina and are looking to finally transfer Beauty Smith. And they meet an old friend: the dog Wolfsblut, who has now become friends with the boy Bill (Renato Cestiè). But ultimately, the Klondike is all about gold, and a murderous sleigh race will decide who luck and wealth waves to and who the cold death awaits in the inhospitable snowy landscape." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, “Uncut version in new 4k transfer.”

Challenge of the White Fang comes on a 25 GB single layer Blu-ray.

Disc Size: 22.5 GB

Feature: 21.1 GB

The source looks excellent; fleshy tones and colors look correct, image clarity is solid, black levels are strong, and there are no issues with compression or digital noise reduction.

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

This release comes with three audio options, a DTS-HD mono mix in English, a DTS-HD mono mix in Italian, and a DTS-HD mono mix in German. Since there are no English subtitles for the entire Italian language track, for this review I only focused on the English language track. The track sounds clear and balanced, with well-presented ambient sounds. When watching the English-language track, there is a brief dialogue exchange in Italian with English subtitles. Included with this release are removable German and Italian subtitles.

Extras:

Extras for this release include an image gallery with music from the film playing in the background (36 images—posters/stills), a Italian theatrical trailer (3 minutes 38 seconds, Dolby Digital mono Italian, no subtitles), an English-language theatrical trailer (3 minutes 37 seconds, Dolby Digital mono English, no subtitles), an interview with actor Franco Nero (19 minutes 7 seconds, Dolby Digital stereo Italian with German voiceover narration), reversible cover art without the ratings logo, a slipcase, and a 16-page booklet with an essay in German titled Goldrausch im Kino “Gold rush in the cinema” written by Gerald Kuklinski.

Summary:

Challenge of the White Fang was directed by Lucio Fulci, a versatile filmmaker who left his mark in every genre. Notable films directed by Lucio Fulci include Beatrice Cenci, A Lizard in a Woman’s Skin, Don’t Torture a Duckling, Zombie, City of the Living Dead, The Beyond, The House by the Cemetery, and The New York Ripper. A year before Challenge of the White Fang, Lucio Fulci directed White Fang, and the latter film is a loose adaptation of Jack London’s novel White Fang.

Author Jason Scott goes back to the Yukon looking for inspiration for his next book. Shortly after his arrival, he uncovers corruption connected to the gold mines.

Challenge of the White Fang picks up where its predecessor, White Fang, left off. In many ways, Challenge of the White Fang feels like a recycled version of its predecessor. And nowhere is this clearer than in Challenge of the White Fang, which carries over most of the characters, most notably White Fang’s villain, Beauty Smith. That said, despite these overlapping similarities, Challenge of the White Fang ultimately succeeds because of its flourishes that are undeniably Lucio Fulci.

Although Challenge of the White Fang seems like a film intended for a younger audience, its opening sequence reveals a much darker narrative than one typically associates with children's films. The setup focuses on the violent slaughter of three Indigenous people, including a child.

Content-wise, Challenge of the White Fang is best described as an adventure film. Also, there are many elements in Challenge of the White Fang that can be traced back to the spaghetti Western genre. There’s a ruthless businessman who has a corrupt lawman in his pocket.

When it comes to the performances, the cast all deliver, especially the ever-so-reliable Franco Nero (Django) in the role of an author named Jason Scott. Besides Franco Nero reprising his role from White Fang, other returning cast members are John Steiner (Tenebrae) in the role of a cold-blooded portrayal of Beauty Smith and Virna Lisi (The Possessed) in the role of Sister Evangelina. Another performance of note is Renato Cestiè in the role of Bill Tarwater, a little boy who befriends White Fang.

Visually, Challenge of the White Fang does not disappoint; it takes full advantage of the snow-covered landscapes. Standout visual moments include a barroom brawl sequence with slapstick elements and a scene in which a man, freezing to death, desperately tries to get the attention of a passerby. The finale features a dog sledding race that will determine the owner of the gold mine.

From a production standpoint, Challenge of the White Fang operates like a well-oiled machine, running smoothly on all cylinders. The narrative is well-crafted and effectively builds tension; key moments are allowed sufficient time to resonate, and the solid production design gives this period-set film a polished appearance. Ultimately viewers of all ages can enjoy Challenge of the White Fang, a solid adventure film.

Challenge of the White Fang gets a strong audio/video presentation from Colosseo Film. Recommended.

Written by Michael Den Boer

Hitch-Hike – Indicator Series (4k UHD)

Theatrical Release Date: Italy, 1977
Director: Pasquale Festa Campanile
Writers: Aldo Crudo, Aldo Crudo, Pasquale Festa Campanile
Cast: Franco Nero, Corinne Cléry, David Hess, Joshua Sinclair, Carlo Puri

Release Date: November 17th, 2025
Approximate Running Time: 104 Minutes 34 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 18 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: £24.99

"En route to Los Angeles, Walter (Nero) and Eve (Cléry) pick up a hitchhiker, Konitz (Hess). However, it soon emerges that Konitz is an escaped psychopath, who forces the couple to head to Mexico, leaving a trail of corpses in their wake..." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “Hitch-Hike was scanned in 4K at Augustus Color in Rome using the original 35mm negative. 4K HDR color correction and restoration work was undertaken at Filmfinity, London, where Phoenix and Diamant image-processing tools were used to remove many thousand instances of dirt, eliminate scratches and other perfections, as well as repair damaged frames. No grain management, edge enhancement or sharpening tools were employed to artificially alter the image in any way.“

Hitch-Hike comes on a 100 GB triple layer 4K UHD.

Disc Size: 91.9 GB

Feature: 72 GB 

Hitch-Hike is another in a long line of inferior releases by Raro Video, and this new restoration is a massive upgrade that is vastly superior in every way. Image clarity, depth, contrast, black levels, and compression are solid. Flesh tones look healthy, colors are nicely saturated and at times vivid, and grain remains intact; the image always looks organic. This release uses seamless branching for the two versions: Hitch-Hike, the English-language version, and Autostop rosso sangue, the Italian-language version.

Audio: 5/5 (Both Audio Tracks)

This release comes with two audio options, a LPCM mono mix in Italian and a LPCM mono mix in English. Both audio tracks are in excellent shape, and once again they are a marked improvement over all of this film’s previous home media releases. Dialogue always comes through clearly; everything sounds balanced and robust when it should. 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 image gallery (86 images - stills/Japanese press book/advertisements/LP art, home video art/posters), an Italian theatrical trailer (2 minutes 56 seconds, LPCM mono Italian with removable English subtitles), an international theatrical trailer #1 (2 minutes 54 seconds, LPCM mono English, no subtitles), an international theatrical trailer #2 (2 minutes 54 seconds, LPCM mono English, no subtitles), UK theatrical trailer (2 minutes 54 seconds, LPCM mono English, no subtitles), an archival making-of documentary, featuring interviews with Franco Nero, Corinne Cléry and David Hess titled The Devil Thumbs a Ride (17 minutes 38 seconds, Dolby Digital stereo English and Italian with removable English subtitles), an in-depth documentary by Eugenio Ercolani exploring the sub-genre of Italian rape and revenge films titled The Coldest of Dishes (60 minutes 37 seconds, Dolby Digital stereo English and Italian with removable English subtitles), an appreciation by Eugenio Ercolani contextualising Hitch-Hike within director Pasquale Festa Campanile’s wider career titled The Novelist’s Revenge (28 minutes 11 seconds, LPCM stereo English, no subtitles), an interview with assistant director Neri Parenti titled Adventures in Abruzzo (25 minutes 3 seconds, Dolby Digital stereo Italian with removable English subtitles), a newly updated documentary titled Road to Ruini, directed by filmmaker Federico Caddeo delving into the production, release, and reception of Hitch-Hike, featuring extensive interviews with Franco Nero, Corinne Cléry and David Hess, and Neri Parenti, an audio commentary with Eugenio Ercolani and Marcus Stiglegger,and and an 80-page book with cast & crew information, an essay titled Masculinity in Crisis written by Mikel J Koven, an essay titled Between Cinema and Literature: A Portrait of Pasquale Festa Campanile written by Alessandro Ticozzi, an archival interview titled Ottavio Jemma on Pasquale Festa Campanile conducted by Andrea Pergolari, an archival interview titled Franco Nero on Hitch-Hike conducted by Xavier Mendik, an archival interview titled David Hess on Hitch-Hike conducted by the horror website The Terror Trap, an archival interview titled Meeting on the Set in Venice with Corinne Cléry conducted by Piero Zanotto, an archival interview with Ennio Morricone conducted by Hubert Niogret, and information about the transfer.

Summary:

Pasquale Festa Campanile directed Hitch-Hike. He is also known for directing other films, such as The Slave and The Libertine. He also worked extensively as a screenwriter, and some of his notable screenwriting credits include The Assassin and The Leopard.

A psychopath hitchhiker terrorizes a couple who are always fighting and forces them to work together.

What begins as a melodrama about a marriage slowly disintegrating transforms into a road trip to hell when a third character, a hitchhiker, is introduced. Although the addition of a third wheel often proves disruptive, this is not the case here. This is not the case here, as the hitchhiker character did not discriminate when he dished out his hostility. If anything, his appearance forces the couple to put their differences aside and, for now, join forces until they can break away from the man who now holds their lives in his hands.

The narrative is straightforward as it follows the troubled couple on their aforementioned road trip. In regard to building tension, Hitch-Hike does a superb job by letting each moment of conflict have just the right amount of time to resonate before moving on to the next moment of conflict. When it comes to the three main characters, they’re well defined and their motivations are clear.

Hitch-Hike’s greatest asset is undoubtedly the extraordinary performances delivered by its three leads. Up first is Franco Nero in the role of an alcoholic journalist named Walter Mancini. Corinne Cléry, known for her role in The Story of O, portrays Eve Mancini. Completing this trio is David Hess, recognized for his performance in The Last House on the Left, who plays the role of Adam Konitz, a psychotic bank robber.

Although a large portion of Hitch-Hike takes place in claustrophobic environments, such as inside a car, this does not mean that the film is lacking in visual appeal. In fact, the opposite is true; Hitch-Hike remarkably exploits its surroundings to create a powerful visual experience. Visually, Hitch-Hike's most memorable moment is the scene where the hitchhiker rapes the wife and makes her husband watch. Another strength of Hitch-Hike is the way the score reinforces the mood of the film. Ultimately, Hitch-Hike is a perfect example of Italian cinema turning nothing into something that far exceeds its meager resources.

This is an outstanding release, and, more importantly, it is region-free. That said, there is no reason for anyone to wait for or purchase Raro Video’s Blu-ray release. Hitch-Hike receives a definitive release from Powerhouse Films and comes 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.

Note: Limited edition of 5,000 individually numbered units (4,000 4K UHDs and 1,000 Blu-rays) for the UK.

Written by Michael Den Boer