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

Theatrical Release Date: Italy/Spain/Turkey, 1966
Director: Umberto Lenzi
Writer: Umberto Lenzi
Cast: Glenn Saxson, Helga Liné, Andrea Bosic, Ivano Staccioli, Esmeralda Ruspoli, Maria Luisa Rispoli, Mary Arden

Release Date: September 22nd, 2026
Approximate Running Time: 99 Minutes 26 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English
Region Coding: Region Free
Retail Price: $49.95

"Kriminal is the king of thieves, the mastermind behind some of the greatest heists ever committed. Always one step ahead of the law, he works alone. He is cunning, and if you get in his way, he can be deadly." - synopsis provided by the distributor

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

Here’s the information provided about the transfer, "4K Transfer (from the original negative) & Restoration + HDR."

Kriminal comes on a 66 GB dual layer 4K UHD

Disc Size: 58.2 GB

Feature: 56.7 GB

This transfer looks excellent; flesh tones look healthy; colors are vibrant; image clarity, black levels, and compression are solid, and the image retains an organic appearance.

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

Disc Size: 45.8 GB

Feature: 27.6 GB

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

Audio: 5/5

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. Both tracks sound clean, clear, and balanced, and ambient sounds are well represented. That said, both tracks are comparable. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track. It should be noted that when watching the English-language track, some dialogue is in Italian and removable English subtitles are provided for these moments.

Extras:

Extras on the 4K UHD disc include a theatrical trailer (3 minutes 38 seconds, LPCM mono Italian with removable English subtitles) and an audio commentary with Eugenio Ercolani and Troy Howarth.

Extras on the Blu-ray disc include a promotional image gallery (26 images—posters/lobby cards), a theatrical trailer (3 minutes 38 seconds, LPCM mono Italian with removable English subtitles), original Italian opening and closing credits (2 minutes 55 seconds, LPCM mono Italian, no subtitles), an isolated score (29 tracks—50 minutes 58 seconds, LPCM mono), an interview with filmmaker Pierpaolo De Sanctis titled The Sound of Krime (24 minutes 48 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Glenn Saxson titled Camera Nostalgia (37 minutes 34 seconds, Dolby Digital stereo Dutch with non-removable English subtitles), a documentary titled Armed to the Teeth: The Cinema of Umberto Lenzi (88 minutes 40 seconds, Dolby Digital stereo English and Italian with non-removable English subtitles), and an audio commentary with Eugenio Ercolani and Troy Howarth.

Other extras on the Blu-ray disc include trailers for The Key, P.O. Box Tinto Brass, Don’t Play With Fire, and The Girl Who Leapt Through Time.

Other extras include reversible cover art with the original Italian poster art and a slipcase (limited to the first pressing).

Summary:

Umberto Lenzi directed Kriminal. He's most known for his contributions to the Poliziotteschi and Giallo genres. His notable films are Orgasmo, So Sweet So Perverse, A Quiet Place to Kill, Seven Blood-Stained Orchids, Almost Human, Spasmo, The Tough Ones, Violent Naples, and Cannibal Ferox.

A mastermind thief known as Kriminal narrowly escapes execution. He always manages to stay one step ahead of the law with each new crime he commits. Will Kriminal be able to pull off his biggest score yet or will a double cross lead to his demise?

The origins of the Kriminal character can be traced back to the 1964 fumetti (comic book) created by Roberto Raviola and Luciano Secchi under the pseudonyms Magnus and Max Bunker. Kriminal is a mastermind thief who effortlessly seduces women and when in danger, he is not above killing anyone who gets in his way. Kriminal (1966) is the first of two films. It was followed two years later by Il marchio di Kriminal (1968).

Despite not being held in as high regard as Dario Argento, Lucio Fulci, and Mario Bava, something that can be said about Umberto Lenzi’s films from the 1960s and 1970s is that there’s a consistent quality to them. Where most of Umberto Lenzi’s contemporaries found success in a specific genre, he was a filmmaker who worked and excelled in a multitude of genres. That said, because of his ability to work quickly and cheaply, he's labeled a workman-like filmmaker, while there is a strong case to be made that he's an auteur.

The narrative opens with a dramatic scene where the protagonist, Kriminal, is about to be executed and when the nooses around his neck break as the power goes out, he manages to escape. The opening setup does a phenomenal job laying out who Kirminal is and what he’s capable of. From there, a perfectly paced cat-and-mouse game between Criminal and the police, led by Inspector Milton, unfolds.

The narrative has several well-executed twists; the most notable one revolves around twin sisters being used as diamond couriers to help confuse any prospective thief about knowing which one had the diamonds. No one can be trusted, as greed is the main thing driving each character, and they are all willing to double-cross each other to gain the upper hand. It is also cool how Kriminal is able to adapt to his surroundings and escape anywhere even when he is trapped.

Glenn Saxson (Django Shoots First) is cast in the role of Kriminal. He has the look and the physical prowess as he convincingly pulls off portraying a mastermind thief. His performances shine brightest during more action-oriented scenes. Other performances of note are Helga Liné’s (Horror Rises from the Tomb) portrayal of twin sisters and Esmeralda Ruspoli's (L'Avventura) portrayal of Lady Gold, a nefarious character who tries to outsmart Kriminal. A cast member of note is Mary Arden (Blood and Black Lace), who appears briefly, but her character plays a significant role in the finale.

Kriminal is a stylish film that immediately grabs you with its comic book opening credits. Kriminal is a beautifully photographed film with eye-popping colors and its use of a 2.35:1 frame delivers some striking imagery. Its jazz-infused score was composed by Romano Mussolini, son of former Italian dictator Benito Mussolini under the pseudonym Raymond Full.

Kriminal was one of the first film adaptations of a Fumetti neri; it was made two years before Danger: Diabolik, what is widely regarded as the best Fumetti neri film. While there would be a sequel, Il marchio di Kriminal, both of these films take on a much darker tone than Danger: Diabolik. Ultimately, Kriminal is a highly entertaining film that never strays too far away from its fumetti origins.

Kriminal gets an excellent release from Cult Epics that comes with a solid audio/video presentation and informative extras. Highly recommended.

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

Written by Michael Den Boer

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

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

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

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

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

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

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

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

Disc Size: 86.4 GB

Feature: 74.2 GB

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

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

Disc Size: 43.2 GB

Feature: 31.2 GB

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

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

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

Extras:

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

The extras are the same on both discs.

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

Summary:

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

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

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

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

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

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

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

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

Danza Macabra Volume Four: The Italian Gothic Collection - Severin Films (UHD/Blu-ray/CD Combo)

Theatrical Release Dates: Italy, 1965 (Terror-Creatures from the Grave), Italy, 1971 (Night of the Damned), Italy, 1973 (The Devil's Wedding Night, Baba Yaga)
Directors: Massimo Pupillo (Terror-Creatures from the Grave), Filippo Walter Ratti (Night of the Damned), Luigi Batzella (The Devil's Wedding Night), Joe D'Amato (The Devil's Wedding Night), Corrado Farina (Baba Yaga)
Cast: Walter Brandi, Mirella Maravidi, Barbara Steele, Alfredo Rizzo, Riccardo Garrone, Luciano Pigozzi, Tilde Till, Ennio Balbo (Terror-Creatures from the Grave), Pierre Brice, Patrizia Viotti, Angela De Leo, Mario Carra (Night of the Damned), Mark Damon, Rosalba Neri, Esmeralda Barros, Francesca Romana Davila, Ciro Papa (The Devil's Wedding Night), Carroll Baker, Isabelle De Funès, George Eastman, Ely Galleani, Daniela Balzaretti, Mario Mattia Giorgetti, Sergio Masieri, Angela Covello (Baba Yaga)

Release Date: September 30th, 2025
Approximate Running Times: 90 Minutes 16 Seconds (Terror-Creatures from the Grave - Italian Version), 83 Minutes 55 Seconds (Terror-Creatures from the Grave - U.S. Version), 100 Minutes 16 Seconds (Night of the Damned), 84 Minutes 2 Seconds (The Devil's Wedding Night), 82 Minutes 25 Seconds (Baba Yaga)
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 (All Films)
Rating: NR
Sound: DTS-HD Mono Italian (All Films), DTS-HD Mono English (All Films)
Subtitles: English (All Films), English SDH (All Films)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $179.95

Terror-Creatures from the Grave: "Deep within the cursed villa of a dead spiritualist, the legacy of the Black Plague will unleash a torrent of madness, murder and the vengeance of the undead.” – Synopsis provided by the Distributor

Night of the Damned: "When a mystery-solving journalist (Pierre Brice of Mill of the Stone Women) and his wife (Patrizia Viotti of Amuck!) are summoned to the creepy castle of a dying friend, they’ll find themselves trapped in a nightmare of ancestral curses, modern witchcraft and demonic sapphic carnage, much of which proved too extreme even for Italian censors.” – Synopsis provided by the Distributor

The Devil's Wedding Night: "When an 18th century scholar (Damon) discovers the location of a mythical ring, he and his rogue twin (also Damon) race to Dracula’s castle where they are seduced by a depraved Countess (Neri). But who will survive her ultimate ceremony of the damned?” – Synopsis provided by the Distributor

Baba Yaga: "Academy Award® nominee Carroll Baker (Baby Doll, Orgazmo) stars as the titular witch who seduces a swinging photographer (French model/singer Isabelle De Funès) into a maelstrom of sexual obsession, pop art perversity and some of the most uniquely unnerving images in the entire genre.” – Synopsis provided by the Distributor

Video: 5/5 (Terror-Creatures from the Grave - Italian Version 4K UHD, Baba Yaga 4K UHD), 4.5/5 (Terror-Creatures from the Grave - U.S. Version 4K UHD), Terror-Creatures from the Grave - Both Versions Blu-ray, Baba Yaga Blu-ray, Night of the Damned 4K UHD), 4.25/5 (Night of the Damned Blu-ray, The Devil's Wedding Night 4K UHD), 4/5 (The Devil's Wedding Night Blu-ray)

Here’s the information provided about this release's transfers, "scanned in 4K from the original camera negative."

Terror-Creatures from the Grave comes on a 100 GB triple layer 4K UHD.

Disc Size: 92 GB

Feature: 47.5 GB (Italian Language Version), 42.7 GB (English Language Version)

Terror-Creatures from the Grave comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.6 GB

Feature: 24.2 GB (Italian Language Version), 21 GB (English Language Version)

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

Night of the Damned comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.1 GB

Feature: 59.6 GB

Night of the Damned comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.8 GB

Feature: 29.6 GB

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

Here is additional information about The Devil's Wedding Night's source, “This new restoration is from a 4K scan of the 35mm original camera negative and 35mm interpositive. Unfortunately, both elements were chemically unstable and suffered from advanced deterioration. Despite exhaustive corrective efforts, we were unable to address all of the damage.

We hope these occasional instances do not detract from your viewing experience.”

The Devil's Wedding Night comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.2 GB

Feature: 59.9 GB

The Devil's Wedding Night comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.2 GB

Feature: 24.8 GB

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

Baba Yaga comes on a 66 GB dual layer 4K UHD.

Disc Size: 60.8 GB

Feature: 59.5 GB

Baba Yaga comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.9 GB

Feature: 24.4 GB

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

The source for The Devil's Wedding Night has some noticeable damage, and the disclaimer before the film gives a clear idea of what to expect. When it comes to the other three films, any debris that remains is always very minor. Flesh tones and colors look correct; image clarity, contrast, and compression are solid; black levels are strong, and all of the transfers always look organic.

Audio: 4.5/5 (All Films - DTS-HD Mono Italian), 4.25/5 (Night of the Damned - DTS-HD Mono English, Baba Yaga - DTS-HD Mono English), 4/5 (Terror-Creatures from the Grave - DTS-HD Mono English, The Devil's Wedding Night - DTS-HD Mono English)

Each film comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. All audio tracks sound clear and balanced, and their scores and ambient sounds are well represented. That said, dialogue sounds more robust on the Italian language tracks, and there is some minor background hiss on the Terror-Creatures from the Grave and The Devil's Wedding Night English language tracks. Each film comes with removable English subtitles for the Italian language tracks and removable English SDH on the English language tracks. Terror-Creatures from the Grave has a second removable English subtitle track for Italian-only moments while watching the English language track, and Baba Yaga has a second removable English subtitle track for Italian while watching the English language track.

Extras:

Extras on the Terror-Creatures from the Grave 4K UHD disc include an audio commentary with Rod Barnett of NaschyCast and The Bloody Pit and Dr. Adrian Smith, co-author of Norman J. Warren: Gentleman of Terror.

Extras on the Terror-Creatures from the Grave Blu-ray disc include an audio commentary with Rod Barnett and Dr. Adrian Smith.

Terror-Creatures from the Grave comes with a second Blu-ray disc. Extras on this disc include a U.S. theatrical trailer (1 minute 36 seconds, Dolby Digital mono English, no subtitles), an English-language theatrical trailer (3 minutes 36 seconds, Dolby Digital mono English, no subtitles), a featurette with film critic Alan Jones on Vampix titled The Original Boutique Video Label (9 minutes 28 seconds, Dolby Digital stereo English, no subtitles), a video essay by Matt Rogerson, author of The Vatican Versus Horror Movies, titled Grave Influence (14 minutes 38 seconds, Dolby Digital stereo English, no subtitles), a featurette with director Massimo Pupillo, actor Riccardo Garrone, and film historian Fabio Melelli titled Grave Secrets (26 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), and a selected scene audio commentary with actress Barbara Steele and Barbara Steele archivist Russ Lanier (26 minutes 23 seconds, Dolby Digital stereo English, no subtitles).

Extras on the Night of the Damned 4K UHD disc include a theatrical trailer (3 minutes 30 seconds, Dolby Digital mono English, no subtitles) and an audio commentary with Rod Barnett and Troy Guinn, film historians/co-hosts of NaschyCast.

Extras on the Night of the Damned Blu-ray disc include a theatrical trailer (3 minutes 30 seconds, Dolby Digital mono English, no subtitles), Satanic Orgy Outtakes (14 minutes 18 seconds, no sound), a video essay by Matt Rogerson titled The Desired and The Damned (18 minutes 40 seconds, Dolby Digital stereo English, no subtitles), and an interview with film historian Fabio Melelli titled In the Castle of Saint Lambert (16 minutes 54 seconds, Dolby Digital stereo Italian with removable English subtitles).

Extras on The Devil's Wedding Night 4K UHD disc include a U.S. theatrical trailer (2 minutes 30 seconds, Dolby Digital mono English, no subtitles), an English-language theatrical trailer (3 minutes 10 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with Martyn Conterio, author of Black Sunday, and Kat Ellinger, author of Daughters of Darkness.

Extras on The Devil's Wedding Night Blu-ray disc include a U.S. theatrical trailer (2 minutes 30 seconds, Dolby Digital mono English, no subtitles), an English-language theatrical trailer (3 minutes 10 seconds, Dolby Digital mono English, no subtitles), an interview with producer Franco Gaudenzi titled The Wedding Tale (12 minutes 53 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with cinematographer Aristide Massaccesi aka Joe D'Amato, titled The Wedding Guest (4 minutes 7 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Rosalba Neri titled Countess Rosalba (12 minutes 58 seconds, Dolby Digital stereo Italian with removable English subtitles), a vdeo essay by Dr. Alexandra Heller-Nicholas, author of 1000 Women in Horror, 1895-2018 titled An Open Letter To Rosalba Neri's Tits (11 minutes 15 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Martyn Conterio, and Kat Ellinger.

Extras on the Baba Yaga 4K UHD disc include a theatrical trailer (3 minutes 40 seconds, Dolby Digital mono English, no subtitles) and an audio commentary with Emma Westwood, editor of Bride of Frankenstein, and film scholar Sally Christie.

Extras on the Baba Yaga Blu-ray disc one include a theatrical trailer (3 minutes 40 seconds, Dolby Digital mono English, no subtitles), an interview with editor/co-screenwriter Giulio Berruti titled A Filmmaking Friendship (23 minutes 47 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Luigi Montefiori titled The Milan Witch Project (10 minutes 43 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with film critic Alberto Farina, son of Corrado Farina, titled Valentina, Baba Yaga, and Dad (44 minutes 54 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with director Corrado Farina titled Farina and Valentina (21 minutes 42 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Emma Westwood, and film scholar Sally Christie.

Extras on the Baba Yaga Blu-ray disc two include a photo gallery with music from the film playing in the background, a text-based extra with images titled Comic Book Comparisons, alternate/extended scenes (9 minutes 50 seconds, Dolby Digital mono Italian with removable English subtitles), a Short Village Magazine interview with Corrado Farina and Alberto Farina (31 minutes 26 seconds, Dolby Digital stereo Italian with removable English subtitles), a video essay by Dr. Alexandra Heller-Nicholas titled The Gaze Bewitched (13 minutes 50 seconds, Dolby Digital stereo English, no subtitles), and three short films directed by Corrado Farina: It Was Called Earth (17 minutes 18 seconds, 1.37:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), Science Fiction Is Us (13 minutes 28 seconds, 1.37:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles), and Freud in Color (12 minutes 12 seconds, 1.37:1 aspect ratio, Dolby Digital mono Italian with removable English subtitles).

It Was Called Earth: An astronaut is forced to make a quick landing when his navigation goes out. He lands on Earth, the nearest planet, and when he ventures outside his ship, he discovers that it is a dead planet that has brought about its own demise.

Science Fiction Is Us: A documentary about sci-fi literature and cinema and how they compare to reality.

Freud in Color: A documentary about Italian comic book artist Guido Crepax, whose series Valentina was adapted into Baba Yaga.

A 20-track CD with music composed by Piero Umiliani (Baba Yaga—2 tracks, Man on the Spying Trapeze—6 tracks, Operation Poker—6 tracks, and Il Marchio Di Kriminal—6 tracks) and a cardboard insert with a track listing.

Summary:

Terror-Creatures from the Grave: A lawyer visits the estate of a man who sent him a letter, only to discover that he had died a year before. Shortly after his arrival, it is clear that something is not right, and the more he looks into the dead man's past, the more dangerous things become.

Terror-Creatures from the Grave is the first of a trio of horror films that Massimo Pupillo directed in a short time span. The other two films are Bloody Pit of Terror and Lady Morgan's Vengeance, and the thing that connects all three of them is gothic horror. Although he directed a few other films, the only one of note is the spaghetti western Django Kills Softly.

For most viewers, we have only experienced the U.S. version, which is 6 minutes shorter than the Italian version of the film. The main differences are an opening sequence where the lawyer receives a letter that sets everything in motion and a lengthy version of a scene where an old man in a wheelchair hangs himself. Although these two moments might not offer a lot in expanding, their inclusion and watching the film in Italian is like seeing it for the first time.

Italian genre cinema always worked with small margins, and though many films struggled due to this limitation, there were those who somehow succeeded and are now held in high regard. That said, gothic horror was a genre that actually lent itself well to microbudget films. This genre typically features narratives that take place in a single location, often a castle, and most gothic horror films were shot in black and white, which greatly benefited their ability to create atmospheric and arresting moments. Case in point, a film like Terror-Creatures from the Grave checks all of the right boxes.

There are few names more renowned in Italian horror than Barbara Steele, who appeared in these films: Black Sunday, The Horrible Dr. Hichcock, The Ghost, Castle of Blood, The Long Hair of Death, Nightmare Castle, and An Angel for Satan. In Terror-Creatures from the Grave, she is cast in the role of Cleo Hauff, the wife of the man who died a year before. Although her character plays a crucial role in uncovering the central mystery, her screentime is more limited compared to her other Italian horror films. Nevertheless, the scene of her character talking in a bubble bath stands out as the most memorable moment.

Despite Massimo Pupillo's dislike of horror cinema, looking back on his three films, in particular Terror-Creatures from the Grave, his choices as director are often inspired, and they greatly enhance the mood. The way in which the narrative parcels out information keeps you guessing where things are going, and it is very effective at building momentum to a finale where revenge is served via walking dead infested with the Black Plague. Ultimately, Terror-Creatures from the Grave is a well-crafted gothic horror film that hopefully will get reevaluated now that its Italian version has been given an English-friendly release.

Night of the Damned: A sick nobleman reaches out to a childhood friend who's a journalist. When his friend arrives, he slowly uncovers the root cause of his friend's illness. Is he too late, or will they be able to save him?

Night of the Damned was directed by Filippo Walter Ratti, whose other notable films are Ten Italians for One German, Mondo Erotico, Crazy Desires of a Murderer, and Erika. Night of the Damned was shot back-to-back with Erika, both films utilizing the same location and principal cast. That said, Night of the Damned is a film that is not without its shortcomings, and it is often hurt by its lack of resources.

A strong setup is crucial to holding one's attention, and even if it's a solid premise, poor execution is equally devastating. Although Night of the Damned has a premise that is full of possibilities, its narrative's lethargic pacing and lack of genuine surprises ensure there is never any momentum. Another weakness of the narrative is its overreliance on erotic moments that do nothing to further or enhance the story unfolding.

Not surprisingly, the performances are generally lackluster, especially Pierre Brice’s (Mill of the Stone Women) one-note performance of the journalist friend who uncovers a cult led by a witch who maintains her youth by feeding off members of a noble family. That said, the female cast provides plenty of eye candy, especially Patrizia Viotti (Death Falls Lightly) in the role of the journalist's wife and Angela De Leo in the role of the witch.

Despite its occult-themed premise, Night of the Damned struggles to create any atmosphere. The visuals are uninspired, and the score is mostly comprised of music cues recycled from Carlo Savina’s Malenka (Fangs of the Living Dead). As mentioned before, the narrative never finds its footing, and its tongue-in-cheek climax feels out of place with the tone of the rest of the film. Ultimately, Night of the Damned is an exploitation film masquerading as a horror film whose negatives far outweigh its positives.

The Devil's Wedding Night: Although Paul Solvay is credited as The Devil's Wedding Night's director, this film was actually co-directed by Luigi Batzella (Nude for Satan) and Joe D'Amato (Death Smiles on a Murderer). The latter was also The Devil's Wedding Night’s cinematographer.

A countess employs Dracula’s ring to attract beautiful women to her castle, where she drains their blood and bathes in it.

Content-wise, The Devil's Wedding Night can be likened to Dracula, featuring a female vampire in the titular role. The narrative exhibits numerous striking similarities to that of Dracula, and several characters reflect those from the original story. While the influence of Dracula is evident in The Devil's Wedding Night, the outcome diverges significantly from its source material. This film serves as a quintessential example of 1970s exploitation cinema, often crossing into the realm of soft-core erotica..

From a production standpoint, The Devil's Wedding Night bears all the markings of low-budget Euro-cult cinema. The premise brings nothing new to the table, and a slow-moving narrative does not do this film any favors. Another area where The Devil's Wedding Night comes up short is its odd score, which features a few music cues that feel out of place.

That said, Rosalba Neri (The Girl in Room 2A) in the role of La Contessa Dolingen de Vries is The Devil's Wedding Night’s only saving grace. Her character spends an ample amount of time undressed, and in one scene she’s covered in blood. Ultimately, The Devil's Wedding Night is a film where the poster art oversells it.

Baba Yaga: A fashion photographer becomes the object of the desire of a sorceress, who casts a spell on her.

Baba Yaga was directed by Corrado Farina, who would only direct one other feature film, They Have Changed Their Face.

Baba Yaga was adapted from an adult line of comics that revolved around a character named Valentina, created by Guido Crepax, whose comics were known for ample amounts of eroticism, dreamlike narratives, and evocative imagery. Although the majority of film adaptations of comic books fail to capture the essence of the source material, Baba Yaga is about as faithful as any film could ever hope to be to the source from which it was adapted.

Narrative-wise, things are actually a lot more straightforward than they appear to be at first. What unfolds is basically a story about a young woman who is seduced by a witch, and there is never a shortage of flesh on parade. It should be noted that this version, included as part of Blue Underground’s release, is missing two key moments of nudity involving its two leading ladies (these moments have been included with the deleted scenes).

When it comes to performances, this is one area where Baba Yaga could be stronger. Reportedly, Corrado Farina has two other actresses in mind: Elsa Martinelli (One on Top of the Other) for the role of Valentina and Anne Heywood (The Lady of Monza) for the role of Baba Yaga. Instead we get Isabelle De Funès in the role of Valentina and Carroll Baker (Paranoia) in the role of Baba Yaga; their performances work well enough with the story that unfolds, despite not being as commanding as they could have been.

In a film in which things often dive deep into the surreal end of the pool, it should not come as a surprise that Baba Yaga’s most potent asset is its atmospheric visuals. Another area in which Baba Yaga often excels is its brisk editing style, which perfectly captures the feel of a comic book narrative. Ultimately, Baba Yaga is a solid example of a live comic book adaptation that walks a fine line between exploitation and arthouse cinema.

With Danza Macabra Volume Four, Severin Films puts together their strongest collection of films and gives them their best audio/video presentations to date and a wealth of informative extras. Highly recommended.

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

Written by Michael Den Boer