Once a Thief: Hong Kong Cinema Classics – Shout! Factory (UHD/Blu-ray Combo)

Theatrical Release Date: Hong Kong, 1991
Director: John Woo
Writers: John Woo, Patrick Leung, Janet Chun
Cast: Chow Yun-fat, Leslie Cheung, Cherie Chung, Kenneth Tsang, Paul Chu, Bowie Wu 

Release Date: January 27th, 2026
Approximate Running Time: 108 Minutes 16 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: NR
Sound: DTS-HD Mono Cantonese, DTS-HD Mono English, DTS-HD Mono Alternate English
Subtitles: English, English SDH
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $39.99

"Once a Thief is an action/comedy/romance movie involving the plight of three master thieves (a la Pink Panther). All three were raised by the same father as street orphans. After a successful art heist followed by a pledge to make it the last crime ever for the trio, the plot revolves around the theft of a mysterious "cursed" painting and how its obsession affects the family?" - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, "4K Scan from the Original Camera Negative."

Once a Thief comes on a 100 GB triple layer 4K UHD.

Disc Size: 76.7 GB

Feature: 76.3 GB

Another John Woo film gets a massive upgrade after lackluster home media releases; this new release will be a revelation for those who are familiar with the film. Flesh tones look healthy, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look. That said, this new transfer looks phenomenal, and it is easily the best this film has ever looked on home media.

Once a Thief comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.7 GB

Feature: 27.8 GB

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

Audio: 5/5 (All Audio Tracks)

This release comes with three audio options, a DTS-HD mono mix in Cantonese, a DTS-HD mono mix in English, and an alternate DTS-HD mono mix in English. All of the tracks have some dialogue in French and the Cantonese track has some dialogue in English. All tracks sound excellent; dialogue always comes through clearly, everything sounds balanced, and range-wise action sequences sound appropriately robust. Included are English subtitles for the Cantonese language track, English SDH for the English language tracks, and English subtitles for the English language tracks when French is spoken.Language tracks and subtitles can only be changed via the setup menu and not during playback.

Extras:

Extras on the 4K UHD disc include an audio commentary with film critic James Mudge.

Extras on the Blu-ray disc include a theatrical trailer (1 minute 22 seconds, DTS-HD mono with Cantonese text and non-removable English subtitles), an archival interview with actor Kenneth Tsang (7 minutes, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with Frank Djeng about Leslie Cheung titled Once a Star, Always an Icon (17 minutes 8 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), an interview with author Grady Hendrix titled Hong Kong Confidential: Once a Thief (8 minutes 14 seconds, DTS-HD stereo English, no subtitles), an interview with editor David Wu titled Art of the Steal (10 minutes 3 seconds, DTS-HD stereo English, no subtitles), an interview with producer Terence Chang titled Heists and Lows (7 minutes 55 seconds, DTS-HD stereo English, no subtitles), an interview with cinematographer Poon Hang-Sang titled Stealing Some Shots (27 minutes 10 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with screenwriter Clifton Ko titled Thoughts About Thievery (21 minutes 24 seconds, DTS-HD stereo Cantonese with non-removable English subtitles), an interview with director John Woo Handling a Heist (23 minutes 53 seconds, DTS-HD stereo English with non-removable English subtitles for Cantonese film clips), and an audio commentary with James Mudge.

Other extras include a slipcover.

Summary:

A trio of art thieves, who have known each other since childhood, contemplate retirement and living a normal life after completing their latest job. When a job to steal a priceless painting comes their way, two of them break their promise to retire and take on the risky heist.

John Woo had just completed his most expensive and personal film, Bullet in the Head, in 1990. When it did not perform as well as his previous three films, John Woo felt devastated and promised his producer that he would make back the money he lost with his next film. For his next film, Once a Thief, he would make a more lighthearted affair that returned him to his comedic roots. Although made quickly over a span of two months, Once a Thief would go on to be John Woo’s second most successful Hong Kong film.

John Woo sets Once a Thief apart from his other Hong Kong films by setting part of it in France. He had long been an admirer of the French New Wave, in particular François Truffaut's Jules and Jim, and Once a Thief’s love triangle mirrors that aforementioned film. His other inspiration was Alfred Hitchcock's To Catch a Thief, and Once a Thief would feature some of its locations.

To help John Woo pull off the difficult task of completing a film from shooting to post-production in a mere two months are a trio of Hong Kong cinema’s most celebrated actors: Chow Yun-fat (City of Fire), Leslie Cheung (Farewell My Concubine), and Cherie Chung (Wild Search). They are all exemplary in their roles, and their onscreen chemistry is undeniable. All three of them were at the height of their careers, and for Cherie Chung, Once a Thief would be her swan song. Rounding out the cast are other familiar faces like Kenneth Tsang (A Better Tomorrow) and Paul Chu (The Killer), who portray the three main characters' father figures.

Although Once a Thief is a breezy film that very effectively employs humor, John Woo does not shy away from doing what he does best: creating explosive action set pieces. The most notable of these are two heist sequences and a shootout finale that perfectly blend humor and bombastic action. The second heist sequence in particular is a flawlessly constructed moment that overflows with tension. When it comes to action, John Woo is a filmmaker who never disappoints.

Once a Thief is really a special film in John Woo’s filmography, and it is a shame he did not venture into this type of film ever again. While his films that followed have effectively employed humor, he never found that perfect blend of comedy and action like he did with Once a Thief. Ultimately, Once a Thief is a highly entertaining film that always exceeds its audience's expectations and leaves you wanting more.

Once a Thief gets an exceptional release from Shout Factory that comes with a solid audio/video presentation and a wealth of insightful extras. Highly recommended.

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

 

Written by Michael Den Boer

Courtesans & Criminals: The Underworld of Hideo Gosha – Film Movement (Blu-ray)

Theatrical Release Dates: Japan, 1982 (Onimasa), Japan, 1987 (Tokyo Bordello)
Director: Hideo Gosha (Both Films)
Cast: Tatsuya Nakadai, Masako Natsume, Shima Iwashita, Nobuko Sendô, Tetsurō Tamba, Tatsuo Umemiya, Kōji Yakusho (Onimasa), Yûko Natori, Rino Katase, Jinpachi Nezu, Sayoko Ninomiya, Mariko Fuji, Mikio Narita, Naoto Takenaka, Sô Yamamura (Tokyo Bordello)

Release Date: December 4th, 2025
Approximate Running Times: 146 Minutes 47 Seconds (Onimasa), 133 Minutes 59 Seconds (Tokyo Bordello)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: LPCM Mono Japanese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A
Retail Price: $44.98

Onimasa: "Matsue is the adoptive daughter of the Kiryuin House, a small yakuza clan in Shikoku. Onimasa, their leader, is the last heir to a family of samurai. He is hard in business but respected by the poor because of his fairness. Matsue lives in the middle of this society, between gang wars and rivalries among the chief's mistresses. But when Onimasa takes a chivalrous attitude and finds himself on the side of train workers on strike, it annoys the Great Godfather of the island. The story starts in 1918, ending with the nearing of the Second World War." - synopsis provided by the distributor

Tokyo Bordello: "A ruined businessman was forced to sell his daughter, Hisano, to a brothel in Yoshiwara, the largest red-light district in Tokyo. After several months of training, she tries to flee Yoshiwara when the time has come for her to take her first customer." - synopsis provided by the distributor

Video: 5/5 (Onimasa), 4.5/5 (Tokyo Bordello)

Here’s the information provided about Onimasa's transfer, “4K restoration from the original 35mm negative.”

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

Disc Size: 34.7 GB

Feature: 31.9 GB

Here’s the information provided about Tokyo Bordello's transfer, “HD restoration from the original 35mm negative.”

Tokyo Bordello comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.8 GB

Feature: 30.9 GB

Both films look excellent; flesh tones look healthy, colors look correct, and image clarity, contrast, black levels, and compression are solid, and there are no issues with digital noise reduction. Both discs are mislabeled and contain the film that is opposite of what is indicated on the packaging.

Audio: 5/5 (Both Films)

Each film comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. Both films' audio tracks sound excellent; dialogue always comes through clearly, everything sounds balanced, and ambient sounds are well-represented.

Extras:

Extras for Onimasa include a video essay by TokyoScope author Patrick Macias (12 minutes 34 seconds, LPCM stereo English, no subtitles) and an audio commentary with Japanese cinema scholar Jasper Sharp.

Extras for Tokyo Bordello include a video essay by Patrick Macias (12 minutes 43 seconds, LPCM stereo English, no subtitles) and an audio commentary with Jasper Sharp.

Other extras include a spot gloss slipcover (limited to 2,000 units) and a 16-page booklet with cast & crew information for both films, information about the transfers, and an essay titled Escaping the Flames written by Hayley Scanlon.

Summary:

Hideo Gosha directed Onimasa and Tokyo Bordello. He is most known for directing samurai films; notable films include Goyokin, The Wolves, and Hunter in the Dark.

Onimasa: Onimasa, the last heir of a samurai family and the leader of the Kiryuin clan, finds himself in a power struggle with his rivals when he takes the side of train workers on strike.

Onimasa was a pivotal film for Hideo Gosha and Toei, the company that produced it. While both were known for their male-driven jitsuroku eiga, a film like Onimasa would make the dramatic shift to putting the focus on the female characters. Onimasa is also significant for Hideo Gosha in another way; it was his first of three adaptations of a Tomiko Miyao novel; the other two films are Yôkirô and Oar.

Despite the significant role of women in the story, Onimasa, the protagonist, embodies the essence of masculinity. He’s a fearless character who gains respect because of his fairness and only uses intimidation when there are no other options. That said, he’s surrounded by three women of note: his wife, Uta, whose impulse is in her decision-making; his adoptive daughter, Matsue, who respects all that Onimasa has done for her; and his biological daughter with a mistress, Hanako.

All around, the cast are excellent in the roles, especially Tatsuya Nakadai (The Human Condition), whose portrayal of Onimasa serves as this film’s anchor. His performance embodies all the qualities typically associated with a yakuza boss, yet it also reveals a sense of humanity that adds greater depth to his character than is often found in similar roles. The most notable performance is Shima Iwashita's (The Demon) portrayal of Uta, a character that greatly diverged away from the type of roles she had played up to that point. That said, she delivers a remarkable performance that would forever reshape her career and the type of roles casting directors would offer her.

Cast in the role of Matsue is Masako Natsume, and she delivers a performance that perfectly captures her character's desire to please her adoptive parents while trying to forge a life outside of the family clan. It should be noted that Nobuko Sendô (Childhood Days) portrays Matsue as a young girl, and she delivers an equally compelling performance. Familiar faces round out the rest of the cast: Tetsurō Tamba (Three Outlaw Samurai), Tatsuo Umemiya (Graveyard of Honor), and Kōji Yakusho (Cure).

While not as prevalent as in other yakuza films from this era, moments when action and carnage appear in Onimasa are skillfully crafted and highly impactful. The main action set piece is saved for a bloody finale where Onimasa confronts a rival who's been the source of his trouble head-on, and the most brutal moment when it comes to carnage is a dogfighting sequence. The narrative is flawlessly constructed, and it does an exemplary job conveying characters' highs and lows. At almost 2 ½ hours in length, things move rather quickly, and there is never an issue with building momentum. Ultimately, Onimasa is an extraordinary film whose characters drive the story and whose fates stay with you long after its final image has faded offscreen.

Tokyo Bordello: A businessman who's incurred an insurmountable debt sells his daughter to a brothel in Tokyo's infamous red-light district.

Tokyo Bordello is based on a novel written by Shinichi Saitô that revolves around characters living in Yoshiwara, a red-light district established in 1617 that came to an end in 1958 when Japan outlawed prostitution. Although Tokyo Bordello uses Yoshiwara as the backdrop for its unfolding story, it is not a historical account except for one aspect: its finale, in which Yoshiwara suffers extensive damage from a fire.

Set in the 1910s, Tokyo Bordello is a period-set melodrama with exemplary production design. Its opening setup does a phenomenal job introducing the main players by giving them an ample amount of time to flesh out their individual stories. When it comes to pacing, things move at a leisurely pace that, fortunately, never affects any momentum.

Considering the subject matter, Tokyo Bordello is rather tame; it does not focus as much on the sex aspect of prostitution; instead, it shifts the focus to the other aspects of its characters' lives. The women in the Tokyo bordello endure difficult lives, and the film does not shy away from portraying the mental toll inflicted on them. Notably, the most erotic moment occurs during a lesbian sequence in which the protagonist is seduced by another prostitute, ultimately leading to a strong bond between them.

The cast are all excellent in the roles, in particular, Yûko Natori’s (Crest of Betrayal) portrayal of Hisano, a woman who came from an affluent background and was sold into prostitution. She perfectly transforms from a naive, frightened young woman into someone who’s confident and finds pleasure in the work she does. Another performance of note is Rino Katase (Yakuza Ladies) in the role of Kikugawa, a woman who escapes Yoshiwara after being married only to return when another woman steals her husband.

Although the visuals let the characters take center stage, there are a handful of striking moments, notably the finale, where flames engulf Yoshiwara. Another striking moment is a scene where a prostitute who’s lost her mind lies on the ground next to a goldfish flipping outside of its bowl. No matter what genre he worked in, Hideo Gosha's instincts as a filmmaker always elevated whatever film he worked on. Ultimately, Tokyo Bordello is an engrossing melodrama set in Yoshiwara that quickly grabs your attention and stays with you.

Courtesans & Criminals: The Underworld of Hideo Gosha is an excellent release from Film Movement that gives both films solid audio/video presentations and insightful extras. Highly recommended.

Written by Michael Den Boer

Ozone: The Attack of the Redneck Mutants: Collector's Edition – Visual Vengeance (Blu-ray)

Release Date: USA, 1986
Director: Matt Devlen
Writer: Brad Redd
Cast: Scott Davis, Blue Thompson, Brad McCormick, Janice Williams, Barbara Dow

Release Date: January 20th, 2026
Approximate Running Time: 94 Minutes 12 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: Dolby Digital Stereo English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $34.95

"When a toxic chemical spill tears open the ozone above rural Texas, backwoods locals mutate into drooling, slime-choked ghouls with an insatiable appetite for flesh. Environmental science student Arlene and hitchhiker Kevin stumble into the madness as small-town life collapses into a grotesque carnival of green vomit, yellow pus, and blood-soaked carnage." - synopsis provided by the distributor

Video: 1/5

Here’s the information provided about the transfer, "New director-approved SD master from original tape elements."

Ozone: The Attack of the Redneck Mutants comes on a 50 GB dual layer Blu-ray.

Disc Size: 44 GB

Feature: 18.2 GB

Shot on Super 8, the source used for this transfer is an SD master that has its limitations. Image clarity and colors are inconsistent, black levels are never convincing, and any compression-related issues are minor. That said, it is difficult to imagine that Ozone: The Attack of the Redneck Mutants will ever look better than this transfer does.

Audio: 3/5

This release comes with one audio option, a Dolby Digital stereo mix in English with removable English SDH. Although the audio sounds clean, clear, and balanced, range-wise, things are limited.

Extras:

Extras for this release include Visual Vengeance trailer for Ozone: The Attack of the Redneck Mutants (1 minute 17 seconds, Dolby Digital stereo English, no subtitles), a trailer for Tabloid (1 minute 3 seconds, Dolby Digital stereo English, no subtitles), Ozone image gallery (poster/home video art/stills), an archival public access TV review: Hollywood Unseen (8 minutes 58 seconds, Dolby Digital stereo English, no subtitles), director Mark Pirro Ozone interview (18 minutes 10 seconds, Dolby Digital stereo English, no subtitles), actress Barbara Dow acting reel (7 minutes 21 seconds, Dolby Digital stereo English, no subtitles), a super 8 short film titled Babies (6 minutes 28 seconds, no sound), director Matt Devlen  producer trailer reel  (10 minutes 53 seconds, Dolby Digital stereo English, no subtitles), Matt Devlen Cinema Wasteland interview (9 minutes 37 seconds, Dolby Digital stereo English, no subtitles), Muther Video original VHS intros reel (36 minutes 54 seconds, Dolby Digital stereo English, no subtitles), Ozone special effects outtakes (12 minutes 16 seconds, no sound), Ozone outtakes from Matt Devlen's personal archives reel one (15 minutes 26 seconds, Dolby Digital stereo English, no subtitles), Ozone outtakes from Matt Devlen's personal archives reel two (14 minutes 12 seconds, Dolby Digital stereo English, no subtitles), deleted scenes from Matt Devlen's personal archives (2 minutes 34 seconds, no sound), Ozone & The Abomination location featurette (13 minutes 9 seconds, Dolby Digital stereo English, no subtitles), an interview with actress Blue Thompson (10 minutes 9 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with producer Bret McCormick and Blue Thompson, an audio commentary with Sam Panico of B&S About Movies and Bill Van Ryn of Drive-In Asylum, reversible cover art featuring original VHS art, a 'Stick your own' video store sticker sheet, a folded mini-poster, a Muther Video logo sticker (first pressing only), an Ozone mutant puke bag (first pressing only), a 12-page mini comic book (first pressing only), and an O-Card with alternate art (first pressing only).

Other extras include trailers for Fatal Images, A Polish Vampire in Burbank, and The Abomination.

Summary:

A toxic spill damages the ozone above a rural Texas town, and the infected locals become zombies.

Ozone: The Attack of the Redneck Mutants is an ultra-low-budget horror film shot on Super 8, and its dialogue and sound effects were post-dubbed. Most of its cast had little or no experience; its director, Matt Devlen, was making his directorial debut. That said, Ozone: The Attack of the Redneck Mutants has all of the hallmarks of no-budget, do-it-yourself filmmaking.

Although the narrative has a fair amount of exposition, its main focus is moments where the mutants attack. The narrative progresses slowly, particularly in the first 27 minutes, during which no gore-related events occur. Fans of practical special effects might enjoy the gory set pieces, which have not aged well. Ultimately, beyond its moments of gore, Ozone: The Attack of the Redneck Mutants does not have anything else going for it.

Ozone: The Attack of the Redneck Mutants is another solid release from Visual Vengeance that comes with a wealth of extras and presents the film in its best possible audio/video presentation.

Written by Michael Den Boer

On The Run – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1988
Director: Alfred Cheung
Writers: Alfred Cheung, Keith Wong
Cast: Yuen Biao, Pat Ha, Charlie Chin, Lieh Lo, Wah Yuen, Phillip Ko, Idy Chan

Release Date: January 20th, 2026
Approximate Running Time: 89 Minutes 21 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Cantonese
Subtitles: English
Region Coding: Region A,B
Retail Price: $29.95

"In the aftermath of his wife’s brutal murder, struggling cop Heung Ming (Yuen Biao) is forced to go into hiding after discovering corruption in the ranks. His only ally is a deadly assassin, Chui (Pat Ha) as they each try to avoid arrest and even death." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information given about the transfer, "Brand new 2K transfer from the original negatives."

On the Run comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.4 GB

Feature: 29 GB

This disc is exactly the same as 88 Films' region B release from 2022. That said, the source used for this transfer looks excellent. Colors and flesh tones look correct, image clarity, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Cantonese, and included with this release are removable English subtitles. The audio sounds great; the dialog comes through clearly; everything sounds balanced and robust when it should.

Extras:

Extras for this release include a Hong Kong theatrical trailer (4 minutes 54 seconds, LPCM mono Cantonese with removable English subtitles), alternate ending (1 minute 29 seconds, LPCM mono with Cantonese text and removable English subtitles), an interview with David West titled Predicting the Future (18 minutes 49 seconds, LPCM stereo English with removable English subtitles for Cantonese film clips), an interview with director Alfred Cheung titled Running Away (20 minutes 35 seconds, LPCM stereo English with removable English subtitles for Cantonese film clips), an audio commentary with Kenneth Brorsson and Phil Gillon of the Podcast on Fire Network, and an audio commentary with Asian cinema experts Frank Djeng and FJ DeSanto.

Extras not carried over from the 88 Films 2022 Blu-ray release include a double-sided foldout poster and an 80-page perfect-bound book with an essay titled On the Run and Hong Kong Noir written by Matthew Edwards, an interview with Alfred Cheung, and an interview with actress Patricia Ha.

Summary:

By the late 1980s, Hong Kong cinema increasingly focused on violent narratives centered around criminals and corrupt law enforcement. Some of what led to these films was a reflection of what was going on in Hong Kong. Another important aspect of many of these films is their portrayal of the uncertainty surrounding Hong Kong's reunification with China in 1997. On The Run embodies several elements typical of heroic bloodshed cinema, reflecting the anxiety associated with Hong Kong's precarious future.

On The Run’s narrative revolves around a protagonist who at times resembles the Alfred Hitchcock Wrong Man character. The protagonist is a police officer named Heung Ming who becomes the target of corrupt cops whom his ex-wife had been investigating. And when his ex-wife is assassinated, he then takes it upon himself to find her killer. Along the way, he forms an alliance with Chui, the woman who killed his ex-wife. From there, they try to stay alive while trying to expose the corrupt cops who hired Chui.

On The Run is a different kind of role for Yuen Biao (Righting Wrongs). He is most known for portraying more lighthearted characters. He is given his most complex character, Heung Ming, a passive character who is forced to become the aggressor when his back is against the wall. Other performances of note include Pat Ha (Vengeance Is Mine) in the role of an assassin named Chui and Charlie Chin (My Lucky Stars) in the role of a police inspector who is the ringleader of a gang of corrupt cops selling narcotics they stole from drug dealers.

On the Run was co-written and directed by Alfred Cheung, a filmmaker who is most known for directing the Her Fatal Ways film series. When it comes to tone, On The Run is a grim film that is the polar opposite of most of the films Alfred Cheung directed. His direction is solid, and though there are a few stylish moments, most notably in the scene where an undercover cop is hiding under a glass table, he is discovered when a magazine is moved, exposing his hiding place. The strength of his direction lies in his ability to let the characters take center stage.

From the very beginning, On The Run establishes an unyielding pace that seldom allows you a moment to catch your breath. While there are several shootouts throughout the film, it reserves its most spectacular one for the blood-soaked finale, which serves as a fitting conclusion. Ultimately, On The Run is an extraordinary piece of filmmaking that is a must-see if you are a fan of Hong Kong’s late 1980s crime films.

On The Run gets a solid release from 88 Films that comes with a solid audio/video presentation and a wealth of insightful extras; highly recommended.

Written by Michael Den Boer