The Betrayal: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1966
Director: Tokuzô Tanaka
Writers: Seiji Hoshikawa, Tsutomu Nakamura
Cast: Raizô Ichikawa, Kaoru Yachigusa, Shiho Fujimura, Ichirô Nakatani, Saburô Date, Takuya Fujioka, Ryûtarô Gomi, Sei Hiraizumi, Yoshio Yoshida

Release Date: September 15th, 2025 (UK), September 16th, 2025 (USA)
Approximate Running Time: 86 Minutes 43 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"To protect his clan, an honorable samurai (Raizo Ichikawa, Shinobi) takes the blame for a murder committed by one of his fellows. He is promised a safe return after one year in exile, but this vow is broken, and he becomes a fugitive chased by his own clansmen. Disillusioned by the bushido code of honor, he realizes there are only two ways out: vengeance or death." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "The Betrayal was transferred in high-definition by the Kadokawa Corporation and supplied to Radiance Films as a high-definition digital file."

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

Disc Size: 27.5 GB

Feature: 23.7 GB

The source used for this transfer is in great shape. Image clarity and compression are solid, contrast and black levels are strong throughout, and there does not appear to be any digital noise reduction.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in excellent shape. Dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include a video essay titled The Path to Betrayal by film critic Philip Kemp, comparing The Betrayal with the original The Serpent (9 minutes 42 seconds, LPCM stereo English, no subtitles), a video essay by Tom Mes about director Tokuzô Tanaka titled The Four Elements of Tokuzô Tanaka (9 minutes 24 seconds, LPCM stereo with text in English), a scene-select audio commentary by Japanese film historian Tom Mes (41 minutes 23 seconds, Dolby Digital stereo English, no subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings, and a 20-page booklet (limited to 3000 copies) with cast & crew information, an essay titled It’s an Ugly Life written by Alain Silver, and information about the transfer.

Summary:

Tokuzô Tanaka directed The Betrayal. He’s known for Killer Whale, New Tale of Zatoichi, Zatoichi the Fugitive, Sleepy Eyes of Death: The Chinese Jade, Zatoichi's Vengeance, Sleepy Eyes of Death: Hell Is a Woman, Shinobi: Siege, The Snow Woman, The Haunted Castle, and eight films in the Bad Reputation series.

A samurai comes to the realization that the code of honor he follows puts him at odds with his peers after being framed for a murder he did not commit.

Honor is central to the story that unfolds; although samurai have a code of honor that binds them, there are those who are self-serving and do things that bring dishonor. The Betrayal begins with a moment that perfectly sums up a samurai who falls into the latter category. When a disagreement between two samurai and another samurai leads to the latter being critically wounded, instead of coming forward and accepting what they had done, two men remain silent. This action sets in motion a feud between two rival clans when no one steps forward. Wanting to quickly quell any conflict, the leader of the accused clan gets one of his men to agree that he killed the man in question. Unfortunately, while away in exile, the leader of his clan, who he made the deal with, dies before the real culprits are brought to justice, putting him in the crosshairs of both clans.

Sacrifice is another theme that is prominent in the story that unfolds. When we meet Kamuse Takuma, the innocent man who makes a sacrifice for his clan, he is on the verge of the happiest moment of his life, one month away from marrying the woman he loves. Though conflicted, when asked by the leader of his clan, who is also the father of his beloved Namie Katagiri, he reluctantly agrees because he trusts him. The only one who could have cleared his name has died. Upon his return, he faces competition from another man who stands to gain everything if he dies and has openly expressed his desire to make Namie his wife.

Although Raizô Ichikawa (An Actor's Revenge) in the role of Kamuse Takuma anchors The Betrayal, it is ultimately the performances of its two leads, Kaoru Yachigusa (Pastoral: To Die in the Country) and Shiho Fujimura (Return of Daimajin), in the roles of Namie and Shino, the two women in Kamuse’s life, that give The Betrayal its heart and soul. Both women make tremendous sacrifices throughout the film, with the latter even saving Kamuse from near death following a duel.

The narrative is meticulously laid out; it moves quickly and does a superb job holding your attention. Creating tense moments is another area where it excels. Not to be overlooked is how effectively it builds to a phenomenal action set piece finale that lasts 17 minutes. Although these types of action sequences are staples of Chanbara films, few are as exhilarating as The Betrayal’s finale, a scene where the protagonist is greatly outnumbered, and ladders, boards, carts, and every dirty trick in the book are thrown at him. Ultimately, The Betrayal is an outstanding film that truly lives up to its name, and it is a film that those who are not fans of Chanbara films should enjoy thoroughly.

The Betrayal 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

Shinobi Volume 2: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Dates: Japan, 1964 (Shinobi: Siege, Shinobi: Return of Mist Saizo), Japan, 1965 (Shinobi: The Last Iga Spy)
Directors: Tokuzô Tanaka (Shinobi: Siege), Kazuo Ikehiro (Shinobi: Return of Mist Saizo), Kazuo Mori (Shinobi: The Last Iga Spy)
Cast: Raizô Ichikawa (All Films), Midori Isomura, Tomisaburô Wakayama, Ganjirô Nakamura, Katsuhiko Kobayashi, Jun'ichirô Narita, Ryûzô Shimada, Yutaka Nakamura, Fujio Suga, Manabu Morita, Kôichi Mizuhara, Saburô Date (Shinobi: Siege), Yukiko Fuji, Shiho Fujimura, Tomisaburô Wakayama, Eitarô Ozawa, Katsuhiko Kobayashi, Ryûtarô Gomi, Ryûzô Shimada, Masako Akeboshi, Sônosuke Sawamura, Yoshio Inaba, Saburô Date (Shinobi: Return of Mist Saizo), Kaoru Yachigusa, Isao Yamagata, Mizuho Suzuki, Kenji Imai, Ryûzô Shimada, Ryûji Kita, Tatsuya Ishiguro, Saburô Date, Kôichi Mizuhara (Shinobi: The Last Iga Spy)

Release Date: August 17th, 2025 (UK), August 18th, 2025 (USA)
Approximate Running Times: 87 Minutes 19 Seconds (Shinobi: Siege), 91 Minutes 22 Seconds (Shinobi: Return of Mist Saizo), 88 Minutes 59 Seconds (Shinobi: The Last Iga Spy)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Japanese (All Films)
Subtitles: English (All Films)
Region Coding: Region A,B
Retail Price: £34.99 (UK), $64.95 (USA)

"In Siege, Raizo Ichikawa is Mist Saizo, the legendary folk hero and Iga ninja. Working in the service of warlord Yukimura Sanada (Tomisaburo Wakayama), he plots to assassinate Shogun Ieyasu Tokugawa, but finds himself facing the might of the nation’s supreme ruler. 

In Return of Mist Saizo, our black-clad hero continues his mission to avenge his master, even after Ieyasu has abdicated from the throne. Told as one continuous story, these two films weave their ninja action in and out of Japanese martial history, featuring epic battles, ingenious spycraft and thrilling fight scenes.

In The Last Iga Spy, Mist Saizo’s son Saisuke takes over his father’s name and mission. He is recruited by a rebellious warlord to assist a plot to overthrow the government, but the Shogun hires a rival ninja clan to thwart the uprising. Meanwhile, other forces are also at play. Directed by Kazuo Mori (Shinobi 3: Resurrection, Zatoichi at Large), this film pits ninja against ninja, including a breathtaking rooftop battle scene that is one of the highlights of the entire Shinobi series." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "Shinobi: Siege, Shinobi: Return of Mist Saizo, and Shinobi: The Last Iga Spy were transferred in 2K by the Kadokawa Corporation and supplied to Radiance Films as a high-definition digital file."

Shinobi: Siege and Shinobi: Return of Mist Saizo come on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 20.5 GB (Shinobi: Siege), 21.5 GB (Shinobi: Return of Mist Saizo)

Shinobi: The Last Iga Spy comes on a 50 GB dual layer Blu-ray.

Disc Size: 30.8 GB

Feature: 25.9 GB

The source looks excellent; any debris that remains is minor. Image clarity, contrast, and compression are solid, and while black levels generally look great, there are a few moments where they are not as convincing. Also, the image is free of any digital noise reduction.

Audio: 4/5 (All Films)

Each film comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. All three audio tracks sound clean, clear, and balanced, and ambient sounds are well represented.

Extras:

Extras on the disc with Shinobi: Siege and Shinobi: Return of Mist Saizo include a scene-specific audio commentary with Tom Mes for Shinobi: Siege, a video essay by Tom Mes about Raizô Ichikawa titled The Faces of Raizô (4 minutes 21 seconds, Dolby Digital mono, text in English) and an interview with Japanese period film historian Taichi Kasuga (24 minutes 10 seconds, Dolby Digital stereo Japanese with removable English subtitles).

Extras on the disc with Shinobi: The Last Iga Spy include an interview with ninja film scholar Mance Thompson (18 minutes 12 seconds, LPCM stereo English, no subtitles) and a video essay by film critic Hayley Scanlon titled The Tragedy of Mist Saizo (11 minutes 34 seconds, LPCM stereo English, no subtitles).

Other extras include reversible cover art, six postcards of promotional material from the films, removable OBI strip leaving packaging free of certificates and markings and a 56-page booklet (limited to 3000 copies) with cast & crew information for each film, an essay titled Guerrillas in the Mist written by Jonathan Clements, an archival essay titled The Ninja: An Invented Tradition written by Stephen Turnbull, and information about the transfers.

Summary:

Shinobi: Siege: Now the ruler of Japan, Ieyasu Tokugawa, only has one holdout standing in his way of complete domination: the Toyotomi clan. Will they surrender to avoid bloodshed, or will they not go down without a fight?

Tokuzô Tanaka directed Shinobi: Siege. He’s known for Killer Whale, New Tale of Zatoichi, Zatoichi the Fugitive, Sleepy Eyes of Death: The Chinese Jade, Zatoichi's Vengeance, Sleepy Eyes of Death: Hell Is a Woman, The Betrayal, The Snow Woman, The Haunted Castle, and eight films in the Bad Reputation series.

Although Shinobi: Siege is a continuation of the three films that preceded it. There are characters from those three films in Shinobi: Siege, and they are portrayed by the same actors. Its star, Raizô Ichikawa (The Betrayal), portrays a different character named Saizo Kirigakure, and this character aligns with the Toyotomi clan, whereas Goemon Ishikawa was a bitter enemy of that clan.

Shinobi: Siege jumps right into the fray with an attack on a castle by hundreds of hired ronin who are aiding Ieyasu Tokugawa in his quest to take out the Toyotomi clan. The outer areas of the castle have been fortified. When it becomes clear that they cannot get past these layers of defense, Tokugawa Ieyasu has his men stand down while they wait while those inside are cut off from supplies and will eventually starve. This opening setup does a phenomenal job laying the foundation for the events that follow.

Although Raizô Ichikawa is portraying a new character, the transition feels effortless due to the similarities between the two roles. The most memorable performance is Ganjirô Nakamura’s (Floating Weeds) portrayal of a ruthless shogun named Ieyasu Tokugawa. He delivers a pitch-perfect performance that is utterly convincing in conveying his character's brutality and bloodlust. Another performance of note is Tomisaburô Wakayama (Lone Wolf and Cub: Sword of Vengeance) in the role of Yukimura Sanada, a warlord at odds with Ieyasu Tokugawa.

Loyalty and betrayal are themes that are once again prominent, as characters make and break alliances as they vie for position as power is consolidated. The narrative is well-constituted; it does a superb job balancing exposition and action, with its two major action set pieces opening and closing the film. When it comes to ninjas, there are numerous attacks involving them, along with some brutal moments of torture, such as acid being poured on a victim's face. The film also showcases an abundance of carnage. Ultimately, Shinobi: Siege marks a welcome return to form after the disappointment of its predecessor, Shinobi: Resurrection.

Shinobi: Return of Mist Saizo: This film picks up where its predecessor left off, with Saizo Kirigakure now serving as a bodyguard for a feudal lord named Yukimura Sanada, who narrowly escaped when Tokugawa Ieyasu successfully invaded his castle.

Kazuo Ikehiro directed Shinobi: Return of Mist Saizo. He’s known for Zatoichi and the Chest of Gold, Zatoichi's Flashing Sword, Zatoichi's Pilgrimage, Shinobi: A New Beginning, Sleepy Eyes of Death: A Trail of Traps, and Naked Ambition.

Like the first two Shinobi films, Shinobi: Return of Mist Saizo and its predecessor, Shinobi: Siege, are bookends. Shinobi: Return of Mist Saizo’s narrative opens with a recap and then picks up where its predecessor left off. When the action resumes, Saizo Kirigakure and another man are helping Yukimura Sanada flee from a certain death. Right on their tracks is a group of ninja assassins, and an impressive action sequence unfolds in boats and in water between Saizo Kirigakure and the ninja assassins.

Once again a feud between rival clans plays a significant role in the story that unfolds. The action sequences are exemplary, particularly a scene where ninjas attack with flaming throwing stars and another where ninja assassins ambush Saizo Kirigakure. While these action sequences are certainly the highlight, the narrative maintains a satisfying balance between exposition and action.

All around, the cast are excellent, especially Raizô Ichikawa (A Certain Killer), who returns in the role of Saizo Kirigakure. He once again delivers another commanding performance that elevates everyone around him. Another performance of note is Tomisaburô Wakayama (Big Time Gambling Boss), who reprises the role of Yukimura Sanada. A casting change of note: Eitarô Ozawa (Ugetsu) replaces Ganjirô Nakamura in the role of Ieyasu Tokugawa.

Revenge is also key to the story that unfolds; there are two female ninjas who want revenge for their father, who was killed by Saizo Kirigakure. This subplot has a solid twist when one of the women falls in love with Saizo Kirigakure, causing a rift with her sibling. Being that this is a film about ninjas, it's not a surprise that deception plays a large role; there is a ninja who disguises himself in such a way that his reveal truly catches you off guard. Ultimately, a strong case can be made for Shinobi: Return of Mist Saizo being the best film in this series.

Shinobi: The Last Iga Spy: This film serves as an origins story for Saizo Kumogakure and his father, who was also a ninja; he died before his eyes. Years later, Saizo Kumogakure is hired by a warlord to assist in the plot to overthrow the government, which puts him on a path to avenge his father's death.

Kazuo Mori directed Shinobi: The Last Iga Spy. It is the second of three Shinobi films he directed, the other two being Shinobi: Resurrection and Shinobi: Mission: Iron Castle. His other notable films are Samurai Vendetta, Agent Shiranui, The Tale of Zatoichi Continues, Zatoichi and the Doomed Man, Wrath of Daimajin, and Zatoichi at Large.

For this sixth installment, there is no carryover from its predecessor; instead, it's an origins story that's rooted in revenge. The opening setup does a superb job laying out the traumatic childhood events that made Saizo Kirigakure the man he’s become. Besides fleshing out the protagonist's backstory, this opening setup is action heavy.

Once again there are characters pretending to be someone they are not, and they use this deception to lure Saizo Kirigakure into a trap by kidnapping someone from his past. This person from his past is a princess who was raised as his daughter by Saizo Kirigakure’s father to protect her. That said, the main narrative thread is a plot to cause unrest and usurp the emperor's power.

The narrative is flawlessly constructed; it does an exceptional job drawing you in and holding your attention. When it comes to pacing, things move briskly, and the narrative does a superb job building momentum to an exemplary finale. Ultimately, Shinobi: The Last Iga Spy is an outstanding successor to Shinobi: Return of Mist Saizo.

Shinobi Volume 2 is a solid release from Radiance Films that gives each film strong audio/video presentations and informative extras, recommended.

 

Written by Michael Den Boer

A Certain Killer/A Killer's Key: Limited Edition – Arrow Video (Blu-ray)

Theatrical Release Dates: Japan, 1967 (A Certain Killer, A Killer's Key)
Director: Kazuo Mori (Both Films)
Cast: Raizô Ichikawa, Mikio Narita, Yumiko Nogawa, Asao Koike, Yukiko Kobayashi, Mayumi Nagisa, Jôtarô Senba, Saburô Date, Tatsuo Matsushita (A Certain Killer), Raizô Ichikawa, Ichirô Nakatani, Kô Nishimura, Tomomi Satô, Isao Yamagata, Yoshio Kaneuchi, Asao Uchida, Saburô Date, Kôichi Itô (A Killer's Key)

Release Date: February 10th, 2025 (UK), February 11th, 2025 (USA)
Approximate Running Times: 81 Minutes 53 Seconds (A Certain Killer), 79 Minutes 11 Seconds (A Killer's Key)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Japanese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A,B
Retail Price: £24.99 (UK), $39.95 (USA)

"In A Certain Killer, Shiozaki's low-profile existence as a chef at a local sushi restaurant serves as a front for his true job as a professional assassin whose modus operandi is poisoned needles. He's approached by Maeda, a low-ranking member of a local yakuza group, to take out a rival gang boss. But the sudden arrival into his life of a spirited young woman, Keiko (Yumiko Nogawa, Gate of Flesh), has dramatic ramifications on his relationship with his new employer. Ichikawa's lone wolf assassin is back in A Killer's Key, this time masquerading as a traditional dance instructor named Nitta who is called in to avert a potential financial scandal that threatens to engulf a powerful yakuza group with ties to powerful figures in the political establishment." - synopsis provided by the distributor

Video: 4/5 (A Certain Killer, A Killer's Key)

Here’s the information provided about this release's transfer, "A Certain Killer and A Killer's Key are both presented in their original aspect ratio of 2.35:1 with mono audio. The high definition masters were provided by Kadokawa.

Additional picture remastering work was completed by R3Store Studios, London. Additional audio remastering work was completed by Þorsteinn Gislason."

A Certain Killer and A Killer's Key come on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 20.7 GB (A Certain Killer),20 GB (A Killer's Key)

The sources for each film are in great shape; colors look correct, image clarity, and black levels are strong, compression is solid, and the image retains an organic look.

Audio: 3.75/5 (A Certain Killer), 4/5 (A Killer's Key)

Each film comes with one audio option, a LPCM mono mix in Japanese; both films come with removable English subtitles. Both audio tracks have background hiss; it is more noticeable on A Killer's Key. Dialog comes through clearly, everything sounds balanced, and range-wise both audio tracks are satisfactory.

Extras:

Extras for this release include an image gallery for A Certain Killer (10 stills), a theatrical trailer for A Certain Killer (2 minutes 16 seconds, Dolby Digital mono Japanese with non-removable English subtitles), an image gallery for A Killer's Key (14 stills), a theatrical trailer for A Killer's Key (2 minutes 4 seconds, Dolby Digital mono Japanese with non-removable English subtitles), an introduction to A Certain Killer and A Killer's Key by Japanese film scholar Mark Roberts titled The Definite Murderer (32 minutes 41 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film critic and Asian cinema expert Tony Rayns for A Certain Killer, an audio commentary with Tony Rayns for A Killer's Key, reversible cover art, a slipcover (limited to the first pressing), and a 28-page booklet (limited to the first pressing) with cast & crew information, an essay titled The Spirit of ‘67:  A Certain Killer, A Killer's Key and the Global Hitman Craze written by Jasper Sharp, an essay titled Detachment and Charisma: The Seductive Refusal of Raizô Ichikawa written by Earl Jackson, and information about the transfers. 

Summary:

A Certain Killer and A Killer's Key were both directed by Kazuo Mori, whose other notable films are The Tale of Zatoichi Continues, Shinobi: Resurrection, Zatoichi and the Doomed Man, Wrath of Daimajin, and Zatoichi at Large. A Certain Killer and A Killer's Key were both co-written by Yasuzô Masumura, a filmmaker in his own right known for Giants and Toys, Afraid to Die, Irezumi, The Red Angel, and Blind Beast.

A Certain Killer: A man working as a chef is really an assassin who is hired by a yakuza clan to kill a rival clan's boss.

Though A Certain Killer takes place in the present, it is essentially a samurai film set in modern times. The protagonist, Nitta, is a ronin who has no allegiance to anyone, and he mostly works alone. Despite his best intentions to never allow anyone to get close to him, a troublemaker named Keiko latches on to him after an act of kindness.

Though there is a familiarity to the story unfolding, its narrative's non-linear structure greatly enhances it. The protagonist Nitta’s backstory is fully fleshed out via a series of flashbacks. The flashbacks are designed to hold characters' deceptions back for maximum effect.

The protagonist, Shiozaki, is meticulous in his planning; every detail is laid out perfectly. Even the apartment near a graveyard that he’s staying at for his job is a strategic location. That said, even a perfect plan can go awry when two of the three are working against the other partner.

The performances are all excellent; especially Yumiko Nogawa (Gate of Flesh) who portrays a femme fatale named Keiko. Keiko is an opportunist who quickly attaches herself to whoever has the most to offer her. The other performance of note is Raizô Ichikawa (An Actor's Revenge), who portrays a hitman named Shiozaki. He delivers a superb performance of a character who always anticipates his opponent's next move.

Though Kazuo Mori’s direction well suits the story that unfolds, one has to wonder how A Certain Killer would have turned out if directed by Yasuzô Masumura. Where Kazuo Mori is a workmanlike director whose films, like the performances, take center stage, Yasuzô Masumura is a filmmaker known for creating visually arresting moments. A Certain Killer’s most striking moment is a graveyard brawl finale.

From its opening moments; A Certain Killer's meticulously laid out narrative draws you in. A lot happens in just 82 minutes; things move quickly, and the narrative does a phenomenal job building momentum. Composer Hajime Kaburagi (Tokyo Drifter) delivers a solid score that reinforces the mood. Ultimately, A Certain Killer is a well-executed crime film that succeeds because of the two aforementioned performances.

A Killer's Key: A former hitman who is now working as a dance instructor is lured back by a yakuza clan that wants him to kill a witness that can expose them.

Despite having a similar scenario and a protagonist who has a career as a cover for his work as an assassin, A Killer's Key is not a direct sequel to A Certain Killer. This time around, the narrative revolves around a hitman who has long left his former life behind. Though he completes the hit without any complications, those who hired him try to have him killed.

All around, the performances are excellent, especially Raizô Ichikawa (Sleepy Eyes of Death), who portrays an assassin named Nitta. His character mirrors that one that he portrayed in A Certain Killer. Another performance of note is Tomomi Satô (Goke, Body Snatcher from Hell), who portrays Hideko, a young woman whose dance teacher is Nitta. Just like the female protagonist in A Certain Killer, Hideko is an opportunistic character.

Visually, A Killer's Key is a more stylish film than A Certain Killer. The two most striking moments are a scene in a swimming pool where Nitta uses the other swimmers as cover as he kills his target and a scene where Nitta gets inside of Hideko’s apartment unnoticed; he’s waiting for one of the men who hired an assassin to kill him.

Unlike its predecessor, A Killer's Key’s narrative is linear. The narrative is well-executed, things move quickly, and it does a superb job building towards a very satisfying finale. The score, composed by Hajime Kaburagi (By a Man's Face Shall You Know Him), does an exemplary job heightening the mood. Ultimately, despite its similarities to A Certain Killer, A Killer's Key is so much more than a rehash; it is a film that stands well on its own.

A Certain Killer and A Killer's Key gets a solid release from Arrow Video that comes with strong audio/video presentations and insightful extras, highly recommended.

 

Written by Michael Den Boer