High Crime – FilmArt (Blu-ray)

Theatrical Release Date: Italy, 1973
Director: Enzo G. Castellari
Writers: Maurizio Amati, Tito Carpi, Gianfranco Clerici, Enzo G. Castellari, Leonardo Martín, Gene Luotto, Vincenzo Mannino
Cast: Franco Nero, Fernando Rey, James Whitmore, Delia Boccardo, Duilio Del Prete, Silvano Tranquilli, Luigi Diberti, Stefania Girolami Goodwin, Ely Galleani, Massimo Vanni, Carla Mancini

Release Date: January 28th, 2022
Approximate Running Time: 103 Minutes 13 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: FSK Freigegeben ab 18 Jahren (Germany)
Sound: DTS-HD Mono English, DTS-HD Mono Italian, DTS-HD Mono German
Subtitles: German
Region Coding: Region Free
Retail Price: OOP

"After a robbery at a post office, Carlo Antonelli is kidnapped by gangsters and beaten up badly. Disappointed by the police, who are unable to help him, Antonelli starts his own campaign of revenge and wants to pillory the gangsters himself. But the plan threatens to fail. Antonelli becomes entangled in an opaque whirlpool of violence and must once again experience firsthand what it means to mess with sinister figures. Antonelli sees red. His last resort: to take up arms himself!" - synopsis provided by the distributor

Video: 4/5

High Crime comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.8 GB

Feature: 28.3 GB

The source used for this transfer is in excellent shape. It should be noted that this transfer’s source was supplied by StudioCanal. Colors look very good, flesh tones look correct, contrast, image clarity, and black levels are solid, and the grain looks organic.

Audio: 4.5/5 (DTS-HD Mono English), 3.75/5 (DTS-HD Mono Italian)

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. The English language track is in excellent shape; dialog always comes through clearly; everything sounds balanced and robust when it should. Though the Italian language track is in very good shape, it does not sound as robust as its English language counterpart. Included with this release are removable German subtitles for the Italian language track.

Extras:

Extras for this release include reversible cover art, an image gallery (16 images-posters/lobby cards/home video art), a theatrical trailer (4 minutes 17 seconds, LPCM mono English, no subtitles), German opening credits/intermission titles/closing credits and UK video release opening credits under the title The Marseilles Connection (3 minutes 31 seconds, LPCM mono German, no subtitles and LPCM mono), alternate ending (1 minute 44 seconds, LPCM mono), an option to watch High Crime with its alternative ending (103 minutes 13 seconds, DTS-HD mono English, DTS-HD mono Italian, DTS-HD mono German with removable German subtitles), and a twenty-page booklet with an essay titled Ver-Lassener Stadt-Strand-Tag written by Michael Cholewa (text in German).

Other extras include an English-language trailer for Street Law.

This release is limited to 1000 copies.

Summary:

Enzo G. Castellari is a name that’s synonymous with Italian action cinema. And though he’s successfully worked in several genres, He’s most remembered for his contributions to Poliziotteschi cinema. Notable Poliziotteschi directed by Enzo G. Castellari include Street Law and The Big Racket.

Though Poliziotteschi’s roots can be traced back to heist films that were popular in Italy in the late 1960’s. Poliziotteschi's cinema did not hit its stride until the 1970’s. Unfortunately, like most Italian film cycles, Poliziotteschi cinema would fade away by the early 1980’s.

In the early days of Poliziotteschi cinema, there was more of a focus on character-driven stories, while the films that came later in the cycle were action-heavy and pushed the limits when it came to on-screen violence. This brings us to Enzo G. Castellari’s High Crime, a film that falls into the former category.

One thing most Poliziotteschi cinemas have in common is how they open with a set piece that sets the tone for what follows. In the case of High Crime, it opens with a twelve-minute chase sequence which begins on foot, then proceeds into a car chase where cars recklessly weave in between other cars. What sets this scene apart from other scenes is its originality. There’s no recycled chase footage to be found here, something that would become common in Poliziotteschi cinema.

High Crime, like most Poliziotteschi cinema, has its inspirations. And though High Crime’s premise bears similarities to The French Connection, This is where any similarities end, since what lies within is a film that draws heavily from what was going on socially and politically in Italy at that time.

The main attraction of High Crime is Franco Nero (Django) in the role of Vice-Commissioner Belli, a determined character who is frustrated by a system that prevents him from doing his job. Though he has portrayed other characters who have similar qualities to Vice-Commissioner Belli, The result is arguably one of his strongest performances of his career. It should be noted that the English-language version features his voice.

Other notable cast members include Fernando Rey (Illustrious Corpses) in the role of an aging crime boss named Cafiero, Stefania Girolami Goodwin (The Heroin Busters) in the role of Belli’s daughter, Delia Boccardo (Silent Action) in the role of Belli’s girlfriend, and Ely Galleani (Five Dolls for an August Moon) in the role of a reluctant informant named Chicca.

There’s not an area where high crime does not deliver and then some. The premise is well-executed, with a perfectly constructed narrative that balances exposition and action set pieces, and an explosive shootout finale between cops and criminals. Enzo G. Castellari’s greatest asset as a director is his ability to create stylized acts of violence. Another strength is Guido De Angelis and Maurizio De Angelis’ (Torso) score, which does a superb job of reinforcing the mood. Ultimately, High Crime is an extraordinary film that is one of the best examples of Poliziotteschi cinema.

High Crime makes its way to Blu-ray via a strong release from FilmArt that comes with a solid English-friendly audio/video presentation; highly recommended.

Written by Michael Den Boer

Terror Express – Dark Force Entertainment (Blu-ray)

Theatrical Release Date: Italy, 1980
Director: Ferdinando Baldi
Writer: George Eastman
Cast: Silvia Dionisio, Werner Pochath, Zora Kerova, Gianluigi Chirizzi, Carlo De Mejo, Giancarlo Maestri, Fausto Lombardi, Gino Milli, Roberto Caporali, Antonio Maimone, Gianfranca Dionisi, Rita Livesi, Gianfilippo Carcano, Andrea Scotti, Cesare Gelli, Fiammetta Flamini, Venantino Venantini

Release Date: May 25th, 2021
Approximate Running Time: 85 Minutes 12 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: R
Sound: DTS-HD Mono English
Subtitles: N/A
Region Coding: Region Free
Retail Price: $29.95

"Three thugs led by international superstar Werner Pocath commandeer a couple of cars on a moving train and spread terror among the passengers including lots of rape and depravity." - synopsis provided by the distributor

Video: 3.5/5

Here’s the information provided about this release's transfer, "Brand New 2k Scan from Original 16mm Film Negatives with Extensive Reconstruction and Color Correction."

Terror Express comes on a 25 GB single layer Blu-ray.

Disc Size: 21.6 GB

Feature: 19.9 GB

The source used for this transfer has white specs, scratches, emulsion stains, and other source-related imprecations that vary in degree of severity. Colors look correct, the image generally looks crisp, and black levels leave room for improvement. That said, this transfer looks very good considering the limitations of the source.

Audio: 3/5

This release comes with one audio option, a DTS-HD mono mix in English. There are some minor issues related to background hiss and though the dialog comes through clear enough to follow, range-wise, do not expect too much.

Extras:

Extras for this release include a theatrical trailer (3 minutes 25 seconds, Dolby Digital mono English, no subtitles), and an archival featurette titled Tails from the Rails (24 minutes 29 seconds, Dolby Digital stereo Italian with removable English subtitles).

Summary:

In the 1970’s and early 1980's, Italian cinema churned out a handful of "Last House on the Left" clones like Night Train Murders, The Last House on the Beach, and House on the Edge of the Park. While on the surface, the narrative appears to be yet another Last House on the Left clone, The end result is something that is closer to A Clockwork Orange. The three young men terrorizing the train passengers, like Alex and his droogs, commit more impulsive violent acts. the featurette included with this release, writer George Eastman cites the 1967 film The Incident as his main inspiration for Terror Express.

In between moments of shock and sleaze, the narrative explores, with mixed results, the more negative aspects of social status. And though the narrative takes a while before it settles into its more salacious content, To its credit, it takes just enough time to set up who all the main players are. Terror Express's inability to build tension is one of the film's flaws. It quickly becomes apparent what lies just around the bend. That said, other Italian films have explored similar territory with greater effect. Also, Terror Express more than holds its own visually for a film that is primarily confined to one location.

There are a few performances that go over the top and then some. Luckily, these types of performances work well with the story at hand. The standout performance was by Silvia Dionisio (A Wave of Pleasure) in the role of a prostitute named Giulia. Not only does she sell the sexual allure of her character, She is also very convincing in showing her character's more vulnerable side. Another performance of note is Zora Kerova (The New York Ripper). Her character is subjected to the most grueling assault of all the characters. Ultimately, Terror Express is a mildly entertaining explosion film that has an ample amount of sleaze.

Terror Express makes its way to Blu-ray via a strong release from Dark Force Entertainment that leaves plenty of room for improvement.

Written by Michael Den Boer

12 Monkeys – Arrow Video (4k UHD)

Theatrical Release Date: USA, 1995
Director: Terry Gilliam
Writers: Chris Marker, David Webb Peoples, Janet Peoples
Cast: Bruce Willis, Madeleine Stowe, Brad Pitt, Christopher Plummer, Christopher Meloni, Frank Gorshin

Release Date: April 25th, 2022 (UK), April 26th, 2022 (USA)
Approximate Running Time: 129 Minutes 26 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 15 (UK), R (USA)
Sound: DTS-HD 5.1 English, LPCM Stereo English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: £29.99 (UK) / $49.95 (USA)

“In 1996, a deadly virus is unleashed by a group calling themselves the Army of the Twelve Monkeys, destroying much of the world’s population and forcing survivors underground. In 2035, prisoner James Cole is chosen to go back in time and help scientists in their search for a cure.” – Synopsis provided by the Distributor

Video: 4.5/5

Here’s the information provided about the transfer, “The original 35mm camera negative was scanned in 4k 16 bit resolution at EFilm, Burbank. The film was restored in 4K and graded in HDR10 & Dolby Vision at Silver Salt Restoration, London. The SDR grade from Arrow’s prior master served as our primary grading reference and this was supervised and approved by director Terry Gilliam.”

12 Monkeys comes on a 100 GB triple layer 4K UHD.

Disc Size: 92.1 GB

Feature: 85.9 GB

For this release's transfer, Arrow Video takes their already solid source that they used for their 2018 Blu-ray. And though this new transfer is not as much of a noticeable upgrade as Arrow Video’s Blu-ray was when compared to Universal’s Blu-ray, The result is a transfer that takes full advantage of HDR and Dolby Vision formats.

It should be noted that footage from the forty-minute fifty second mark to the forty-one minute 10 second mark is not correct, and in its place is the footage from the forty-one minute 11 second mark to the forty-one minute thirty-one second mark. Though the footage is repeated, the audio is not affected. Also, Arrow Video’s 2018 Blu-ray also repeats this footage.

Audio: 4.5/5

This release comes with two audio options, a DTS-HD 5.1 mix in English and a LPCM stereo mix in English. These are the same two audio tracks from Arrow Video’s 2018 Blu-ray. You can’t go wrong with either of these audio mixes. They’re in excellent shape; dialog comes through clearly; everything sounds balanced; ambient sounds and the score are well-represented. Included with this release are removable English SDH.

Extras:

Extras for this release include a theatrical trailer (2 minutes 26 seconds, LPCM stereo English, no subtitles), an image gallery (237 images-logo designs/costume diaries/location photographs/costume & production design/storyboards/stills/poster concepts/posters), an appreciation with film scholar Ian Christie (16 minutes 11 seconds, Dolby Digital stereo English, no subtitles), an interview with Terry Gillian from the 1996 London Film Festival titled The Film Exchange with Terry Gilliam (23 minutes 50 seconds, Dolby Digital stereo English, no subtitles), a documentary titled The Hamster Factor and Other Tales of Twelve Monkeys (87 minutes 34 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Terry Gilliam and producer Charles Roven. a slipcover, a reversible cover art and a 44-page booklet with cast & crew information, an essay titled The Audacity of Hopelessness: Twelve Monkeys’ Grim Vision of the Future and the Present written by Nathan Rabin, an interview with Terry Gilliam titled Gilliam on Gilliam: Twelve Monkeys interview by Ian Christie and information about the restoration.

Summary:

Though Terry Gilliam’s career has spanned six decades, It was not until I saw 12 Monkeys, a film that is widely regarded as Terry Gilliam’s most mainstream film, that I first became aware of him. And like many films that introduce you to a filmmaker who had not been on your radar before, 12 Monkeys is the Terry Gilliam film that I revisit the most often.

Throughout his career, most of Terry Gilliam’s films have had science fiction elements. Only two of his films, Brazil and 12 Monkeys, are actually science fiction films. With the bulk of the films that he’s directed being fantasy films,

Time travel is one of science fiction cinema and literature’s most durable premises. And though this premise allows for a range of possibilities, More often than not, most time-travel films and literature follow a similar blueprint.

One of the rare exceptions to this rule is 12 Monkeys, a film that presents what is arguably one of the more interesting theories about the rules of time travel. And nowhere is this clearer than in how the film lays out how one’s fate cannot be changed. Any attempt to try to change destiny is futile. Another area where 12 Monkeys sets itself apart from other similar-themed films is how it presents the possibility that what has just unfolded might be the delusions of a disturbed person.

The most surprising aspect of 12 Monkeys is its casting. Most notably, the casting of Bruce Willis (Die Hard) in the role of James Cole, a man from the future who’s been chosen to go back in time and save humanity by preventing an apocalyptic event. Bruce Wise delivers a powerful performance that perfectly captures his character's state of mind. Another strength of this performance is that his character’s unstable state of mind serves as a perfect guide for the audience.

Other performances of note include Madeleine Stowe (Unlawful Entry) in the role of Kathryn Railly, a psychiatrist who forms a bond with Cole, and Brad Pitt (Fight Club) in the role of Jeffrey Goines, the mentally disturbed son of the scientist who has created a deadly virus. Performances by the entire cast are all excellent in their respective roles.

From a production standpoint, there is not an area where 12 Monkeys does not excel. The premise is superbly realized, the well-constructed narrative ensures that pacing is never an issue, and the ending provides an extremely satisfying conclusion to the events that have just unfolded.

Cinema’s most celebrated directors all have one thing in common; a signature style that is instantly recognizable in the opening moments of the film. Terry Gilliam is such a filmmaker, and his visuals are the one element more than any other that defines his films. And, once again, he creates a visual feast for the eyes with 12 monkeys.

12 Monkeys makes its way to 4K UHD via a strong release from Arrow Video that improves upon their solid transfer and ports over all the extras from their previous release, 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 VLC player and lossless PNGs.

Written by Michael Den Boer

Cannibal Apocalypse – Kino Lorber (Blu-ray)

Theatrical Release Date: Italy, 1980
Director: Antonio Margheriti
Writers: Antonio Margheriti, Dardano Sacchetti
Cast: John Saxon, Elizabeth Turner, Giovanni Lombardo Radice, Cinzia De Carolis, Tony King, Wallace Wilkinson, Ramiro Oliveros, John Geroson, May Heatherly

Release Date: March 17th, 2020
Approximate Running Time: 96 Minutes 47 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"The horrors of war take on a whole new meaning for Vietnam vet Norman Hopper (John Saxon, Nightmare Beach, Evil Eye, Queen of Blood), whose quiet domestic life in Atlanta is shattered by the return of Charlie Bukowski, a combat buddy who dredges up terrifying flashbacks of flesh eating and bloodshed in the war-torn jungles. Now on the run from the law after taking a bite out of an unwilling victim, Charlie begs Norman to help him get out of town with another fellow veteran, Tom (Tony King, Report to the Commissioner, The Raiders of Atlantis). Soon the ragtag team of cannibals are fighting for their lives, spreading a deadly contagion through the city before heading into the sewers for a gut-wrenching climax no one will soon forget!" - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "Brand new 4K Restoration."

Cannibal Apocalypse comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.7 GB

Feature: 28.2 GB

The source used for this transfer is in excellent shape; colors are nicely saturated, image clarity, contrast, and shadow detail are solid, and the grain remains intact.

Audio: 4.5/5

This release comes with one audio option, a DTS-HD mono mix in English, and included with this release are removable English subtitles. The audio is in excellent shape; the dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include alternate U.S. opening sequence (8 minutes 16 seconds, Dolby Digital mono English, no subtitles), Japanese teaser (38 seconds, Dolby Digital mono English, no subtitles), European theatrical trailer (2 minutes 33 seconds, Dolby Digital mono English, no subtitles), an archival locations featurette titled Apocalypse in the Streets (6 minutes 40 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Tony King titled Cannibal King (10 minutes 1 second, Dolby Digital stereo English, no subtitles), an archival making of documentary titled Cannibal Apocalypse Redux (54 minutes 11 seconds, Dolby Digital stereo English, no subtitles), and film historian Tim Lucas.

Summary:

Cannibal Apocalypse was directed by Antonio Margheriti, a genre specialist whose career spanned four decades. And though he worked in a variety of genres, he’s most remembered for his work in the sci-fi genre. Notable films directed by Antonio Margheriti include The Long Hair of Death, The Web of the Spider, and Death Rage.

Content-wise, Cannibal Apocalypse is equal parts cannibal film and Vietnam-themed combat films, which would later rise to prominence in Italy in the latter half of the 1980’s. And though the war elements only make up a fraction of the narrative, To pigeon-hole Cannibal Apocalypse as a cannibal film would be doing it a great disservice since the effects of war are central to the events that unfold. That said, there are a handful of gory moments that are in line with what one expects from cannibal films.

The most surprising aspects of Cannibal Apocalypse are the performances. Cannibal Apocalypse has a solid cast that’s headlined by John Saxon (Tenebrae) in the role of Norman Hopper, a war veteran who’s plagued by nightmares of the horrors he witnessed in Vietnam. Another notable performance includes Giovanni Lombardo Radice (Gates of Hell) in the role of Charlie Bukowski, a soldier who served under Norman Hopper. He delivers another manic performance that’s in line with the roles he’s known for portraying.

From a production standpoint, Cannibal Apocalypse is a very effective film that achieves what it sets out to do. The well-executed premise is reinforced by a strong narrative that does a good job of building tension, and a very satisfying finale provides the perfect coda.

Cannibal Apocalypse gets an exceptional release from Kino Lorber that comes with a solid audio/video presentation and insightful extras, highly recommended.

Written by Michael Den Boer

Warriors of the Year 2072 – Severin Films (Blu-ray)

Theatrical Release Date: Italy, 1983
Director: Lucio Fulci
Writers: Elisa Briganti, Cesare Frugoni, Lucio Fulci, Dardano Sacchetti
Cast: Jared Martin, Fred Williamson, Howard Ross, Eleonora Brigliadori, Cosimo Cinieri, Claudio Cassinelli, Valeria Cavalli, Donald O'Brien, Penny Brown, Al Cliver, Mario Novelli, Hal Yamanouchi

Release Date: November 30th, 2021
Approximate Running Time: 94 Minutes 16 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $34.95

"In a future dominated by ultra-violent TV entertainment, the top-rated global sport Kill-Bike drafts two condemned gladiators - Jared Martin of DALLAS and Fred Williamson of THE INGLORIOUS BASTARDS - for a 'Battle Of The Damned' in the Roman Coliseum." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "scanned in 4K from an IP print for the first time in America."

Warriors of the Year 2072 comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.4 GB

Feature: 25.7 GB

The source used for this transfer looks excellent. Colors are nicely saturated, image clarity and black levels are solid, and there are no issues with DNR. That said, this new transfer is a massive upgrade over Troma’s 2001 DVD release.

Audio: 4.25/5

This release comes with one audio option, a DTS-HD mono mix in English and removable English SDH subtitles. The audio is in very good shape; the dialog comes through clearly, and everything sounds balanced and robust when it needs to.

Extras:

Extras for this release include reversible cover art, a theatrical trailer (3 minutes 6 seconds, Dolby Digital mono English, no subtitles), an interview with actress Cinzia Monreale titled Four Times Lucio (7 minutes 58 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with cinematographer Giuseppe Pinori titled Photographing the Future (17 minutes 11 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Antonella Fulci titled My Father, The Hero (19 minutes 19 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Al Cliver titled The Good-Hearted Gladiator (12 minutes 15 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Howard Ross titled The Nicest Villain (17 minutes 49 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with screenwriter Dardano Sacchetti titled Unloved (15 minutes 50 seconds, Dolby Digital stereo Italian with removable English subtitles), conversations between Lucio Fulci and Michele Romagnoli titled The Fulci Tapes (11 minutes 8 seconds, Dolby Digital stereo Italian with removable English subtitles), an audio commentary with Mondo Digital's Nathaniel Thompson and Troy Howarth, Author of Splintered Visions – Lucio Fulci & His Films, a CD with Riz Ortolani’s score, and an insert with the CD’s track listing.

Summary:

Though Lucio Fulci was not always blessed with the resources he needed, He rarely directed a film post-One on Top of the Other that was not still entertaining in spite of a lack of resources. That brings us to Warriors of the Year 2072, Lucio Fulci’s only foray into Italian cinema’s post-apocalyptic cycle of films.

But it is easy to see which American post-apocalyptic films served as inspiration for most Italian post-apocalyptic films. Warriors of the Year 2072 is a rare example of an Italian genre film where it is not as clear. With the main inspiration for Warriors of the Year 2072 coming from another Italian film genre, Peplum, Most notably, the Roman gladiator games.

From its opening moments, Warriors of the Year 2072 establishes what kind of film it's going to be. And just like Lucio Fulci’s other films from this era, he does not shy away from showing violence in its purest form. With the most memorable moment of violence being a scene where three hoodlums break into a woman’s house, violate her, and kill her.

The performances are best described as serviceable, and there’s an over-the-top quality to most of the performances that works in Warriors of the Year 2072’s favor. Notable cast members include Claudio Cassinelli (Killer Cop) in the role of a megalomaniac TV producer named Cortez and Fred Williamson (Vigilante) doing what he does best: kicking some ass.

From a production standpoint, Lucio Fulci maximizes his limited resources. The premise is well-executed, and a briskly paced narrative ensures there's never a dull moment. Also, the visuals do a great job of reinforcing the mood, and Riz Ortolani delivers a solid score that has a bombastic opening theme. Ultimately, Warriors of the Year 2072 is a highly entertaining film that is a must-see if you're a fan of Lucio Fulci.

Warriors of the Year 2072 gets an excellent release from Severin Films that comes with a solid audio/video presentation and an abundance of informative extras, highly recommended.

Written by Michael Den Boer

The Mummy's Revenge – Scorpion Releasing (Blu-ray) 

Theatrical Release Date: Spain, 1975
Director: Carlos Aured
Writer: Paul Naschy
Cast: Paul Naschy, Jack Taylor, María Silva, Helga Liné, Luis Dávila, Rina Ottolina, Eduardo Calvo, Fernando Sánchez Polack, Pilar Bardem

Release Date: July 22nd, 2019
Approximate Running Times: 91 Minutes 35 Seconds (Extended Cut), 89 Minutes 19 Seconds (Theatrical Cut)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: NR
Sound: DTS-HD Mono Spanish, DTS-HD Mono English (Extended Cut), DTS-HD Mono English (Theatrical Cut)
Subtitles: English (Extended Cut)
Region Coding: Region A
Retail Price: OOP

"A long-dead Pharaoh is resurrected by one of his descendants. Along with his beautiful assistant, they kidnap and murder innocent women as the trio search for a perfect body fit to receive the Pharaoh's long-dead Queen." - synopsis provided by the distributor

Video: 3.75/5

Here’s the information provided about this release's transfer, "HD master of the original Spanish release".

The Mummy's Revenge comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.6 GB

Feature: 23 GB (Extended Cut), 19.3 GB (Theatrical Cut)

It should be noted that the extended cut features an extra scene that looks noticeably worse than the rest of the transfer. Outside of this extra scene that comes from a lesser source, the source for the two versions looks comparable. That said, colors, black levels, and image clarity look very good.

Audio: 4/5 (DTS-HD Mono Spanish), 2.25/5 (DTS-HD Mono English)

The extended cut comes with two audio options, a DTS-HD mono mix in Spanish and a DTS-HD mono mix in English. The theatrical cut comes with one audio option, a DTS-HD mono mix in English. The Spanish language track is in great shape; dialog comes through clearly, everything sounds balanced, and ambient sounds and the score are well-represented. The English language track does not fare as well. It has sibilance issues, background hiss, and other audio imperfections. Also, range-wise, it lacks the depth of its Spanish counterpart. Included with this release are removable English subtitles for the Spanish language track.

Extras:

Extras for this release include a slipcover, liner notes (located on the inside cover) written by Mirek Lipinski, a theatrical trailer for The Mummy's Revenge (2 minutes 54 seconds, Dolby Digital mono English, no subtitles), and an audio commentary with film historian Troy Howarth for the extended cut.

Other extras are trailers for Fury of the Wolfman and The Hanging Woman. 

Summary:

Paul Naschy made a career portraying monsters, most of which were based upon Universal’s classic monsters. That said, it makes sense that he would make a horror film with a mummy. And with The Mummy’s Revenge, he takes on yet another character that was clearly inspired by Universal’s classic monsters.

The Mummy’s Revenge is a story about a cursed pharaoh who dealt in the black arts and his descendant who helps resurrect him from his tomb. Though The Mummy’s Revenge has all the elements that one has come to expect from a Paul Naschy, The result is one of his weaker films. And nowhere is this more clearer than when it comes to a slow-moving narrative that never establishes momentum.

That said, the main attraction of The Mummy’s Revenge is Paul Naschy, who portrays two characters: a cursed pharaoh named Amenhotep and a doppelganger descendant named Assad Bey. Despite the fact that this is not his best performance. Fans of Paul Naschy will thoroughly enjoy his performance, which surrounds him with an ample number of beautiful women.

Notable cast members include Jack Taylor (Edge of the Axe) in the role of the professor who discovered Amenhotep’s tomb, Helga Liné (Horror Rises from the Tomb) in the role of Assad Bey's companion Zanufer, and Pilar Bardem (Blue Eyes of the Broken Doll) in the role of Miss Barton, a woman who runs a boarding house for young, respectable women.

From a production standpoint, The Mummy’s Revenge has solid production and costume design, a decent amount of bloodletting, and stylish visuals that make The Mummy’s Revenge look grander than it is. Also, a score that's a selection of familiar library music cues. The most notable example is a music cue composed by Ennio Morricone. Ultimately, The Mummy’s Revenge is a mildly entertaining film that fans of Paul Naschy will get the most enjoyment out of.

The Mummy’s Revenge makes its way to Blu-ray via a strong release from Scorpion Releasing that comes with two versions of the film and a pair of insightful extras, recommended.

                                              Example of extended cut insert footage.

Written by Michael Den Boer