A Man Called Hero – Vinegar Syndrome Archive (Blu-ray)

Theatrical Release Date: Hong Kong, 1999
Director: Andrew Lau
Writer: Manfred Wong
Cast: Ekin Cheng, Shu Qi, Kristy Yang, Nicholas Tse, Yuen Biao, Jerry Lamb, Dion Lam, Anthony Wong Chau-sang, Ken Lo, Francis Ng, Elvis Tsui

Release Date: February 27th, 2024
Approximate Running Time: 116 Minutes 17 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD 5.1 Cantonese, DTS-HD Stereo English, Dolby Digital Stereo Mandarin
Subtitles: English, English SDH
Region Coding: Region A
Retail Price: $44.98

"Hero is a gifted martial artist who is honored to be chosen for training by his mentor, Pride. Upon arriving home to tell his family about this achievement, Hero discovers that his parents have been murdered by a group of foreign gangsters. Hero then uses his family's mystical red sword to exact revenge on his parents' killers. Now a wanted man, Hero is forced to leave behind his lover Jade and his best friend Sheng in order to start a new life in America. 16 years later, Sheng and Hero's now grown son, Sword, travel to 1930s New York City in search of him. Sword learns of his father's time in America through a series of stories told by those that knew Hero best. However, now in this new land, Sword undergoes some of the same treatment as his father and is forced to face many new enemies, such as violent gangsters and racist mine workers." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Newly restored by Vinegar Syndrome from an existing studio master".

A Man Called Hero comes on a 50 GB dual layer Blu-ray.

Disc Size: 37.9 GB

Feature: 34.7 GB

This transfer's source is in excellent shape. Flesh tones look healthy, colors look correct, image clarity and compression are solid, and black levels are strong. Also, there do not appear to be any issues related to digital noise reduction.

Audio: 4.5/5 (DTS-HD 5.1 Cantonese), 4.25/5 (DTS-HD Stereo English), 3.75/5 (Dolby Digital Stereo Mandarin)

This release comes with three audio options, a DTS-HD 5.1 mix in Cantonese, a DTS-HD stereo mix in English, and a Dolby Digital stereo mix in Mandarin. The Cantonese language is the strongest of the three audio tracks; it offers the most dynamic audio experience, range-wise. The English language track sounds great range-wise, while the Mandarin language track is easily the weakest of these three audio tracks. That said, dialog comes through clearly, and everything sounds balanced. Included are removable English subtitles for the Cantonese language track, removable English SDH for the Cantonese language track, removable English SDH for the English language track, and a removable English subtitle for Cantonese dialog when the English language version.

Extras:

Extras for this release a video essay by Justin Decloux titled A Blood Sword in the Road: A Man Called Hero’s Place in Hong Kong Cinema’s Action Movie Landscape (17 minutes 9 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with film historian Frank Djeng, reversible cover art, a bottom loading VHS inspired slipcase, and a double-sided poster.

Summary:

Directed by Andrew Lau, whose other notable films are The Storm Riders, the Young and Dangerous Films series, and the Infernal Affairs trilogy. A Man Called Hero was adapted from the Wuxia Manhua series Chinese Hero: Tales of the Blood Sword, created by Ma Wing-shing.

The narrative revolves around a gifted martial artist who flees Hong Kong after he kills the man who murdered his parents.

The premise follows the familiar comic hero backstory of a traumatic event that transforms the protagonist into the hero they become; in this case, the event was the killing of his parents. And when it comes to backstory, A Man Called Hero scores high marks across the board as several key characters beside the protagonist have their backstory fleshed out.

Though the narrative follows a predictable story arch for its protagonist, The result is a narrative that ultimately succeeds because of how effectively it balances action and exposition moments. Also, when it comes to the action sequences, the bulk of them are great, especially a scene that introduces Yuen Biao’s (The Prodigal Son) character Boss of China House. That said, the action sequences rely heavily on CGI, and they do not have the look that one comes to expect from Hong Kong martial arts cinema of the 1970s, 80s, and 90s.

A Man Called Hero has a solid cast, and they are all great in their roles, especially Ekin Cheng (Tokyo Raiders), who portrays the protagonist, Hero Hua. Not only does he deliver when it comes to the action sequences, he more than holds his own in the more dramatic moments. Another standout performance is Shu Qi (So Close), who portrays a ninja assassin. Other notable cast members are Nicholas Tse (Beast Stalker) in the role of the protagonist's son, Sword Hua, and Anthony Wong Chau-sang (Taxi Hunter) in the role of the protagonist's mentor, Pride.

From a production standpoint, the positives far outweigh any of the negatives. A Man Called Hero was made during a transitional time for Hong Kong cinema, and though it embraces things like CGI, this is one area where those who do not enjoy A Man Called Hero had the biggest issue with this film. That said, A Man Called Hero is a beautifully photographed film that takes full advantage of the 2.35:1 scope frame, and Andrew Lau’s solid direction ensures that there is never a dull moment. Ultimately, A Man Called Hero is a very satisfying mix of fantasy, action, and melodrama that fans of Wuxia films should thoroughly enjoy.

A Man Called Hero gets a first-rate release from Vinegar Syndrome Archive that comes with a solid audio/video presentation and a pair of informative extras, recommended.

Written by Michael Den Boer

The Playgirls and the Vampire – Vinegar Syndrome (Blu-ray)

Theatrical Release Date: Italy, 1960
Director: Piero Regnoli
Writers: Aldo Greci, Piero Regnoli
Cast: Walter Brandi, Lyla Rocco, Maria Giovannini, Alfredo Rizzo, Marisa Quattrini, Leonardo Botta, Antoine Nicos, Corinne Fontaine, Tilde Damiani, Erika Dicenta, Enrico Salvatore

Release Date: February 27th, 2024
Approximate Running Time: 81 Minutes 21 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: $42.98

"A troupe of five showgirls, along with their manager, are traveling through a remote stretch of countryside when their minibus gets stuck after a rainstorm. Finding refuge at the castle home of the mysterious Count Gabor Kernassy, the women make the best of the situation by continuing to practice their burlesque routines. But little do they know that the strange Count is harboring a fiendish secret and is intent on subjecting the lovely ladies to his vampiric desires…" - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm fine grain master".

The Playgirls and the Vampire comes on a 50 GB dual layer Blu-ray.

Disc Size: 31 GB

Feature: 23.4 GB

The source used for this transfer is in great shape, print debris is minor, and this transfer is easily the best The Playgirls and the Vampire has ever looked at on home video. Image clarity, contrast, and black levels are strong, compression is solid, and grain remains intact, although it looks thicker in some moments than others.

Audio: 4.25/5 (DTS-HD Mono Italian), 3.75/5 (DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. The Italian-language track sounds more robust than the English-language track. Also, the English-language track has some distortion issues. That said, dialog comes through clearly, and everything sounds balanced. Included are removable English subtitles for the Italian language track, removable English SDH for the Italian language track, and removable English SDH for the English language track.

Extras:

Extras for this release include a still gallery (lobby cards/newspaper advertisements/posters/other promotional materials), a theatrical trailer (1 minute 42 seconds, Dolby Digital mono English, no subtitles), alternate The Playgirls and the Vampire opening title sequence (3 minutes 19 seconds, Dolby Digital mono), alternate Curse of the Vampire opening title (1 minute 44 seconds, Dolby Digital mono), alternate Des filles pour un vampire French title sequence (3 minutes 41 seconds, Dolby Digital mono), a conversation with Mark Thompson Ashworth titled Striptease Gothic (25 minutes 26 seconds, Dolby Digital stereo English, no subtitles), reversible cover art, and a spot gloss slipcover (limited to 5,000 units).

Summary:

Directed by Piero Regnoli, he only directed 12 films, and The Playgirls and the Vampire is the film he is most remembered for. Besides directing, he was a prolific screenwriter whose filmography has over 100 credits. His notable films as a screenwriter include Lust of the Vampire (Italian cinema’s first sound horror film), The Third Eye, Cry of a Prostitute, Like Rabid Dogs, Malabimba: The Malicious Whore, Patrick Still Lives, Nightmare City, and Burial Ground: The Nights of Terror.

Five women who are part of a dance troupe, their manager, and their crew find refuge in a castle during a storm.

In the early 1960s, Italian cinema had a brief cycle of films that revolved around sexy girls and monsters. Some of these films are The Playgirls and the Vampire, The Vampire and the Ballerina, The Monster of the Opera, and Werewolf in a Girls' Dormitory. Besides sexy girls and monsters, all of these films also take place in spooky locations.

Despite a solid opening credit sequence with striking imagery inside a crypt, this is the scariest moment in The Playgirls and the Vampire. That said, despite a few other ominous moments, there are no actual frights in The Playgirls and the Vampire. Fortunately, fright is not the main draw of The Playgirls and the Vampire; it is the gratuitous amount of time devoted to the women parading around the castle in nightgowns.

Also, The Playgirls and the Vampire is not a film that one watches for performances. That said, the cast are mere props, with no one performance standing out. The most famous cast member is Walter Brandi (Bloody Pit of Horror) in the doppelganger role of the count and the vampire.

Though it is clear that The Playgirls and the Vampire is a film working on a shoestring budget, the result is a film that often exceeds expectations, particularly when it comes to the visuals. With no moment more striking visually than the first onscreen vampire nudity, another strength is composer Aldo Piga’s (Terror-Creatures from the Grave) excellent score, which does a superb job reinforcing the mood. Ultimately, The Playgirls and the Vampire is a silly film whose absurd premise is a lot of fun.

Vinegar Syndrome gives The Playgirls and the Vampire a definitive release, highly recommended.

Written by Michael Den Boer

Street Law - 88 Films (Blu-ray)

Theatrical Release Date: Italy, 1974
Director: Enzo G. Castellari
Writers: Massimo De Rita, Arduino Maiuri
Cast: Franco Nero, Giancarlo Prete, Barbara Bach, Renzo Palmer

Release Date: February 26th, 2024
Approximate running time: 101 Minutes 46 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English
Region Coding: Region B
Retail Price: £16.99 (UK)

"After Carlo is mugged by thugs he goes to the police, but when they drop the case, he loses faith in the justice system and decides to take on the hoods himself. Teaming up with a young robber, he goes on a mission of vengeance." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, "2K Restoration From the Original Camera Negative."

Street Law comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.5 GB

Feature: 29.8 GB (102 Minute Version), 5.9 GB (U.S. Theatrical Version)

The source used for this transfer looks excellent. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image always looks organic.

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

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. Both audio tracks are in great shape; there are no issues with distortion or background noise, the dialog comes through clearly, and everything sounds balanced. Range-wise, the score and action set pieces sound robust. Included are removable English subtitles for the Italian language track and a second removable English subtitle track for Italian text when watching the English language track.

Extras:

Extras for this release include a TV spot (32 seconds, Dolby Digital mono English, no subtitles), a theatrical trailer (3 minutes 23 seconds, Dolby Digital mono English, no subtitles), an Interview with actor and stuntman Massimo Vanni titled Street Stunts (14 minutes 51 seconds, Dolby Digital stereo Italian with removable English subtitles), an Interview with composer’s Guido and Maurizio De Angelis titled Oliver Onions (41 minutes 40 seconds, Dolby Digital stereo Italian with removable English subtitles), an Interview with director Enzo G. Castellari titled Enzo’s Law (25 minutes 19 seconds, Dolby Digital stereo Italian with removable English subtitles), a featurette by Mike Malloy titled Sniff Around and Find Out (10 minutes 5 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Italian cinema experts Eugenio Ercolani, Troy Howarth and Nathaniel Thomson, shorter U.S. “Grindhouse” cut of Street Law (76 minutes 20 seconds, 1.85:1 aspect ratio, Dolby Digital mono English, no subtitles), reversible cover art, a limited edition reverse-board matte O-ring (limited to the first pressing), a poster (limited to the first pressing), and a 8-page booklet (limited to the first pressing) with an essay titled Action and Reaction: Thrills, People and Politics in Enzo G. Castellari’s Street Law written by Francesco Massaccesi.  

Summary:

When one thinks of action cinema in Italy, Enzo G. Castellari instantly springs to mind because of his operas of violence, which are most known for their use of slow-motion camera work. And nowhere is this clearer than in the scene in Street Law, where a thug uses a car to chase and run Carlo down. The use of slow-motion photography that culminates with a shot of Carlo swinging a shovel through the windshield and hitting his purser dead in the face is a beautifully realized moment of action.

Enzo G. Castellari approaches the Italian crime genre the same way he approaches the western genre. With the law versus the outlaws in a modern setting instead of the old west, The fast-paced action set pieces are well executed, the stunts are impressive, and Street Law’s depiction of violence is in your face. Street Law’s most memorable action set piece is saved for a shootout that takes place in a warehouse.

Franco Nero is cast in a role that is the polar opposite of the character he is most known for portraying. He does a superb job of portraying a character who initially has no backbone. Another reason this performance is so strong is how effortlessly Franco Nero transforms from a character with no backbone into a prototype bad-ass character.

Besides Franco Nero, there is a solid supporting cast who are all very good in their roles, especially Giancarlo Prete (Confessions of a Police Captain) in the role of Tommy, a small-time thief who reluctantly helps Carlo track down the four men who beat him. Another performance of note is Barbara Bach's (Short Night of Glass Dolls) in the role of Carlo’s girlfriend.

In the 1970s, there was an influx of vigilante justice-themed films. Though Italian cinema is known for taking elements from popular films, calling Street Law a Death Wish knockoff since Street Law had already begun production before Death Wish was released in Italy. So, any similarities seem to be coincidental. That said, it is interesting just how much things haven’t changed over the years, and Street Law’s plot has many instances where the police treat victims worse than the criminals who committed the crimes.

Street Law gets an exceptional release from 88 Films that comes with a solid audio/video presentation, two versions of the film, and a wealth of insightful extras. Highly recommended.

Written by Michael Den Boer

Bodyguard Kiba 1 and 2 – Eureka Video (Blu-ray)

Theatrical Release Dates: Japan, 1973 (Bodyguard Kiba, Bodyguard Kiba 2)
Director: Ryûichi Takamori (Both Films)
Cast: Shin’ichi ‘Sonny’ Chiba, Etsuko Shihomi, Jirô Chiba, Mari Atsumi, Kinji Takinami, Yayoi Watanabe, Eiji Gô, Ryôhei Uchida (Bodyguard Kiba), Shin’ichi ‘Sonny’ Chiba, Tsunehiko Watase, Maki Mizuhara, Akiyoshi Fukae, Hideo Murota, Rokkô Toura, Eiji Gô, Etsuko Shihomi (Bodyguard Kiba 2)

Release Date: March 18th, 2024
Approximate running times: 87 Minutes 36 Seconds (Bodyguard Kiba), 88 Minutes 33 Seconds (Bodyguard Kiba 2)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: 18 (UK)
Sound: LPCM Mono Japanese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region B
Retail Price: £25.99 (UK)

"Based upon the manga by celebrated writer Ikki Kajiwara, Bodyguard Kiba follows the eponymous karate master and professional bodyguard (Chiba) as he is hired to protect the mysterious Reiko (Mari Atsumi), a woman embroiled in the world of organized crime. Kiba’s involvement with Reiko brings him into conflict with the yakuza, leading to a final bloody showdown. Then, in Bodyguard Kiba 2, Kiba is released from prison after taking revenge on the rival martial artists who blinded his sister Maki (Etsuko Shihomi). Back on the streets, he takes a job working for shady nightclub owner Akamatsu (Shoki Fukae), once again forcing him to take on Japan’s criminal underworld." - synopsis provided by the distributor

Video: 4.25/5 (Bodyguard Kiba, Bodyguard Kiba 2)

Here’s the information given about the transfers, "from new restorations of the original film elements by Toei".

Bodyguard Kiba comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.7 GB

Feature: 20.7 GB (Bodyguard Kiba), 20.1 GB (The Bodyguard)

Bodyguard Kiba 2 comes on a 50 GB dual layer Blu-ray.

Disc Size: 31.1 GB

Feature: 25.8 GB

The sources used are in great shape and, in most ways, look comparable to Shout Factory’s Region A Blu-ray releases. Flesh tones and colors look correct, image clarity is strong, black levels fare well, and compression is very good. Also, when compared to Shout Factory’s Blu-ray releases, this release's encodes are stronger.

Audio: 4.25/5 (Bodyguard Kiba, Bodyguard Kiba 2)

Both films come with one audio option, a LPCM mono mix in Japanese, and both films come with removable English subtitles. Both audio tracks sound clean, clear, balanced, and robust when they should.

Extras:

Extras for Bodyguard Kiba include a theatrical trailer (2 minutes 43 seconds, LPCM mono Japanese with removable English subtitles), an interview with action choreographer and director Kenji Tanigaki titled Talking Chiba (27 minutes 51 seconds, LPCM stereo English, no subtitles), an audio commentary with action cinema experts Mike Leeder and Arne Venema for Bodyguard Kiba, and an alternate U.S. version of Bodyguard Kiba titled The Bodyguard (87 minutes 54 seconds, 2.35:1 aspect ratio, LPCM mono English, no subtitles).

The source used for the U.S. version is in very good shape, and source debris is minimal. That said, the moments that are exclusive to the U.S. version do not look as strong as the rest of the transfer, which is comparable to the source used for Bodyguard Kiba. Also, the audio has some minor, albeit persistent, hiss, and it lacks the depth that the two Bodyguard Kiba audio tracks have. That said, the dialog comes across as clear enough to follow.

Extras for Bodyguard Kiba 2 include a theatrical trailer (2 minutes 39 seconds, LPCM mono Japanese with removable English subtitles), an interview with Tom Mes and Jasper Sharp titled Kiba or Chiba (35 minutes 18 seconds, LPCM stereo English, no subtitles), and an audio commentary with Mike Leeder and Arne Venema.

Other extras include reversible cover art, an O-card slipcase (limited to 2,000 copies), and a 20-page booklet (limited to 2,000 copies) with cast & crew information for both films, an essay titled Fast Fists and Fast Lives The Rise and Fall of Ikki Kajiwari written by Jasper Sharp, and information about the transfer titled Notes on Viewing.

Summary:

Bodyguard Kiba (The Bodyguard): Despite appearing in over one hundred films, a large number of Shin’ichi "Sonny" Chiba’s were never released theatrically in America. That said, Bodyguard Kiba was released in America under the title The Bodyguard.

The main difference between the U.S. and Japanese versions is the U.S. version's inclusion of fight scenes with Aaron Banks, Bill Louie, and Judy Lee. These scenes make up less than ten minutes of the film, and they do not further the narrative. You could remove them, and the narrative would not suffer from their loss. Also, the U.S. opening credits feature Shin’ichi "Sonny" Chiba’s mentor Masutatsu Oyama and other martial artists performing while they chant "Viva Chiba!"

Also, the U.S. version of The Bodyguard opens with the narration, "The path of the righteous man and defender is beset on all sides by the iniquity of the selfish and the tyranny of evil men. Blessed is he, who in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper, and the father of lost children. And I will execute great vengeance upon them with furious anger, who poison and destroy my brothers; and they shall know that I am Chiba the Bodyguard when I shall lay my vengeance upon them!" - Ezekiel 25:17 This same text would be later used in Pulp Fiction when one of its characters, Jules Winnfield, a hitman, recites it before killing a man.

Having the opportunity to see the Japanese version of Bodyguard Kiba elevates the stature of this film. From its opening moments, Bodyguard Kiba establishes a relentless tone that is reinforced by memorable set pieces. Notably, a woman lies naked and the only thing covering her is the shadow of a cross, and there is a scene where Kiba breaks a coke bottle with his bare hands. Also, bad guys enter the room in the most unusual ways as they hide themselves in furniture, and during one fight scene, Kiba rips an arm off his opponent and uses it as a weapon. That said, the fight scenes are brutal and just as memorable as the ones in Street Fighter, which came out a year after Bodyguard Kiba.

During this era of Shin’ichi "Sonny" Chiba’s career, there's no denying that he was the main attraction and everyone else's performances were overshadowed. Despite some gruesome fight scenes, the overall tone of Shin’ichi "Sonny" Chiba’s performance is one of his more subdued ones from this same time period. That said, the supporting cast more than fulfilled their roles. Jirô Chiba (Karate Bullfighter) and Etsuko Shihomi (Sister Streetfighter), both members of the Japan action club and Shin'ichi "Sonny" Chiba film regulars, have brief cameos in Bodyguard Kiba.

Toshiaki Tsushima, who also composed the scores for the three Streetfighter films, composed the score for Bodyguard Kiba. Though some may prefer the American version of The Bodyguard, it pales in comparison to the Japanese version, Bodyguard Kiba. Ultimately, Bodyguard Kiba is a solid mix of bone-crunching action and exploitation that ranks right up there with Shin’ichi "Sonny" Chiba’s best films, like the Street Fighter series.

Bodyguard Kiba 2 (Karate Killer): Shin’ichi "Sonny" Chiba reprises his role for this sequel to Bodyguard Kiba. And though Bodyguard Kiba 2 carries over all the elements from its predecessor, it has one significant difference: this time around, Kiba is not a hero; he has fallen from grace. That said, Bodyguard Kiba 2 is a tale about redemption.

From its opening moments, Bodyguard Kiba 2 quickly grips you with a dual sequence between Kiba and a character named Kazuki Samejima, who is portrayed by Masashi Ishibashi, who is most remembered for portraying Tateki Shikenbaru aka Junjo from the first two Streetfighter films. Their duel is over whose fighting style is better. And during the duel, Kiba’s opponent blinds her sister by impaling her eyes with his fingers.

The cast is solid, and they all deliver strong performances, especially Shin’ichi "Sonny" Chiba in the role of Kiba. He further expands on the character he previously portrayed in Bodyguard Kiba. Though this character lacks depth, he more than makes up for it with his psychic performance in the fight scenes. Another performance of note is Eiji Go (The Executioner) in the role of Ryuzuka, a psychopath yakuza henchman who, in one scene, kills a dog for no reason.

From a production standpoint, Bodyguard Kiba 2 maximizes its resources. The narrative does a great job building momentum by giving key moments an ample amount of time to resonate and a sensational ending where an outnumbered Kiba gets his redemption. Also, though the fight scenes are not memorable, they are well executed and get the job done. Ultimately, Bodyguard Kiba 2 is a good film that brings nothing new to the table.

Eureka Video gives Bodyguard Kiba 1 and 2 their best home video releases to date, highly recommended.

Written by Michael Den Boer