Dark Water: Limited Edition – Arrow Video (4k UHD)

Theatrical Release Date: Japan, 2002
Director: Hideo Nakata
Writers: Takashige Ichise, Hideo Nakata, Ken’ichi Suzuki, Yoshihiro Nakamura
Cast: Hitomi Kuroki, Rio Kanno, Mirei Oguchi, Asami Mizukawa, Fumiyo Kohinata, Yu Tokui, Isao Yatsu

Release Date: March 18th, 2024 (UK), March 18th, 2024 (USA)
Approximate Running Time: 101 Minutes 18 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 15 (UK), NR (USA)
Sound: DTS-HD 5.1 Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: £29.99 (UK), $49.95 (USA)

"Dark Water follows Yoshimi, a single mother struggling to win sole custody of her only child, Ikuko. When they move into a new home within a dilapidated and long-forgotten apartment complex, Yoshimi begins to experience startling visions and unexplainable sounds, calling her mental well-being into question, and endangering not only her custody of Ikuko, but perhaps their lives as well." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, "2023 4K digitally restored version by Kadokawa Corporation."

Dark Water comes on a 100 GB triple layer 4K UHD

Disc Size: 82.7 GB

Feature: 70.9 GB

When Arrow Video released Dark Water in 2016 as a Blu-ray/DVD combo, that transfer left a lot to be desired. Even the verbiage used about that transfer, “The High Definition Master was made available by Kadokawa Pictures, Additional restoration work was performed at Deluxe Restoration, London, to remove dirt and debris and improve overall picture stability,” leading one to believe that the source used was dated. That said, this new transfer is a substantial upgrade that is superior to that 2016 transfer in every way.

Audio: 5/5

This release comes with one audio option, a DTS-HD 5.1 mix in Japanese with removable English subtitles. This audio track sounds excellent. Dialog comes through clearly, and everything sounds balanced and robust when it should. Also, sound plays a significant role, and ambient sounds are perfectly represented.

Extras:

Extras for this release include three TV spots (49 seconds, Dolby Digital stereo Japanese with removable English subtitles), a teaser (37 seconds, Dolby Digital stereo Japanese with removable English subtitles), a theatrical trailer (1 minute 15 seconds, LPCM stereo Japanese with removable English subtitles), an archival interview with actress Hitomi Kuroki (8 minutes, Dolby Digital stereo Japanese with removable English subtitles), an archival interview with actress Asami Mizukawa (4 minutes 39 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival interview with composer Shikao Suga (2 minutes 55 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival Making of featurette (15 minutes 51 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with cinematographer Junichiro Hayashi titled Visualizing Horror (19 minutes 15 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with author Koji Suzuki titled Family Terrors (20 minutes 19 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with director Hideo Nakata titled Ghosts, Rings and Water (26 minutes 2 seconds, Dolby Digital stereo Japanese with removable English subtitles), reversible cover art, a slipcover (limited to first pressing), and a 28-page booklet (limited to first pressing) with cast & crew information, an essay about the film titled Dead Wet Girls written by David Kalat, an essay about the American remake titled An Uncommon Remake written by Michael Gingold and information about the transfer.

Summary:

Dark Water was co-written and directed by Hideo Nakata, whose other notable films include Don’t Look Up, Ringu, Ringu 2, and Chaos. The screenplay for Dark Water was adapted from author Koji Suzuki’s novel of the same name.

In the middle of a custody battle, a mother and her six-year-old daughter move into a dilapidated home where a young girl disappeared a few years ago. At first glance, their new home appears to be an idyllic place for them to get through this tumultuous time in their lives. That is, until one day when bizarre things start occurring, like water flowing from various places and the reemergence of the girl who went missing years ago.

There are films that have scary moments, and then there are films that truly frighten you! It is this latter category that Dark Water falls into. Instead of creating a monster that can easily be categorized, Dark Water takes universal themes that everyone can identify with, and from there, the evil is unleashed.

Where horror cinema from Hollywood inundated its viewers with graphic moments of blood-soaked carnage, horror cinema from Japan often takes an approach that is the direct opposite; it slowly builds its foreboding mood until it reaches a crescendo at the finale. That said, it is in this regard that a film like Dark Water delivers in spades.

There are no throw-away moments in Dark Water; its meticulously constructed narrative does a phenomenal job building momentum, and there is a perfect balance between scares and exposition moments. Also, when it comes to objects and what appears in the frame, they play a significant role in the story at hand.

Another strength are the visuals, which create a tremendous amount of atmosphere and do a great job reinforcing the mood. And though there are many standout moments visually that will send chills down your spine, No moment is more potent than Dark Water’s moment of truth, where the mother is forced to make the ultimate sacrifice.

The entire cast is very good, especially Hitomi Kuroki (Sada) in the role of Yoshimi Matsubara, a mother who is going through a divorce. So much of what unfolds is through her eyes, and her performance serves as a perfect guide, for it gives a crystal clear view of what is unfolding before our eyes. Also, her performance elevates everyone else's performances. Ultimately, Dark Waters is a riveting melodrama with horror elements about a family in a crisis that is on par with director Hideo Nakata’s most celebrated film, Ringu.

Dark Water makes its way to 4K UHD via a massive upgrade from Arrow Video that ports over all of the extras from their previous release, highly recommended.

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

Written by Michael Den Boer

Paths of Glory – Eureka Video (4k UHD)

Theatrical Release Date: USA, 1957
Director: Stanley Kubrick
Writers: Stanley Kubrick, Calder Willingham, Jim Thompson
Cast: Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready, Wayne Morris, Richard Anderson, Joe Turkel, Christiane Kubrick, Jerry Hausner, Peter Capell, Emile Meyer, Bert Freed, Timothy Carey, Fred Bell, John Stein

Release Date: February 26th, 2024
Approximate Running Time: 87 Minutes 23 Seconds
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: PG (UK)
Sound: LPCM Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: £22.99 (UK)

"In the French front lines of World War I, after giving the order for an impossible and disastrous mission to capture a nearby stronghold, the upper ranks move to save face by having three randomly selected soldiers held and tried for cowardice under pain of death. Their leader, Colonel Dax (in a powerhouse performance by Kirk Douglas), a former lawyer in civilian life, handles their defense against overwhelming odds." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, "presented in Dolby Vision HDR from a 4K scan of the original camera negative".

Paths of Glory comes on a 66 GB dual layer 4K UHD

Disc Size: 61.8 GB

Feature: 59.3 GB

This new release takes the solid foundation that Kino Lorber used for their 2022 4K UHD release, tightens everything up, and once again delivers a superior encode from Fidelity in Motion. That said, image clarity, contrast, and black levels are solid, and the image retains an organic look.

Audio: 4.75/5

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

Extras:

Extras for this release include a theatrical trailer (3 minutes 1 second, Dolby Digital mono English, no subtitles), an archival interview with film critic and author Richard Combs (9 minutes 58 seconds, Dolby Digital stereo English, no subtitles), an archival interview with Stanley Kubrick scholar Peter Kramer (14 minutes 33 seconds, Dolby Digital stereo English, no subtitles), an archival interview with filmmaker Richard Ayoade (23 minutes 34 seconds, Dolby Digital stereo English, no subtitles), an isolated music & effects track, an audio commentary with film scholar Adrian Martin, an O-card slipcase (limited to 2,000 copies), and a 36-page booklet with cast & crew information, an essay titled Kubrick’s Path, and “Paths of Glory” written by Glenn Kenny, an essay titled The Hollywood War of Independence written by Colin Young, and information about the transfer titled Notes on Viewing. 

Summary:

Looking back at the beginning of Stanley Kubrick's career, it is astounding that for a filmmaker who would often take years from the origins of a film to its final product, he was able to make three films in three years. Though Killer’s Kiss and The Killing can be seen as modest film productions, the same cannot be said for Paths of Glory, a film that at the time was Stanley Kubrick’s most ambitious film.

Stanley Kubrick’s growth as a filmmaker is noticeable with each new film. And though it was impressive how much he was able to grow from Killer’s Kiss to The Killing, it is hard not to understate just how much of a leap it was from Killer’s Kiss to Paths of Glory.

One constant throughout Stanley Kubrick’s filmography is just how diverse a filmmaker he is. Though he returned to recurring themes in most of his films, he rarely worked in the same genre. That is, except for war, which played a role in many of his films.

With Paths of Glory, Stanley Kubrick delivers a damning statement on the atrocities created by wars. The narrative revolves around an impossible military objective that Brigadier General Paul Mireau is determined to carry out, even at the expense of all of his soldiers' lives. When his planned attack does not go off the way he envisioned, Brigadier General Paul Mireau labels the men as cowards, and he demands a court martial to hold the cowards accountable for his leadership failures. From there, a preordained trial of three men is held, followed by their executions.

Though the cinema of Stanley Kubrick is most remembered for his striking visuals, one must not undervalue the performances he was able to get from his cast. And in the case of Paths of Glory, there are no performances that do not rise to the occasion. Of course, Kirk Douglas (Ace in the Hole), in the role of Colonel Dax, delivers another superlative performance. Other notable performances include George Macready (Seven Days in May) in the role of megalomaniac Brigadier General Paul Mireau, and Timothy Carey (One-Eyed Jacks) in the role of Private Maurice Ferol, one of the three men randomly chosen to be executed.

From a production standpoint, it is mind-blowing just how much Stanley Kubrick was able to achieve with the resources he was given for Paths of Glory. The utmost detail in the scenes of carnage as soldiers try to advance upon The Anthill, a position being held by German soldiers, is unflinching in its portrayal of the horrors of war. An iconic moment in Paths of Glory is a tracking shot through the trenches that has all the hallmarks that are synonymous with the cinema of Stanley Kubrick. Another memorable moment is the scene that ends Paths of Glory, in which a German woman sings a poignant song to a hostile crowd, who are eventually won over by the song she is singing. This moment provides a perfect coda to the events that preceded it. Ultimately, Paths of Glory is an extraordinary film that stands firmly as one of cinema’s best anti-war films.

Paths of Glory gets a definitive release from Eureka Video 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 VLC player and lossless PNGs.

Written by Michael Den Boer

So Close - 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 2002
Director: Corey Yuen
Writer: Jeffrey Lau
Cast: Shu Qi, Vicky Zhao Wei, Karen Mok, Song Seung-heon, Michael Wai, Kurata Yasuaki, Deric Wan, Shek Sau 

Release Date: February 26th, 2024
Approximate running time: 110 Minutes 46 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: DTS-HD 5.1 Cantonese, DTS-HD 5.1 Mandarin, DTS-HD 5.1 English
Subtitles: English
Region Coding: Region B
Retail Price: £16.99 (UK)

"When a gang of assassins murders their parents, two sisters inherit the family business – a state-of-the-art computer surveillance system. Armed with the ability to see around corners and disappear into thin air, the sisters become the most accomplished killers-for-hire in Hong Kong. But when the sisters fulfill a contract and take out a wealthy computer magnate, a beautiful undercover detective is suddenly hot on their tail. Now – loyalties are tested, alliances are questioned and survival becomes the most extreme sport of all." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "HD (1080p) Blu-ray™ presentation in 1.85:1 Aspect Ratio."

So Close comes on a 50 GB dual layer Blu-ray.

Disc Size: 32.9 GB

Feature: 29.9 GB

My only reference is So Close’s 2003 DVD, which now looks ancient. This new transfer from 88 Films is a marked improvement that obliterates the 2003 DVD’s transfer. That said, the 88 Films transfer looks excellent. Flesh tones look healthy, colors look correct, image clarity, black levels, and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.5/5 (DTS-HD 5.1 Cantonese, DTS-HD 5.1 Mandarin, DTS-HD 5.1 English)

This release comes with three audio options, a DTS-HD 5.1 mix in Cantonese, a DTS-HD 5.1 mix in Mandarin, and a DTS-HD 5.1 mix in English. All three audio tracks sound excellent. Dialog always comes through clearly; everything sounds balanced and robust when it should. Included are removable English subtitles for the Cantonese language track and removable English subtitles for the Mandarin language track.

Extras:

Extras for this release include a theatrical trailer (2 minutes 7 seconds, LPCM stereo English and Cantonese with non-removable English subtitles for Cantonese), an archival Hong Kong promotion featurette (2 minutes 54 seconds, LPCM stereo with music playing over this extra), an archival extra titled Japanese Press Conference (8 minutes, LPCM stereo English, Cantonese and Japanese with removable English subtitles), an archival extra titled Yasuaki Hurats’s action commentary (14 minutes 16 seconds, LPCM stereo Japanese with removable English subtitles), an archival interview with actress Karen Mok (4 minutes 40 seconds, LPCM stereo English and Japanese with removable English subtitles), an archival interview with actress Shu Qi (3 minutes 18 seconds, LPCM stereo Mandarin with removable English subtitles), an archival interview with actress Vicky Zhao Wei (3 minutes 55 seconds, LPCM stereo Cantonese with removable English subtitles), reversible cover art, and a limited edition silver-board glossy O-ring (limited to the first pressing).

Summary:

Directed by Cory Yuen, whose other notable films are Yes, Madam, Righting Wrongs, My Father is a Hero, and The Transporter.

The narrative revolves around two sisters who work as killers for hire; one sister works on the tech side while the other sister kills the target. Over the years, the two sisters have stayed one step ahead of the law while remaining anonymous. That is, until a new detective on the scene becomes obsessed with uncovering who they are and bringing them to justice.

There are movies that, for whatever reason, we are drawn to, and despite their shortcomings, we return to them over and over again. Case in point: So Close, a film that is a personal guilty pleasure of mine.

When I first watched So Close, I had no connection to the film except that I was into girls with guns action films. Looking back on that first time I saw So Close and now rewatching it all these years later, my knowledge of Hong Kong cinema and those who made So Close has grown substantially.

The thing that most grabbed me when rewatching So Close was where it sat within Corey Yuen’s filmography. Having now seen more than a dozen films that he directed, despite So Close being a slick-looking action film, I would not put it in his top five films. In the same year that he made So Close, he also directed The Transporter, a film that is arguably stronger in just about every way. And yet, So Close is a film that I return to far more often than The Transporter.

The main draw of So Close is three leads: Shu Qi (The Transporter) in the role of an assassin named Lynn, Vicky Zhao Wei (Shaolin Soccer) in the role of Lynn’s sister Sue, and Karen Mok (Black Mask) in the role of a detective named Kong Yat-hung. All three deliver flawless performances; besides looking great, they all more than hold their own when it comes to the action sequences.

When it comes to the action sequences, So Close delivers, and then some. And like most Hong Kong films made in the last 25 years, its action sequences incorporate CGI. Outside of a few moments, the use of CGI is very effective. The most memorable aspect of the action sequences is the use of Burt Bacharach and Hal David’s song (They Long to Be) Close to You. Lynn uses (They Long to Be) Close to You as a theme song. The combination of music and her movement are perfectly in sync during her escape after killing her target.

From its opening moments, So Close has an infectious vibe that makes what unfolds all so damn enjoyable. The well-executed narrative does a great job building momentum, and the tragedy leading into the finale does a phenomenal job laying the foundation for an exceptional ending. Ultimately, So Close is a solid example of how to make a female-led action film, and once again, Hong Kong is ahead of the curve when compared to similar films made by Hollywood.

88 Films gives So Close an excellent release that comes with a solid audio/video presentation and a wealth of archival extras, highly recommended.

Written by Michael Den Boer

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