Man on the Brink – Kani Releasing (Blu-ray)

Theatrical Release Date: Hong Kong, 1981
Director: Alex Cheung
Writer: Alex Cheung
Cast: Eddie Chen, Ga Lun, Kam Hing Yin, Ada Fung, Ng Man-Tat

Release Date: February 27th, 2024
Approximate Running Time: 101 Minutes 14 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Cantonese, DTS-HD Mono Mandarin, DTS-HD Mono English
Subtitles: English
Region Coding: Region A
Retail Price: $41.98

"Impatient with low-level police work, rookie cop Chui (Eddie Chen) recklessly accepts his superior’s offer to go undercover. With few ties and an ambiguous moral compass that soon starts to spin out of control, his life outside the underworld begins to crumble." - synopsis provided by the distributor

Video: 4.25/5

Man on the Brink comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 25.6 GB

There is no information provided about this transfer’s source. The source is in great shape. Flesh tones look healthy, colors look correct, image clarity and black levels are strong, compression is very good, and there are no issues with digital noise reduction.

Audio: 4.25/5 (DTS-HD Mono Mandarin), 4/5 (DTS-HD Mono Cantonese), 3.75/5 (DTS-HD Mono English)

This release comes with three audio options, a DTS-HD mono mix in Cantonese, a DTS-HD mono mix in Mandarin, and a DTS-HD mono mix in English. The Mandarin language track is the most robust of these three audio tracks, while the English language track lacks the range that the other two audio tracks have. That said, dialog comes through clearly, and everything sounds balanced on all three tracks. Included are removable English subtitles for the Cantonese language track.

Extras:

Extras for this release include 8mm shorts directed by Alex Cheung: Young Teddy & Alex Cheung from 1973 (1 minutes 17 seconds, DTS-HD mono with music, no dialog), Come Together music video from 1973 (5 minutes 21 seconds, no sound), C.I.D. Making Of, behind the scenes footage from a TV series that Alex Cheung worked on (1 minute 21 seconds, DTS-HD mono Cantonese with removable English subtitles), Man on the Brink Making Of (14 minutes 8 seconds, DTS-HD mono Cantonese with removable English subtitles), a 2019 Q&A post screening talk with director Alex Cheung, Teddy Robin and filmmakers Teddy Chan, Gordon Chan, and Joe Cheung Tung-cho, and the real life undercover officer that inspired Ah Chui (65 minutes 13 seconds, DTS-HD stereo Cantonese with removable English subtitles), an interview with Alex Cheung (40 minutes 122 seconds, DTS-HD stereo Cantonese with removable English subtitles), an audio commentary with Alex Cheung and assistant director Teddy Chan, an audio commentary with film historian Frank Djeng, a spot gloss and embossed slipcover (limited to 2,000 units), and a 28-page booklet with an essay titled Cops and Robbers on the Brink: Alex Cheung, New Wave Crime Stylist written by John Charles, and archival photos.

Summary:

Directed by Alex Cheung, whose other notable films are Cops and Robbers and Chatter Street Killer.

The narrative revolves around an undercover cop who infiltrates the triads.

When one thinks of Hong Kong crime films, some of the first that come to mind are A Better Tomorrow and City on Fire. These films would push the boundaries of on-screen carnage with a hellfire of bullets. Then there are films that predate A Better Tomorrow and City on Fire, for example, Man on the Brink, that are more focused on the characters than operatic, violent set pieces. Also, aesthetically, Man on the Brink goes for a documentary vibe, whereas Hong Kong crime films that would dominate the latter half of the 1980s are known for their hyperrealism.

As mentioned, Man on the Brink is a character-driven film, with the main element that drives its narrative being its protagonist's conflicted feelings about his undercover assignment. And though his superiors have given him the green light to do whatever it takes to get the job done, including committing crimes, the longer he is undercover, the more the mental and psychic toll of his assignment starts to weigh him down like an albatross.

Going for a documentary vibe greatly suits the story at hand. It adds to the realism by fully engulfing you in the world being depicted. And though Man on the Brink does not have as much carnage as one has come to expect from Hong Kong crime films, when there are moments of violence, they are very effective.

Even when it comes to the performance, they are grounded in reality, and the entire cast is great in their roles. The standout performance is Eddie Chen (Devil Fetus) in the role of Ah Chui, a rule-breaking rookie cop who sees his only way of making a living is by going undercover. He delivers a rock-solid performance that perfectly captures his character's deteriorating state of mind as his life spirals out of control. The most memorable performance is Ng Man-Tat (A Moment of Romance) in the role of a psychopath triad gangster.

Something that seems all too common when watching Hong Kong films in this era is hearing music cues that were lifted from other films. In this case, there are music cues from Carrie and Rocky, and the soundtrack even features a few recognizable 1970s songs: On the Radio and Get Down Tonight.

If there is one area that is problematic about Man on the Brink, that would be its narrative, which has many instances where things start to drag. Fortunately, there are enough intense moments that these lulls are easy to look past, and everything culminates with a gut-punch ending that puts an exclamation mark on the events that preceded. Ultimately, Man on the Brink is a must-see film if you're a fan of Hong Kong crime films.

Man on the Brink gets an exceptional release from Kani Releasing that comes with a strong audio/video presentation and a wealth of insightful extras; highly recommended.

Written by Michael Den Boer

Dr. Jekyll vs. The Werewolf: Limited Edition – Mondo Macabro (4k UHD/Blu-ray Combo)

Theatrical Release Date: Spain, 1972
Director: León Klimovsky
Writer: Paul Naschy
Cast: Paul Naschy, Shirley Corrigan, Jack Taylor, Mirta Miller, José Marco, Luis Induni, Barta Barri, Luis Gaspar, Elsa Zabala, Lucy Tiller, Jorge Vico, Adolfo Thous

Release Date: February, 2024
Approximate Running Times: 85 Minutes 56 Seconds (Spanish Cut), 88 Minutes 13 Seconds (Export Cut)
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265 & 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Spanish (Spanish Cut), DTS-HD Mono English (Both Versions)
Subtitles: English (Spanish Cut)
Region Coding: Region Free
Retail Price: OOP (This edition was limited to 2000 copies)

"Quite simply the most crazed and delirious film of Spanish horror icon Paul Naschy’s long career. The trouble starts when our favorite El Hombre Lobo, Waldemar Daninsky (Naschy, of course) goes to the infamous Dr Jekyll (Euro-cult fave Jack Taylor) for help ridding himself of the lycanthropy curse. Things don’t exactly go as planned. The results are some of the most bizarre and entertaining moments of the entire 70s Spanish horror boom." - synopsis provided by the distributor

Video: 5/5 (Spanish Cut), 4.25/5 (Export Cut)

Here’s the information provided about the Spanish cut's transfer, "Brand new 4K restoration provided by the licensor".

Here’s the information provided about the Export cut's transfer, "It appears that Dr. Jekyll vs. The Werewolf was released in at least 4 different versions.

The original Spanish cut, with "clothed" scenes, a version released in the U.S. with some "clothed" and some "naked" scenes, a version released in the UK with some scenes cut and a version available in Germany with all of the stronger scenes intact.

The current owner of the film only has access to the Spanish version. Despite a long search we are unable to locate usable 35mm materials for all of the cut or altered scenes. To recreate the most complete version of the film, as presented here, we had to uses a mixture of 16mm footage and clips from analogue and digital video sources of variable quality."

Dr. Jekyll vs. The Werewolf comes on a 66 GB dual layer 4K UHD.

Disc Size: 33.8 GB

Feature: 33.7 GB

Dr. Jekyll vs. The Werewolf comes on a 50 GB dual layer Blu-ray.

Disc Size: 40.6 GB

Feature: 18.2 GB (Spanish Cut), 13.8 GB (Export Cut)

The Spanish cut's source is in excellent shape. Flesh tones look correct, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and the image always looks organic. That said, this is Mondo Macabro’s best-looking Paul Naschy film transfer. The bulk of the source, the export cut, is comparable to the Spanish cut’s source, with a few moments where the quality does dip due to using lower-quality sources.

Audio: 4/5 (DTS-HD Mono Spanish), 4.25.5 (DTS-HD Mono English)

The Spanish cut comes with two audio options, a DTS-HD mono mix in Spanish and a DTS-HD mono mix in English. Included are removable English subtitles for the Spanish-language track. The Export cut comes with one audio option: a DTS-HD mono mix in English. The Spanish language track has some instances of background hiss; both English language tracks are in better shape. That said, dialog always comes through clearly, everything sounds balanced, and range-wise, these two tracks sound good. 

Extras:

Extras on the 4K UHD disc include an audio commentary with Rodney Barnett and Troy Guinn of the NaschyCast for the Spanish cut. 

Extras on the Blu-ray disc include an archival interview with actor Paul Naschy titled Paul Naschy on Dr. Jekyll (18 minutes 40 seconds, Dolby Digital stereo Spanish with non-removable English subtitles), an interview with Sergio Molina titled Inside Dr. Jekyll vs. The Werewolf with Sergio Molina (22 minutes 43 seconds, Dolby Digital stereo Spanish with removable English subtitles), a career profile of actor Jack Taylor titled Jack Taylor, Testigo Del Fantastico (31 minutes 15 seconds, Dolby Digital stereo Spanish with removable English subtitles), an archival interview with Jack Taylor titled Jack Taylor on "Fantaterror" (16 minutes 6 seconds, Dolby Digital stereo Spanish with removable English subtitles), an interview with filmmaker Victor Matellano titled Sanatorium Leon Klimovsky, he discusses the career of director Leon Klimovsky (30 minutes 46 seconds, Dolby Digital stereo Spanish with removable English subtitles), and an audio commentary with Rodney Barnett and Troy Guinn for the Spanish cut.

Other extras are reversible cover art, a slipcover, a set of lobby card reproductions, and a 20-page booklet with an essay titled On Dr Jekyll and the Werewolf written by Mirek Lipinski.  

Summary:

Directed by León Klimovsky, a filmmaker who frequently worked with Paul Naschy. His notable films are Werewolf Shadow, Vengeance of the Zombies, A Dragonfly for Each Corpse, and The Vampires’ Night Orgy.

The narrative revolves around a man suffering from lycanthropy whose search for a cure leads him to the grandson of Dr. Jekyll.

Over the course of his five-decade career, Paul Naschy showed a kinship for the horror genre, especially films with monsters that were clearly inspired by Universal’s classic monster films of the 1930s and 1940s. With Dr. Jekyll vs. The Werewolf, Paul Naschy once again makes a film that is filled with familiar monsters, albeit with his own personal twist on them. Also, Dr. Jekyll vs. The Werewolf would mark the sixth time that Paul Naschy portrayed Waldemar Daninsky, a character he would portray 12 times.

The premise—a man returning to Transylvania, the place where he was born—sets a solid foundation from which Dr. Jekyll vs. The Werewolf builds. And though Paul Naschy does not appear until around the 18-minute mark, it is clear that his character is the protagonist. His character is given a heroic introduction when he saves a woman who is about to be raped by a gang of thieves who just killed her husband. From there, the woman quickly forgets about her dead husband and falls in love with Waldemar Daninsky. Anyone who has seen a fair number of Paul Naschy films knows that women cannot resist the characters he portrays.

As good as the entire cast in the roles, they all take a beat seat to Paul Naschy, who once again delivers an enthralling performance. His enthusiasm and affection for horror cinema make his performances all the more potent. Mirta Miller's (Eyeball) portrayal of Dr. Jekyll’s grandson’s assistant is a standout performance. Her character is devoted to Dr. Jekyll’s grandson, and when scorned, she unleashes hell. Not to be overlooked is Jack Taylor's (Succubus) portrayal of Dr. Jekyll’s grandson.

Though it is not uncommon for a Paul Naschy film to have multiple classic monsters, Dr. Jekyll vs. The Werewolf is filled with them. Besides Waldemar Daninsky, who is a werewolf, there is a witch named Bela; Dr. Jekyll’s grandson fulfills the role of the mad scientist; and Waldemar Daninsky is also Mr. Hyde. That said, Dr. Jekyll vs. the Werewolf is a mishmash of monsters that is melded into one cohesive thing that somehow works.

From a production standpoint, Dr. Jekyll vs. The Werewolf is a film where everything perfectly falls into place. The narrative’s pacing does a great job of maintaining momentum, and a superb finale provides a very satisfying coda. Also, the visuals create a lot of atmosphere, and Antón García Abril (The Tombs of the Blind Dead) delivers an exemplary score that reinforces the foreboding mood. Another area where Dr. Jekyll vs. The Werewolf has gore effects. Ultimately, Dr. Jekyll vs. The Werewolf is a solid entry in Paul Naschy’s Waldemar Daninsky films, and although it may not be the best film in this series, it is still in the top three.

Dr. Jekyll vs. The Werewolf gets an exceptional release from Mondo Macabro that comes with a solid audio/video presentation and informative extras, highly recommended.

Note: There will be a Blu-ray-only re-release that has yet to be given a date.

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

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