Fear and Desire – Kino Lorber (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1953
Director: Stanley Kubrick
Writer: Howard Sackler
Cast: Frank Silvera, Kenneth Harp, Paul Mazursky, Stephen Coit, Virginia Leith, David Allen, Toba Kubrick

Release Date: February 26th, 2024
Approximate Running Times: 70 Minutes 19 Seconds (Premiere Cut), 60 Minutes 56 Seconds (Theatrical Cut)
Aspect Ratio: 1.37:1 Aspect Ratio / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (4K UHD - Both Versions), 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Blu-ray - Both Versions)
Rating: NR
Sound: DTS-HD Mono English (Both Versions)
Subtitles: English SDH (Both Versions)
Region Coding: Region Free (UHD), Region A (Blu-Ray)
Retail Price: $39.95

"In this existential drama—which has the feeling of a waking dream rather than a conventional war film—four soldiers return to their senses after crash-landing in a forest behind enemy lines. Blindly navigating their way back to their unit, they attack an isolated cabin occupied by enemy soldiers, then apprehend a peasant woman who is tormented by the deranged young soldier assigned to guard her. On the verge of freedom, they discover an outpost of enemy officers, and must decide whether to slip silently past or stage a violent confrontation with their doppelgängers." - synopsis provided by the distributor

Video: 3.5/5 (4K UHD), 3.5/5 (Blu-ray)

Here’s the information provided about this release's transfer, "Brand New HDR/Dolby Vision Masters for Both Cuts of Fear and Desire – 4K Restorations from the 35mm Camera Negative and Fine Grain."

Fear and Desire comes on a 100 GB triple layer 4K UHD.

Disc Size: 92 GB

Feature: 40.9 GB (Premiere Cut), 26.7 GB (Theatrical Cut)

There are still some instances of source damage that remain, though the source has been cleaned up. When compared to Kino Lorber’s 2012 Blu-ray, this new transfer is a substantial improvement when it comes to image clarity, contrast, and black levels. Unfortunately, there are compression artifacts that make any of the improvements a bigger letdown.

Fear and Desire comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.4 GB

Feature: 17.4 GB (Premiere Cut), 16.4 GB (Theatrical Cut)

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.25/5

Both versions come with one audio option, a DTS-HD mono mix in English with removable English SDH. Both audio tracks are in good shape. Dialog comes through clearly; everything sounds balanced, and range-wise, they are satisfactory.

Extras:

Extras on the 4K UHD disc include an audio commentary with film historian Eddy Von Mueller for the premiere cut, an audio commentary with film historian and screenwriter Gary Gerani for the theatrical cut, and three short films directed by Stanley Kubrick: Flying Padre (8 minutes 37 seconds, 1.37:1 aspect ratio, DTS-HD mono English with removable English SDH), Day of the Fight (16 minutes 18 seconds, 1.37:1 aspect ratio, DTS-HD mono English with removable English SDH), and The Seafarers (28 minutes 43 seconds, 1.37:1 aspect ratio, DTS-HD mono English with removable English SDH).

Here’s the information provided about Flying Padre's transfer, “4K restoration from the original 35mm print.”

Here’s the information provided about Day of the Fight's transfer, “4K restoration from the original 35mm print.”

Here’s the information provided about The Seafarers transfer, “4K restoration from the 16mm A/B camera negatives and a 16mm print.”

Extras on the Blu-ray disc include theatrical trailers for Killer’s Kiss (1 minute 48 seconds, DTS-HD mono English, no subtitles), The Killing (1 minute 49 seconds, DTS-HD mono English, no subtitles), and Paths of Glory (3 minutes 3 seconds, DTS-HD mono English, no subtitles), 2012 re-release theatrical trailer for Fear and Desire (1 minute 26 seconds, DTS-HD mono English, no subtitles), 2023 re-release theatrical trailer for Fear and Desire (1 minute 18 seconds, DTS-HD mono English, no subtitles), an audio commentary with Eddy Von Mueller for the premiere cut, an audio commentary with Gary Gerani for the theatrical cut, and three short films directed by Stanley Kubrick: Flying Padre (8 minutes 37 seconds, 1.37:1 aspect ratio, DTS-HD mono English with removable English SDH), Day of the Fight (16 minutes 18 seconds, 1.37:1 aspect ratio, DTS-HD mono English with removable English SDH), and The Seafarers (28 minutes 43 seconds, 1.37:1 aspect ratio, DTS-HD mono English with removable English SDH).

Other extras include reversible cover art and a limited-edition slipcover.

Summary:

After their plane crashes, soldiers search for an escape from enemy territory.

Is it interesting to finally see Fear and Desire after all of these years? It is a film that does not have a good reputation and was directed by Stanley Kubrick, whom many consider the best director ever. The film had a brief run before it quickly disappeared, and Stanley Kubrick disowned the film, calling it the work of an amateur. Needless to say, all of these negatives that I have heard about Fear and Desire have never decreased my interest in seeing it.

In his first feature film, Stanley Kubrick tackled the subject of war, a theme that he would return to in films like Paths of Glory and Full Metal Jacket. Where those two films take place in wars that are clearly defined, in Fear and Desire, the war takes place in an unnamed country, and the identities of the combatants are not revealed. Also, just like those aforementioned films, Fear and Desire explores the effects that war has on those who partake in it.

Though it is easy to disparage a film like Fear and Desire, which undeniably has its faults, There are far worse low-budget films that were made in the 1950s that have attained cult status. Also, if Fear and Desire had been directed by anyone but Stanley Kubrick, or more importantly, by a no-name director who only made a few low-budget films, it would be held in a higher regard.

Even at this early stage of his career, Stanley Kubrick is already establishing traits that he will employ throughout his career. Notably, the way he composes a frame and voice-over narration. The most striking moments all have to do with death. The most memorable scene was between a woman and the soldiers who captured her. This scene, in which the characters have a language barrier, is incredibly effective.

Fear and Desire has two people who would work with Stanley Kubrick on other films. Frank Silvera (Killers Kiss) plays the role of Sergeant Mac, a hot-headed character who clashes with his superior officer. Other notable cast members are Paul Mazursky (Bob & Carol & Ted & Alice), who would go on to become a filmmaker in his own right, and Virginia Leith, who is most known for The Brain That Wouldn't Die. Composer Gerald Fried would work with Stanley Kubrick on Days of the Fight, Killers Kiss, The Killing, and Paths of Glory.

Despite its short running time, Fear and Desire feels much longer than it is. And though the theatrical version tightens things up, it still suffers from lethargic pacing. That said, Fear and Desire is Stanley Kubrick’s worst film, and yet it is still better than a lot of directors' best films.

Kino Lorber gives Fear and Desire a solid 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

Assignment Skybolt - Dark Force Entertainment (Blu-ray)

Theatrical Release Date: Greece, 1968
Director: Gregg G. Tallas
Writers: Dimitris Vlahos, Gregg G. Tallas, George Maros
Cast: Nikos Kourkoulos, Anna Brazzou, Paris Alexander, Anestis Vlahos, Elena Nathanail, Sonia Zoidou, Bergens Douglas, Giorgos Foras, Artemis Matsas, E. Vichenpach, Vera Krouska, Arthur Brenter, Hrysostomos Vordolakos, Tom Klunis 

Release Date: April 23rd, 2024
Approximate running time: 99 Minutes 36 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: N/A
Region Coding: Region Free
Retail Price: $29.95

"Dan Holland (Nicholas Kirk, The Ruthless), an American Secret Service agent, goes to Greece to find a hydrogen bomb that has been stolen from a NATO base in Turkey. There is the risk that foreign agents will activate the bomb to hit the 6th Fleet flagship while it is anchored outside the port of Piraeus, and thus start World War III. Dan Holland begins his mission with little information: an antique coin found in the location of the theft that belonged to his brother Jack Holland, code-name Achilles, but Achilles is supposed to have been killed by the Communists during the Greek Civil War." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about this release's transfer, "New 4K scan from the uncut 35mm original camera negative."

Assignment Skybolt comes on a 25 GB single layer Blu-ray.

Disc Size: 22.8 GB

Feature: 21 GB

The source is in very good shape; there are some minor instances of print debris. The flesh tones look correct, the colors are nicely saturated, the black levels are strong, the compression is very good, and the image looks organic.

Audio: 3.5/5

This release comes with one audio option, a DTS-HD mono mix in English. There is background noise that is more noticeable in some scenes than others, and there are some sibilance issues. That said, dialog comes through clearly, and range-wise, this track is satisfactory.

Extras:

Extras for this release include a slipcover (limited to the first pressing), and a cult movie trailer reel: Cut and Run, Screams of a Winter Night, Slaughterhouse Rock, The Cycle Savages, Tintorera, Eye in the Labyrinth, and The Violent Breed.

Summary:

Directed by Gregg G. Tallas, whose other notable films are The Barefoot Battalion and Espionage in Tangiers.

The narrative revolves around an American secret agent who goes to Greece to recover a stolen hydrogen bomb.

The James Bond series had a tremendous impact on cinema in the 1960s; besides changing the way that audiences experienced action films, it also ignited the spy film genre. And though there were countless James Bond imitators—a few that actually still hold up really well after all these years—the bulk of these 1960s spy films were cheap knock-offs that brought nothing new to the table.

Let's face it, one does not watch spy films because of their sound plots; in fact, we watch them because of their outlandish plots, which often feature over-the-top villains. When it comes to these two main elements, Assignment Skybolt is sorely lacking in both areas. Unfortunately, things quickly lose steam after setting a strong foundation.

Content-wise, despite being placed in an exotic locale and featuring a bevy of attractive women, many of whom wear skimpy outfits, unfortunately, when it comes to these elements, they are never fully exploited. That said, another area where Assignment Skybolt is its protagonist is that he lacks charisma, and whenever he is in danger, there is never any tension or real danger.

From a production standpoint, Assignment Skybolt had limited resources. Nowhere is this clearer than when it comes to its main location, a nightclub, and the overreliance on this location. Also, there are too many nightclub scenes, and they add little to the story. The similarity of these nightclub scenes hinders the pacing, and removing some of them would enhance the narrative. That said, I really wanted to enjoy Assignment Skybolt, and I went into it with enthusiasm based on other 1960s spy films that I have seen. Unfortunately, the result is a pedestrian spy film that moves too slowly and is too predictable.

Dark Force Entertainment gives Assignment Skybolt a strong audio/video presentation.

Written by Michael Den Boer

Scarlet Street – Kino Lorber (4k UHD/Blu-ray Combo)

Theatrical Release Date: USA, 1945
Director: Fritz Lang
Writers: Georges de La Fouchardière, André Mouëzy-Éon, Dudley Nichols
Cast: Edward G. Robinson, Joan Bennett, Dan Duryea, Margaret Lindsay, Rosalind Ivan, Jess Barker, Charles Kemper, Anita Sharp-Bolster, Samuel S. Hinds, Vladimir Sokoloff, Arthur Loft, Russell Hicks

Release Date: January 30th, 2024
Approximate Running Time: 101 Minutes 46 Seconds
Aspect Ratio: 1.37:1 Aspect Ratio / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10 (4K UHD), 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Blu-ray)
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free (UHD), Region A (Blu-Ray)
Retail Price: $39.95

"When middle-aged milquetoast Chris Cross (Edward G. Robinson, The Stranger) rescues street-walking bad girl Kitty (Joan Bennett, The Woman in the Window) from the rain-slicked gutters of an eerily artificial back-lot Greenwich Village, he plunges into a whirlpool of lust, larceny and revenge. As Chris’ obsession with the irresistibly vulgar Kitty grows, the meek cashier is seduced, corrupted, humiliated and transformed into an avenging monster before implacable fate and perverse justice triumph in the most satisfyingly downbeat denouement in Hollywood history." - synopsis provided by the distributor

Video: 4.5/5 (4K UHD), 4/5 (Blu-ray)

Here’s the information provided about this release's transfer, "New high-definition digital transfer from the 35mm negative preserved by the Library of Congress."

Scarlet Street comes on a 100 GB triple layer 4K UHD.

Disc Size: 72.4 GB

Feature: 71.1 GB

Though this is a new 4K transfer, the source has not been fully cleaned up, and there is print debris that varies in degree throughout. Though these instances of debris might turn some viewers off, the result is easily the best Scarlet Street has ever looked on home video. Image clarity ranges from strong to solid, with most of the time falling into the latter. Contrast and black levels are greatly improved when compared to previous releases. Also, compression is very good, and the image always looks organic.

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

Disc Size: 33.8 GB

Feature: 31 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4/5

This release comes with one audio option, a DTS-HD mono mix in English, and included with this release are removable English SDH subtitles. This audio track is in very good shape. Dialog always comes through clearly, everything sounds balanced, and ambient sounds are well represented. That said, range-wise, this track at times sounds limited.

Extras:

Extras on the 4K UHD disc include an archival audio commentary with film critic David Kalat, and an audio commentary with film critic Imogen Sara Smith.

Extras on the Blu-ray disc include an audio commentary with David Kalat, audio commentary with Imogen Sara Smith, and trailers for The Strange Case of Dr. Mabuse, The Woman in the Window, The Stranger, Night Has a Thousand Eyes, Black Tuesday, A Bullet for Joey, One Way Street, Human Desire, and Touch of Evil.

Other extras include reversible cover art and a limited-edition slipcover.

Summary:

Directed by Fritz Lang, whose other notable films include Der Müde Tod (Destiny), Metropolis, Spies, M, Scarlet Street, The Woman in the Window, and The Big Heat. Scarlet Street is a remake of Jean Renoir’s La Chienne. Both films were adapted from a story titled La Chienne, written by Georges de La Fouchardière.

The narrative revolves around a banker in a loveless marriage who is seduced by a much younger woman with a conman boyfriend.

Fritz Lang had a lengthy career that began in the silent film era and continued for another three decades when sound took over cinema. And though most silent film directors struggled to make the transition to sound, he was one of a handful of directors who successfully made the move from silent to sound.

Initially, Fritz Lang was known for his films, which are known as German Expressionism, and he would become associated later in his career with film noir, another genre in which visuals play a significant role. Also, it is in the Film noir genre that he would excel, making him arguably one of the directors most familiar with this genre.

Besides Fritz Lang, there were also actors and actresses whose names are synonymous with the Film noir genre. Case in point: Joan Bennett (Suspiria), who would appear in four Film noir's directed by Fritz Lang: Man Hunt, The Woman in the Window, Scarlet Street, and Secret Beyond the Door. Even the other two leads, Edward G. Robinson (The Stranger) and Dan Duryea (Criss Cross), appeared in numerous Film noirs. All three of these actors appeared in Fritz Lang’s The Woman in the Window.

When it comes to the performances, the three leads are exceptional. The most memorable performance is by Dan Duryea in the role of Johnny Prince, an abusive con man's boyfriend. He delivers a performance that perfectly captures his characters' two sides: charming and menacing. Then there is the ever-dependable Edward G. Robinson in the role of Christopher Cross, a meek banker who feels trapped in a loveless marriage. Not to be overlooked is Joan Bennett’s sensational portrayal of Katharine 'Kitty' March, the femme fatale.

Though the premise is pretty standard for a Film noir, it ultimately succeeds because of the performances of its three leads and Fritz Lang’s rock-solid direction. Also, Scarlet Street’s unusual romantic pairing of Edward G. Robinson and Joan Bennett greatly enhances the story that unfolds. And nowhere is it clearer than how Scarlet Street exploits their noticeable differences in ages.

The perfectly constructed narrative is filled with well-timed twists and double and triple crosses. Also, pacing is never an issue, as key moments are given an ample amount of time to resonate, and a poetic justice finale brings the events that preceded to a very satisfying, albeit downbeat, conclusion. Also, every inch of Scarlet Street is beautifully photographed, and the visuals have all the hallmarks that are synonymous with Film noir cinema. The most memorable moments visually are two scenes connected to Christopher Crosses’ self-portrait of Katharine 'Kitty' March. Ultimately, Scarlet Street is an extraordinary cinematic experience that is arguably one of Film noir's greatest films.

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

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