Dangerous Game – Cinématographe (Blu-ray)

Theatrical Release Date: USA, 1993
Director: Abel Ferrara
Writer: Nicholas St. John
Cast: Harvey Keitel, Madonna, James Russo, Nancy Ferrara, Reilly Murphy, Victor Argo

Release Date: May 28th, 2024
Approximate Running Time: 108 Minutes 30 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: NR
Sound: DTS-HD Stereo English
Subtitles: English SDH
Region Coding: Region A
Retail Price: $49.98

"New York based filmmaker Eddie Israel (Harvey Keitel, Bad Lieutenant) is embarking on a new production titled Mother of Mirrors, being shot in Los Angeles. Joining Israel in Hollywood are his film’s lead actors, Sarah (Madonna, Desperately Seeking Susan) and Francis (James Russo, China Girl), playing an unhappily married couple coming to terms with matters of religion, drug use and unconventional sex. As reality and fiction begin to merge, Israel’s wife, Madlyn (Nancy Ferrara, real life wife to Abel), enters the fray of the tumultuous film production that has become home to infidelity, drug use and acts of violence, setting the stage for an unpredictable and uncompromising final act." - synopsis provided by the distributor

Video: 4.5/5

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

Dangerous Game comes on a 50 GB dual layer Blu-ray. 

Disc Size: 41.5 GB

Feature: 26.8 GB

The bulk of the source is in great shape; Dangerous Game has never looked better. That said, the quality is not that strong when it comes to the rehearsal moments. The colors look correct, image clarity, and black levels are strong throughout. Also, compression is solid, and the image retains an organic look.

Audio: 4.5/5

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

Extras:

Extras for this release include a theatrical trailer (1 minute 28 seconds, DTS-HD Stereo English, no subtitles), a video essay by Alexandra Heller-Nicolas titled Abel Ferrara's Game of Mirrors (15 minutes, DTS-HD Stereo English, no subtitles), an interview with editor Anthony Redman titled Under a Rock (20 minutes 13 seconds, DTS-HD Stereo English, no subtitles), an interview with composer Joe Delia titled Punctuation and Underscoring (16 minutes 54 seconds, DTS-HD Stereo English, no subtitles), an audio interview with actress Nancy Ferrara (24 minutes 44 seconds, DTS-HD Stereo English, no subtitles), an interview with actor James Russo titled Doing This or What (12 minutes 14 seconds, DTS-HD Stereo English, no subtitles), an interview with director Abel Ferrara titled Wins the Prize (19 minutes 8 seconds, DTS-HD Stereo English, no subtitles), an audio commentary with filmmaker Chris O'Neill and Bill Ackerman of the Supporting Characters podcast, a J-card MediaBook slipcase and a 40-page booklet with an essay titled Abel Ferrara Beyond New York written by Samm Deighan, an essay titled Dangerous Game written by Carlos Valladares, and an essay titled The Limits of Control written by Peter Labuza.

Summary:

Directed by Abel Ferrara, whose other notable films include The Driller Killer, Ms. 45, King of New York, Bad Lieutenant, and The Funeral.

The narrative revolves around a filmmaker whose life mirrors the movie he’s making.

Dangerous Game is three films: the one that the audience is watching, The Mother of Mirrors, the film being made by the protagonist, and behind-the-scenes footage of the cast and crew working on The Mother of Mirrors. Dangerous Games takes the film within a film scenario to another level, despite its widespread use in other films.

Dangerous Game is a film that is difficult to digest in a single viewing. Though the narrative for the most part is linear, throughout there are moments where rehearsal footage is used. Reportedly, Abel Ferrara shot the rehearsal footage with a cast that thought they were fleshing out their characters. Though the actors are not fully in character, this footage actually works really well within the context of the story that unfolds. Also, the addition of the rehearsal footage adds a level of meta to a film that’s filled with meta moments.

The entire cast is very good in their roles; they fully immerse themselves in their characters, especially Madonna. She frequently faces criticism for her acting, but her performance in Dangerous Game is undoubtedly her best. Her performance has a rawness that allows her to go places she has never been before or since as an actress.

The most surprising performance is Harvey Keitel’s portrayal of Eddie Israel, a filmmaker in the middle of a personal crisis while trying to complete his latest film. His character is essentially Abel Ferrara. Despite being known for portraying characters with violent tempers, Eddie Israel is the polar opposite of his character in Bad Lieutenant. That said, it is James Russo (China Girl) who portrays the character with an uncontrollable rage.

Abel Ferrara’s cinema always takes you to a dark place. And though his films are mostly filled with unlikeable characters, that never lessens the potency of the stories he tells. Also, it is the actions of the characters that bring about their own destruction; in the case of Dangerous Game, it is things like infidelity, addiction, and rage. Ultimately, Dangerous Game is exactly the type of film that one would expect from Abel Ferrara, a filmmaker who never plays inside the lines.

Dangerous Game gets an exceptional release from Cinématographe that comes with a solid audio/video presentation and a wealth of insightful extras, highly recommended.

                                       Screenshot example of rehearsal footage.

Written by Michael Den Boer

La marge (Emanuela 77): Mediabook – Plaion Pictures (Blu-ray/DVD Combo)

Theatrical Release Date: France, 1976
Director: Walerian Borowczyk
Writer: Walerian Borowczyk
Cast: Sylvia Kristel, Joe Dallesandro, André Falcon, Mireille Audibert, Louise Chevalier

Release Date: February 29th, 2024
Approximate Running Times: 91 Minutes 53 Seconds (Director's Cut), 86 Minutes 11 Seconds (Producer's Cut)
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: FSK-16 (Germany)
Sound: DTS-HD Mono French, DTS-HD Mono English, DTS-HD Mono German (Both Versions)
Subtitles: English, German (Both Versions)
Region Coding: Region B (Blu-ray), Region 2 PAL (DVD)
Retail Price: 31,99 Euro (Germany)

"Sigismond (Joe Dallesandro) leads a happy life with his wife and child in the French provinces. But on a business trip to sinful Paris he meets the breathtakingly beautiful Emanuela (Sylvia Kristel). Fascinated by her appearance, he follows her and immediately falls under her spell. They begin a passionate affair and spend exciting hours together. But a letter from home changes everything and throws Sigismond completely off track." - synopsis provided by the distributor

Video: 5/5 (Producer's Cut), 4.75/5 (Director's Cut)

Here’s the information provided about this release's transfer, "This reconstruction of Walerian Borowczyk's original cut of "La Marge" restores scenes omitted from the producers cut along with the original French soundtrack mix."

La marge (Emanuela 77), the director's cut, comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 25.6 GB (Director's Cut), 18.6 GB (German Theatrical Version)

La marge (Emanuela 77), the producer's cut, comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 24 GB

This is the first time La Marge has been released in high definition, previously it had only been available on home media in analog formats. The sources for the director’s cut and the producer’s cut are comparable; they both look excellent. That said, there is a minor dip in quality for moments that are exclusive to the director’s cut. Colors look correct; image clarity, contrast, and black levels are solid. Also, compression is very good, and the image retains an organic look.

La marge (Emanuela 77), the producer's cut, comes on a dual layer DVD.

Disc Size: 7.1 GB

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

This release comes with four audio options, two DTS-HD mono mixes in German, a DTS-HD mono mix in French, and a DTS-HD mono mix in English. For this review, I only listened to the French and English language tracks. Both audio tracks are in great shape; there are no issues with background hiss or sibilance issues. They both sound clear, balanced, and robust when they should. Included are removable German and English subtitles. Also, the English subtitles are for the French language track since they match up with character names.

Extras:

Extras on Blu-ray disc one include an image gallery (30 images - stills/German press book ), a theatrical trailer (2 minutes 35 seconds, LPCM mono German, no subtitles), alternate scenes from the UK version titled The Streetwalker (10 minutes 56 seconds, LPCM mono English, no subtitles), and the German theatrical version (86 minutes 31 seconds, 1.66:1 aspect ratio, DTS-HD mono German, no subtitles).

Extras on Blu-ray disc two include an image gallery (91 images - stills/German press book/posters/Japanese press book), an interview with Andre Heinrich and Noel Very (4 minutes 16 seconds, Dolby Digital stereo French with removable English subtitles), an interview with Noël Simsolo (7 minutes 55 seconds, Dolby Digital stereo English with removable German subtitles), Diana Au’s Amsterdam (5 minutes 30 seconds, Dolby Digital stereo English with removable English subtitles), a short film directed by Walerian Borowczyk titled Brief Von Paris (40 minutes 30 seconds, 1.33:1 aspect ratio, Dolby Digital mono with French text and removable German subtitles), and a documentary titled Obscure Pleasures: A Portrait of Walerian Borowczyk (63 minutes 13 seconds, Dolby Digital stereo French with removable German subtitles).  

Extras on a DVD include an image gallery (91 images - stills/German press book/posters/Japanese press book), a theatrical trailer (2 minutes 28 seconds, Dolby Digital stereo German, no subtitles), an interview with Andre Heinrich and Noel Very (4 minutes 5 seconds, Dolby Digital stereo French with removable English subtitles), an interview with Noël Simsolo (7 minutes 35 seconds, Dolby Digital stereo English with removable German subtitles), Diana Au’s Amsterdam (5 minutes 16 seconds, Dolby Digital stereo English with removable English subtitles), a short film directed by Walerian Borowczyk titled Brief Von Paris (38 minutes 50 seconds, 1.33:1 aspect ratio, Dolby Digital mono with French text and removable German subtitles), and a documentary titled Obscure Pleasures: A Portrait of Walerian Borowczyk (60 minutes 37 seconds, Dolby Digital stereo French with removable German subtitles).

Other extras include a 20-page booklet with an essay titled Im Spielraum Der Sünde (In the Scope of Sin) written by Marcus Stiglegger, Walerian Borowczyk filmography and information about Marcus Stiglegger.

Summary:

Directed by Walerian Borowczyk, an animator turned provocative filmmaker whose notable films include Goto, Isle of Love, Blanche, and The Beast.

A husband learns of the deaths of his son and his wife's suicide while on a business trip in Paris. Unable to come to terms with what has happened, he becomes obsessed with a prostitute who resembles his wife.

When discussing Walerian Borowczyk's cinema, we frequently bring up the provocative subject matter and abundant nudity. That said, some of his films transcend the erotic genre, notably La marge (Emanuela 77), a film that perfectly blends exposition and erotic moments. Also, La marge (Emanuela 77), like most of Walerian Borowczyk’s films, is a celebration of the female form.

Though the opening setup gives a brief glimpse into the protagonist's life with his wife and child, There is actually very little in the way of character development, and when it comes to characters the protagonist interacts with while in Paris, even less is revealed about them. Fortunately, this is easy to overlook since the performances of the two leads, Joe Dallesandro (Flesh for Frankenstein) and Sylvia Kristel (Emmanuelle), are outstanding in their respective roles. It also does not hurt that they have a tremendous amount of on-screen chemistry.

What starts off as a harmless fling quickly transforms into a coping mechanism for the protagonist. Instead of dealing with the loss of his child and wife, he loses himself in a relationship with a prostitute who resembles his dead wife. His grief becomes overwhelming, despite her temporarily filling the void left by his loss.

The soundtrack for La marge (Emanuela 77) is one area where it is different from most of Walerian Borowczyk's films, which feature classical music. Instead, the soundtrack for La Marge (Emanuela 77) features pop and rock songs, some credited and others uncredited. Notable songs include two by Elton John: Funeral for a Friend and Saturday Night's Alright (For Fighting), 10cc’s I’m Not in Love, and Pink Floyd’s Shine on You Crazy Diamond.

Walerian Borowczyk was a filmmaker who walked to the beat of his own drum; if he had any cinematic influences, they were not as in your face as most filmmakers. Also, despite a few missteps, Walerian Borowczyk makes a strong case for himself as an auteur. That said, the way in which he approached erotica in many ways is similar to that of Radley Metzger, a filmmaker who also pushed the boundaries of erotica.

From its opening moments, the narrative firmly grasps you, and by the time it reaches its bleak gut-punch final, you are as emotionally drained as the protagonist. Also, the narrative pacing does a phenomenal job building towards the finale. Ultimately, La marge (Emanuela 77) is an extraordinary exploration of loss and grief whose final moments linger on in your mind.

Plaion Pictures gives La marge (Emanuela 77) a strong release that comes with two English-friendly versions of the film, recommended.

Written by Michael Den Boer

The Case of the Bloody Iris – Celluloid Dreams (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1972
Director: Giuliano Carnimeo
Writer: Ernesto Gastaldi
Cast: Edwige Fenech, George Hilton, Annabella Incontrera, Paola Quattrini 

Release Date: June 25th, 2024
Approximate Running Time: 94 Minutes 57 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $45.95

"The gruesome murders of two young women send a shockwave of fear through the tenants of a high-rise apartment building. For photo models Jennifer and Marylin, it presents a welcome opportunity to move in together in one of the emptied flats. But the aura of terror catches up with everyone and soon, Jennifer feels like prey, stalked and targeted by the gloved killer. As her paranoia grows, Jennifer suspects everyone--her fanatic ex-husband, her spinster neighbor, the lesbian from down the hall, and even her boyfriend. But she is determined to stay one step ahead of the depraved killer!" - synopsis provided by the distributor

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

Here’s the information provided about this release's transfer, “This release's transfer was scanned in 2023 at Cinema Communications Services, Rome from the film's original 2-perf Techniscope camera negative in 4K resolution on a pin-registered Arriscan.

All restoration and color-grading was performed at Celluloid Dreams Studios in California.

Thousands of speckles and scratches, instances of dirt, debris, picture instability and other signs of film wear were repaired and removed through a careful combination of digital restoration tools and techniques."

The Case of the Bloody Iris comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.1 GB

Feature: 59.1 GB

The information provided gives a clear indication of what to expect, and though the source looks excellent throughout, there are a few very minor moments of source damage that remain. Flesh tones look healthy, colors look vibrant, image clarity, contrast, black levels, and compression are solid, and the image always looks organic. That said, this new transfer is a massive upgrade over all of this film’s other home media releases.

The Case of the Bloody Iris comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.4 GB

Feature: 23.3 GB

The Blu-ray uses the same source as the 4K UHD does for its transfer.

Audio: 4.5/5 (DTS-HD Mono Italian, 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. Both audio tracks are in great shape; there are no issues with background hiss or silabance issues. Dialog comes through clearly; everything sounds balanced and robust when it should. Range-wise, the differences between these two audio tracks are minimal. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track.

Extras:

Extras for this release include reversible cover art, an image gallery (21 images - stills/advertisements/lobby cards), Italian theatrical trailer (2 minutes 54 seconds, DTS-HD mono Italian with removable English subtitles), English language theatrical trailer (2 minutes 54 seconds, DTS-HD mono English with removable English subtitles), outtake reel (1 minute 44 seconds, DTS-Mono, no dialog, music from the film playing in the background), an archival interview with actor George Hilton titled Flowers of Blood (20 minutes 43 seconds, DTS-HD stereo Italian with removable English subtitles), an interview with actress Paola Quattrini titled Marilyn (11 minutes 50 seconds, DTS-HD stereo Italian with removable English subtitles), an interview with screenwriter Ernesto Gastaldo and an archival interview director Giuliano Carnimeo titled Drops of Giallo (29 minutes 26 seconds, DTS-HD stereo Italian with removable English subtitles), and an audio commentary with Guido Henkel.

Note: All orders placed through Celluloid Dreams' website will also come with an exclusive slipcover featuring brand-new, original cover art painted by Thu Lieu Pham, and a set of six beautifully restored 12″x8.25″ color reproductions of the original Italian fotobuste (lobby cards).

Summary:

Though most directors working in Italian cinema in the 1960s and 1970s would move to whatever genre was popular at the moment, There were a handful of directors like Giuliano Carnimeo who worked primarily in one genre. After directing ten spaghetti westerns, he would finally branch out into another genre. And in 1972, he would make his only foray into the Giallo genre with The Case of the Blood Iris.

That said, despite this being his only Giallo, he does a remarkable job exploiting all the key elements that have become synonymous with the genre. The Case of the Bloody Iris is a stylish film, and the visuals don’t waste a moment showcasing its female cast members ample assets. Another area where The Case of the Bloody Iris excels is in its ability to create tense moments. And nowhere is this more clear than when it comes to the murder set pieces.

Without a doubt, The Case of the Bloody Iris’s greatest asset is Edwige Fenech in the role of its protagonist, a model named Jennifer Lansbury. By the time of The Case of the Bloody Iris, she had already established herself as Gaillotine cinema's foremost heroine. And once again, she does not disappoint as she delivers a very satisfying performance.

Another performance of note is George Hilton (The Case of the Scorpion’s Tail) in the role of a suave playboy named Andrea Antinori, who falls in love with Jennifer. His onscreen chemistry is a tremendous asset to the film.

Other notable cast members include Oreste Lionello (Four Flies on Grey Velvet) in the role of a gay photographer named Arthur, Annabella Incontrera (Black Belly of the Tarantula), a lesbian neighbor named Shelia, and Paola Quattrini (Hercules) in the role of Jennifer’s roommate, a model named Marilyn Ricci.

The Case of the Bloody Iris, or the Italian title, Perché quelle strane gocce di sangue sul corpo di Jennifer? "What Are Those Strange Drops of Blood Doing on Jennifer’s Body?" is one of Giallo cinema’s longest and most bizarre titles. And though The Case of Bloody Iris is a by-the-numbers film that brings nothing new to the table, The result is a highly entertaining film that ultimately succeeds because of its breezy tone.

I am always excited to see more companies releasing foreign and cult movies on Blu-ray and 4K UHD, especially Giallo films. With their first release, Celluloid Dreams gives The Case of the Bloody Iris an exceptional release that comes with a solid audio/video presentation and a wealth of informative 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

The Valiant Ones: Limited Edition – Eureka Video (4k UHD)

Theatrical Release Date: Taiwan/Hong Kong, 1975
Director: King Hu
Writer: King Hu
Cast: Bai Ying, Hsu Feng, Roy Chiao, Han Ying-chieh, Sammo Hung Kam-Bo 

Release Date: May 27th, 2024 (UK), June 11th, 2024 (USA)
Approximate Running Time: 106 Minutes 44 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10
Rating: 12 (UK), NR (USA)
Sound: LPCM Mono Mandarin
Subtitles: English
Region Coding: Region Free
Retail Price: £24.99 (UK), $49.95 (USA)

"During the reign of the Jiajing Emperor (Zhao Lei), China’s coastal regions have come under attack by wokou – Japanese pirates under the leadership of the infamous Hakatatsu (Sammo Hung). To combat this threat, the Emperor tasks a trusted general, Zhu Wan (Tu Kuang-chi), with assembling a group of skilled warriors to find and eliminate the pirates. Under the command of General Yu Dayou (Roy Chiao), the band of soldiers – including husband-and-wife sword-fighters Wu Ji-yuan (Pai Ying) and Wu Ruo-shi (Hsu Feng) – set out to draw Hakatatsu, his ally Xu Dong (Han Ying-chieh) and their pirate clan into a series of spectacular showdowns." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about this release's transfer, “a 4K digital restoration of the original negatives gifted by director King Hu to the Hong Kong Film Archive.”

The Valiant Ones comes on a 100 GB triple layer 4K UHD.

Disc Size: 90.9 GB

Feature: 75.7 GB

The source looks excellent; flesh tones look correct, colors are nicely saturated, image clarity, black levels, and compression are solid, and the image always looks organic. Also, this is another outstanding encode from Fidelity in Motion.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in Mandarin with removable English subtitles. The audio sounds excellent; the dialog always comes through clearly, and everything sounds balanced. Also, action sequences always sound robust, with ambient sounds being well represented.

Extras:

Extras for this release include an archival interview with actor Ng Ming-choi (4 minutes 18 seconds, Dolby Digital stereo Mandarin and  English with removable English subtitles), an archival interview with actress Hsu Feng (16 minutes 54 seconds, Dolby Digital stereo Mandarin and  English with removable English subtitles), an archival interview with Roger Garcia (Hong Kong International Film Festival Society) titled Memories of Hu (26 minutes 15 seconds, Dolby Digital stereo English, no subtitles), an interview with Ng Ming-choi titled My Father and I (25 minutes 50 seconds, Dolby Digital stereo Mandarin with removable English subtitles), an interview with stuntman Billy Chan titled The Life of a Lucky Stuntman (20 minutes 54 seconds, Dolby Digital stereo Cantonese with removable English subtitles), a video essay by David Cairns titled Tsar of all the Wuxia (21 minutes 44 seconds, Dolby Digital stereo English, no subtitles), an interview with film critic and Asian film expert Tony Rayns titled Tony Rayns on The Valiant Ones (23 minutes 58 seconds, Dolby Digital stereo English, no subtitles), an audio commentary by Asian film expert Frank Djeng (NY Asian Film Festival), an O-card slipcase (limited to 2,000 copies), and a 20-page booklet (limited to 2,000 copies) with cast & crew information, an essay titled Portraits of Valour written by Jonathan Clements and information about the transfer titled Notes on Viewing.

Summary:

The narrative revolves around a group of skilled warriors given the task by their emperor to eradicate Japanese pirates who have been attacking coastal regions.

Though I am familiar with the name King Hu and his place within Chinese martial arts cinema, my only exposure to his films was Come Drink with Me. That said, as amazing as Come Drink with Me is, I was even more blown away by The Valiant Ones. Now that I have two of his films under my belt, my interest in his films has peaked considerably.

While watching The Valiant Ones, I was immediately grabbed by its use of techniques, particularly the rhythm created by its editing. And though other Chinese filmmakers would employ similar techniques that King Hu used for his fight scenes, his techniques were ahead of their time. And what is even more impressive about watching them now is how fresh they still feel after all of these years.

Another thing that sets The Valiant Ones apart from most of its contemporaries is its location. In The Valiant Ones, Taiwan locations are used instead of the usual sets or Hong Kong locations found in most martial arts films. This choice gives the film a distinctive look that enhances the viewing experience. Also, the use of real locations and only minimal use of sets is another plus. Also, the use of real locations and only minimal use of sets is another plus.

Of course, when it comes to martial arts films, no element matters more than the action sequences, and in this regard, The Valiant Ones delivers in spades. All of the action sequences are exemplary; they are dynamic in execution, and there is an abundance of inventiveness. As mentioned before, editing plays a significant role in The Valiant Ones, and nowhere is this clearer than the action sequences. Also, when it comes to the action sequences, there is an ample amount of onscreen carnage, and the quickness of the editing adds to the intensity of these sequences.

The entire cast is outstanding in their roles. The Valiant Ones is truly an ensemble cast where everyone perfectly complements each other and no one performance outshines another. Sammo Hung Kam-Bo (The Magnificent Butcher), who had yet to achieve leading man status, makes an appearance in the role of Hakatatsu, the leader of the Japanese pirates. Jackie Chan, working as an extra, played the parts of several pirates who were killed, according to King Hu's statement, despite not being credited for it.

From a production standpoint, there is no area where The Valiant Ones does not excel. There is a good balance of exposition moments and action sequences and the narrative does a phenomenal job building momentum towards an epic finale. Another strength of the action sequences, specifically the finale, is how the skilled warriors use superior fighting tactics to gain an upper hand when greatly outnumbered. Ultimately, The Valiant Ones is cinematic bliss that is a must-see if you're a fan of 1970s martial arts films.

The Valiant Ones gets a definitive release from Eureka Video. 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

Satanik: Limited Slipcover Edition – Terror Vision (Blu-ray)

Theatrical Release Date: Italy/Spain, 1968
Director: Piero Vivarelli
Writers: Eduardo Manzanos, Piero Vivarelli
Cast: Magda Konopka, Julio Peña, Umberto Raho, Luigi Montini, Armando Calvo, Mimma Ippoliti, Isarco Ravaioli, Nerio Bernardi, Pino Polidori, Antonio Pica, Piero Vivarelli, Gaetano Quartararo, Mirella Pamphili, Gustavo Simeone, Giancarlo Prete

Release Date: May 21st, 2024
Approximate Running Time: 84 Minutes 46 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English
Region Coding: Region A
Retail Price: $27.99

"Satanik is a Spanish-Italian co-production that tells a story about Dr. Marnie Bannister, a scientist horrifically scarred from her past. In a lab in Madrid where she works, a colleague has successfully created a substance able to regenerate cells. However, the animals he experiments on become aggressive and dangerous. Dr. Bannister wants to be the guinea pig in the trial, but they refuse her. Therefore, she kills for the substance, takes it, and transforms into a beautiful young woman… and also a vicious killer who will go to great lengths to keep her secret." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "a new 2k transfer of the original 35mm camera negative."

Here is additional information about this transfer, "Satanik was scanned and painstakingly restored in 2K from a mixture of vaulted elements. The material that was used was badly damage (fitting, right?) and took months to restore and to get right. We used prints in order to match the color timing correctly since Satanik has been misrepresented through a couple releases in other countries and bootlegs here in the US. You’ll notice that her hair isn’t purple and the colors are not very heavy like they have been in other releases." 

Satanik comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.4 GB

Feature: 24.4 GB

The information provided about this transfer gives you a clear idea of what to expect. For the most part, the source looks excellent; colors are nicely saturated, image clarity, black levels, and compression are solid, and the image retains an organic look.

Audio: 4/5 (DTS-HD Mono Italian), 3.5/5 (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. Though limited range-wise, the Italian language track is in better shape than the English language track. It sounds clean, clear, and balanced. The English language track has some background noise and sibilance issues; this track is also limited range-wise. Included are removable English subtitles for the Italian-language track.

Extras:

Extras for this release include a theatrical trailer (1 minute 37 seconds, Dolby Digital mono English, no subtitles), an episode of Commander USA’s Groovie Movies that featured Satanik (92 minutes 1 seconds, Dolby Digital stereo English, no subtitles), an option to listen to Satanik’s complete original soundtrack (51 minutes 41 seconds - 20 tracks), a video essay by Alexandra Heller-Nicholas titled Layer by Layer (11 minutes 45 seconds, Dolby Digital stereo English, no subtitles), a video essay by Eugenio Ercolani titled Black Fumetti (11 minutes 46 seconds, Dolby Digital stereo English, no subtitles), an interview with Patrizia Rosso, wife of Piero Vivarelli titled Piero’s Eros (36 minutes 28 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with director Piero Vivarelli titled Viva Vivarelli (29 minutes 52 seconds, Dolby Digital stereo Italian with removable English subtitles), an audio commentary with Eugenio Ercolani, Troy Howarth, and Nathaniel Thompson, and a slipcover (limited to the first pressing). 

Summary:

Directed by Piero Vivarelli, whose other notable films are Avenger X, The Snake God, and The Black Decameron.

An old scientist yearning for beauty and youth kills her colleague; his serum will give her the things she desires.

Author Max Bunker and artist Magnus (Roberto Raviola) created the Fumetti Satanik. Though there have been several film adaptations of Fumetti, Danger: Diabolik is the defining example of a Fumetti film. Other notable Fumetti films are Baba Yaga, Kriminal, The Mark of Kriminal, and Avenger X.

Though film adaptations are known for taking liberties with the original source material, the only element that this adaptation of Satanik uses is the protagonist's transformation from an ugly woman to an active woman. Also, in the original Fumetti, the protagonist is not an old woman; she is a young, disfigured woman.

Though the initial setup does a great job setting things up, There are too many lulls along the way that bring any momentum to a halt. When one thinks of fumetti films, a criminal mastermind springs to mind. Satanik’s protagonist is motivated solely by the need to preserve her beauty after consuming the serum. That said, the premise has many similarities to Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde; the serum in Satanik has a negative side effect.

It is easy to see why Magda Konopka was cast in the role of the protagonist. And though her striking beauty accentuates her character's transformation from an ugly duckling to a swan, unfortunately, the same cannot be said of moments where her character looks like an old woman. Her character's makeup in these moments is poorly done. That said, the performances are best described as serviceable.

From a production standpoint, despite having the resources needed to pull off this film, the result is a film that never fully realizes its potential. And nowhere is Satanik let down more than Piero Vivarelli, whose direction lacks the style that one has come to expect from Fumetti films. There are an abundance of nightclub scenes, many of which feature flamenco dancers. These nightclub scenes have a Jess Franco vibe, especially the scene where the protagonist does a strip tease wearing a mask, all dressed in black. Ultimately, Satanik is a predictable film that lacks the inventiveness and playfulness that Danger: Diabolik had in spades.

Satanik gets an excellent release from Terror Vision that comes with a strong audio/video presentation and a wealth of insightful extras, recommended.

 Written by Michael Den Boer