Scarecrows (1988) Blu-ray review

Chances are if something creeps, crawls, slashes, snarls, bites or brutalizes horror has produced dozens of films about it. Why, then, is there such a dearth of killer scarecrow movies? Perhaps it’s due to the fact that none made so far have been an outright success, but in terms of subject matter scarecrows are tailor-made for terror. Those straw men look nearly human, yet they lack most of the specific features – eyes, mouth, nose, etc. – that make us who we are. They exist very close to the “uncanny valley”; that place where Robert Zemeckis’ creepy CGI humanoids reign supreme. It would seem like horror should be rife with scarecrow pictures. Yet, as of 2015 there are only a handful of films featuring them - most of which aren’t even well liked. The apex of scarecrow horror is almost unquestionably Dark Night of the Scarecrow (1981), a TV movie that far exceeds expectations in every way – the acting, story, atmosphere and scares are outstanding. There’s also Night of the Scarecrow (1995) directed by one of my favorite B-movie helmers, Jeff Burr. A third film that fits nicely between those two is Scarecrows (1988), an underrated quasi-slasher full of nasty kills, creepy moments and unanswered questions. Barely seen upon release, it hasn’t even attained much of a cult following… although that might (and should) change thanks to a new Blu-ray release from Scream Factory.

A squad of former military officers pulls off a daring robbery at Camp Pendleton, CA and gets away with over $3 million in payroll money. The group escaped by hijacking a plane, with the intention of getting down to Mexico. The film likely assumes most people aren’t familiar with the geography of California, because a plane ride from Pendleton to Mexico would take all of twenty minutes. Anyway, as the plane passes over a cornfield Bert (B.J. Turner) decides to rip off his fellow criminals, stunning them with a grenade and parachuting out of the aircraft after dropping the loot. Bert lands in the cornfield and makes his way to an old dilapidated farmhouse. Nobody is home; the place looks like it’s been empty for years. Bert continues on, searching for the money, while his former buddies land the plane and disembark, looking to put a little hurt on ol’ Bert.

Eventually Bert finds the cash, but his fortunes are short lived when the field’s resident scarecrow trio suddenly disappear from their perches and begin stalking him, as well as the men on his trail. Soon, however, the game between thieves must end because everyone has a much bigger problem – ruthless scarecrows are killing and gutting whoever they catch, turning them into new, bloody scarecrows with the same intentions: death and dismemberment.

Director William Wesley and his cohorts produced this film on a shoestring budget, although you wouldn’t know it judging by the final product. The standard script is taken up a few notches thanks to brooding atmosphere and some particularly gruesome FX work, courtesy of Norman Cabrera. Nothing about the robbery group is all that compelling – even the sub-drama of the hostage pilot and his strong-willed daughter is stock material. The three main scarecrows and the mystery of their existence are what carry the film. Wesley provides zero backstory on the scarecrows in the way of traditional exposition. Instead, he does it all through repetition and suggestion; things to which modern horror pictures are blind. Upon entering the farmhouse viewers are shown an old photograph of three men – maybe brothers, maybe not – standing by the cornfields. They are never named or shown in any way other than through the photo, a shot that is repeated frequently. There are also three scarecrows. Wesley, bless his logic, rightly assumed any viewer could surmise these men and these scarecrows are one in the same. But how? That’s the lingering question Wesley refuses to answer, and the film is stronger because of his denial.

On the topic of the scarecrows, FX artist Norman Cabrera, a former student of Rick Baker’s, brings the trio to life with exquisitely sinister results. Each one has a burlap sack covering its head that hides a skeletal, almost demonic visage. Being from a farm, their weaponry ranges from scythes to rakes to daggers… and they do not kill their victims quickly. Late in the film, one of the men remarks that their getaway was “too easy” and they died in the escape; where they are now is simply a version of Hell. Maybe that’s true, because these men (and one woman, can’t leave the ladies out of a good disemboweling) are killed slowly, torturously, before being split open and stuffed with straw and money. Cabrera’s FX work is bloody and realistic. Stunning practical effects work could be done on films with next to no budget if the talent was there, something that is a rarity these days because a no-budget film will just opt for cheap CGI instead of a tangible piece of artistry. Scarecrows is a perfect example of strong artistic achievement elevating a feature.

In addition to the great FX, Scarecrows also excels in creating a tense atmosphere full of dread and claustrophobia despite taking place in an open cornfield. Cinematographer Peter Deming also lensed Evil Dead II (1987), Mulholland Drive (2001) and Drag me to Hell (2009), proving he knows a thing or two about shooting beautiful pictures. Then there’s also composer Terry Plumeri’s score, which uses low-end instrumentation to sell a sense of danger and overall spookiness. So, while the characters and most of the acting may not be the strongest (not that anyone is outright bad), the remaining elements of the film are operating on a high enough level to make a real lasting impression. Scarecrows is one of the better “unseen” gems of the ‘80s and it deserves every bit of praise for delivering such tremendous quality on a miniscule budget.

Those familiar with MGM’s previous DVD will find Scream Factory’s 1.85:1 1080p image to be the natural HD progression of that image, meaning no additional work has been done to alter the picture. Again, despite a low budget the film looks like a more expensive picture, due in great part to the lighting and effective set design. Grain is moderate and looks natural. Black levels are a bit faded, not much of a big deal. Color use is minimal, with the palette full of darker, earthy hues, nothing vibrant. Close-ups show off some impressive fine details, like beads of sweat or pores. There doesn’t appear to be an issue with compression either. Overall, a very good effort that offers a closer approximation of the film print.

Viewers have the choice of an English DTS-HD MA surround sound track, either in 5.1 surround sound or 2.0 stereo. The 5.1 track has a wider range and sounds a little fuller, but then again the film was originally mixed in Ultra Stereo so you really won’t be missing much by selecting the 2.0 track. The rears hardly get much use anyway. Dialogue sounds clean and is easy to understand. A lot of the film relies on subtlety and the film’s sound design adds in a plethora of nighttime farm sounds to heighten the tension. Subtitles are included in English.

The first audio commentary features director William Wesley and producer Cami Winikoff. Moderated by Rob G, this track stays on a solid pace throughout, with Wesley and Winikoff recalling stories about shooting schedules, cocaine, airline crashes and influences. The second audio commentary has co-screenwriter Richard Jeffries, D.P. Peter Deming and composer Terry Plumeri. This is actually a series of interviews conducted by Michael Felsher that play over the film for the entire running time. This approach works fine because none of the participants has a role that would necessarily require scene-specific commentary.

“The Last Straw with Norman Cabrera” has the film’s FX artist talking about the vibe of the shoot, how he got started in the industry, working with Rick Baker and more.

“Cornfield Commando with Ted Vernon”. Vernon, who also produced the film, spends as much time talking about his life’s achievements as he does talking about the film. He’s one of those “larger than life” types.

A reel of original storyboards, a still gallery and the film’s trailer (all in HD) are also included.

Mad Max (1979) Blu-ray review

Long before Mel Gibson was one of the biggest actors in the world, and long before post-apocalyptic films featuring marauding gangs of lunatics were churned out by the dozen, there was Mad Max (1979). In writer/director George Miller’s seminal film, the world hadn’t quite gone to hell yet – that would be saved for the (arguably) best film in the series, Mad Max 2 (1981, a.k.a. The Road Warrior) – but the writing was seared onto the walls. Miller’s dystopian wasteland set a tone and visual palette that has seen more copies than a Xerox machine. And, really, where better to film such a sparse dust bowl future than the Australia of 1979? Half the country is one big desert already. What really gives Mad Max the power of longevity is the strong characterization, with each actor bringing a distinct flair to their respective roles. Additionally, there’s a real sense of danger here – anyone could be a victim at any moment, and even Max’s fate isn’t assured as he attempts to do his job amidst a maelstrom of violence.

Opening “a few years from now…” the film joins in on the hot pursuit of a wanted cop killer, known as the Nightrider (Vincent Gil), who so far has managed to successfully evade the Main Force Patrol (MFP) officers in tow. But he isn’t so lucky when Max Rockatansky (Mel Gibson) gets on his tail, ending with the Nightrider’s fiery death. An energy crisis has left much of the Outback low on fuel and sparsely populated, with motorcycle gangs patrolling the streets and terrorizing citizens. The MFP’s main directive is to keep the highways safe and stop the gangs by any means necessary. Their job is made very difficult, however, due to political red tape and crooked lawyers who lobby hard for their scummy clients. Max’s partner, Goose (Steve Bisley), loses his cool when a suspect he knows is guilty winds up being released due to a technicality. Later on, that same suspect, Johnny “the boy” Boyle (Tim Burns), is egged on by the gang’s leader, Toecutter (Hugh Keays-Byrne), to horribly burn Goose while trapped in a wrecked car they helped demolish. Max is stricken with grief after seeing his partner’s wounds and quits the force. He’d rather spend his days traveling with his wife (Joanna Samuel) and new baby, enjoying the countryside. But when an unexpected run-in with Toecutter and his gang rips Max’s idyllic world right in two, the former MFP officer becomes focused on only one thing – brutal and swift revenge.

If there’s one aspect of Miller’s film that helped make it a massive success (other than Gibson’s laconic, magnetic performance), it’s the stunt work. Mad Max has fast cars, lots of ‘em, and more often than not they wind up in a crumpled heap on the hot asphalt. Adding to the impact of those stunts is the very clear indication that many did not go as planned, but since they had one shot in some instances however the stunt went is how it wound up in the film. When the Nightrider’s car collides with a petrol truck, it’s pretty obvious the car veered off course and didn’t hit the mark, which actually makes the stunt even scarier. And then there are also the numerous motorcycle stunts. During one such stunt, as seen in slo-mo, a wheel smacks the back of the stuntman’s helmet so hard you’d think he died on set. He didn’t, but he was definitely worse for the wear. Miller managed to outdo the stunts seen here when he made this film’s sequel, but for a first-time director this was some big stuff.

It would be interesting to see how today’s audiences – especially those who seem to need every detail of backstory explained ad nauseum - would react to Mad Max were it released today. Aside from the opening scrawl explaining the energy crisis, there’s very little history provided for the MFP, Max or the vicious gangs. I feel this only strengthens the film. Miller provides a solid framework within which these characters operate, and any reasonably sharp viewer should be able to fill in any gaps and make sense of how we’ve arrived at this situation. Just like Max, viewers are thrust into this savage land where danger lurks around every bend in the road. In particular, the Toecutter is an enigmatic force who controls his henchman with a firm grasp despite very little violence on his part. It makes you wonder what his story is. I mean, the guy is called “Toecutter” yet we never see him actually cutting off any toes. This sort of ambiguity would carry on through the series, and Miller always handles it perfectly. Here’s to hoping Max’s resurrection (albeit in a new form) is just as thrilling in Mad Max: Fury Road (2015).

There’s been a great deal of scuttlebutt on the web regarding Scream Factory’s 2.35:1 1080p image. Specifically, whether or not it’s any better than MGM’s previous Blu-ray edition, which was perfectly serviceable but far from perfect. As far as anyone knows the negative has been lost, meaning it would be difficult to improve upon what’s already been released. Unless you’re an obsessive about picture quality and go through a film frame-by-frame analyzing individual hairs and shrubs in the background, chances are you’ll find this edition to be on par with MGM’s release, if not a tad lesser. It does appear that some mild DNR has been applied, leaving skin tones looking occasionally waxy, and the grain structure is… odd; it’s not a visual eyesore but it doesn’t exactly look natural. Still, contrast is generally strong, with good color saturation and appreciable detail in many shots.

There are three tracks from which to choose here – Australian DTS-HD MA 5.1 surround sound or 2.0, as well as the infamous(ly bad) English DTS-HD MA 2.0 dub. The multi-channel Aussie option is your best bet, offering up a dynamic experience featuring great panning of effects and engine roars along with a decent low end during some of the more bombastic sequences. Dialogue has a bit of a reverb thing going on at times, though it never happens often enough to be a problem. Subtitles are included in English.

The audio commentary doesn’t feature the names you’d probably prefer to see – specifically, Miller and Gibson – but it does offer up a perspective from art director John Dowding, director of photography David Eggby, special effects artist Chris Murray and film historian Tim Ridge. Given the jobs of the men involved here, this track offers up a great perspective on the film’s production on a much more technical level. With so many people on the track, the energy remains high and talk stays lively and informative.

“New Interviews with Mel Gibson, Joanne Samuel and Director of Photography David Eggby” (HD) runs for almost thirty minutes. Although nothing too revelatory comes out of these talks, it’s wonderful to hear Gibson speak about the role that launched his career. Mel is candid as ever, brimming with enthusiasm and seemingly stoked to be talking about this seminal film so many years later. Samuel has some great anecdotes about her casting, while Eggby discusses the film’s wild stunt work and dangerous environments.

“Mel Gibson: The Birth of a Superstar” (SD) is a featurette that was included on the previous MGM special editions and covers Mel’s career, from his humble beginnings in Australia right up to his massive career in Hollywood. There’s a lot of gushing and glad-handing, with talk of what makes Mel different from other stars.

“Mad Max: The Film Phenomenon” (SD) is another carryover, obviously focusing on Miller’s film and how it set off a chain reaction of productions centering on post-apocalyptic/dystopian future films.

Two theatrical trailers are included, along with TV spots and a large still gallery, all in HD.

The Voices (2014) Blu-ray review

Ryan Reynolds’ career seems to be in a constant state of flux. To be fair, that’s the story for many actors, but Reynolds has yet to catch a big cinematic break despite nabbing roles in some high profile pictures. Unfortunately, those pictures were titles such as Green Lantern (2011) or X-Men Origins: Wolverine (2009). And the less anyone ever says about Blade: Trinity (2004) the better. So, whether because of his big budget bombs or not, Reynolds has been delving into the world of DTV and killing it – literally. He dabbled in playing a mentally unstable character before, with The Amityville Horror (2005) remake, but in The Voices (2014) he veers off into full-on serial killer territory. Think of it as if Patrick Bateman moved out of NYC, got a minimum wage job at a factory and adopted a couple of pets. Add in copious amounts of pitch black humor and the end result is something that’s likely to hit my top ten list once the year is through.

There isn’t a lot to worry about when you’re living in Milton. The quiet suburb is home to a bustling fixtures factory, where Jerry (Ryan Reynolds) is just another happy cog in the corporate wheel. He’s a bit socially awkward but always well-meaning and willing to help out. When he’s asked to assist with planning a little corporate picnic, Jerry agrees; at the meeting he finds himself fawning over Fiona (Gemma Arterton), a hot British import who works in finance. A shrink Jerry sees thinks getting out would be a good thing… assuming he’s still taking his court mandated meds. You are taking your meds, right Jerry? Jerry asks Fiona out, and she agrees in the sort of way that a person who isn’t really interested but can’t quickly think of a good reason to say “no” does. This goes over Jerry’s head and he ramps up his excitement. Their date doesn’t go as planned at all, but when the night is through Jerry still manages to find himself on top of Fiona… sticking a knife in her chest. Whoops. Once he does his best to clean up the mess he made, his two best friends – Bosco and Mr. Whiskers (both voiced by Reynolds), his dog and cat, respectively – discuss with Jerry the ramifications of his actions and whether or not he should get back on his meds or just continue killing people because it seems to be what he does best.

This is one of those films where it isn’t a novel story that sucks you in but, instead, it’s the idiosyncrasies of our lead character that wholly carries it. Reynolds’ Jerry is a weird man who does a lot of very horrible, gruesome things to his very personable co-workers (even Fiona isn’t a complete bitch), but it’s because Reynolds exudes a boyish charm, aided by being easy on the eyes (or so my girlfriend constantly tells me) and you’ve got a serial killer who, again, is not dissimilar to Patrick Bateman in that you can find him almost sympathetic despite his actions. Unlike Bateman, though, Jerry is supposed to be taking meds due to a childhood incident. When he’s off them, that’s when the film immediately thrusts viewers into the dark, decrepit world in which Jerry truly lives. But that place is no fun! Jerry prefers to exist in a fantasy land where everything is in its rightful place, but it’s only visible when he’s not sucking down his prescribed dosage; plus taking those pills means his two best friends – the dog and cat – are nothing more than regular house pets. Jerry’s continually unstable mental state keeps the film feeling fresh right up to the end because his behavior is so unpredictable. Even when you’re expecting him to perform certain actions, watching how Jerry surveys a scene and comes to his decisions based on such ill logic is wonderfully displayed.

The supporting characters serve little function aside from moving the plot along and putting Jerry where he needs to be. Still, credit is due to Anna Kendrick for playing a potential love interest for Jerry, although Jerry is completely clueless in regard to picking up on her obvious hints. There’s usually something a bit too twee about Kendrick for me, but she’s perfect here and a great fit for Jerry since she seems a bit “off”, too. Of course, the film still finds a way to showcase her singing abilities; at least it’s done fittingly.

Who could’ve guessed something this grim and full of gallows humor would come from the Academy Award-nominated director of the French-Iranian animated film Persepolis (2007)? You might’ve if you caught producer Adi Shankar’s name on the back cover, too. He might look like someone opened an Ed Hardy factory in India, yet his filmography shows that he makes bold, original films that usually operate outside the traditional studio chum. The Voices is a dark comedy on the level of John Waters’ Serial Mom (1994), only more gruesome and unsettling. Ryan Reynolds gives a performance that I’d call his best yet and it ends with a choreographed dance for Jesus that is the perfect capper on this off kilter picture.

There’s little fault to be found in the film’s 2.35:1 1080p picture. Lionsgate’s transfer is highly detailed and crisp, displaying a great sense of depth and featuring strong detailing. Contrast is excellent – black levels remain dark and never look hazy. Jerry’s world is always vibrant and bright, with lots of pastels and colorful hues. In contrast, when reality is shown the picture switches to showcase squalid conditions and disgusting living conditions, using darker hues and less lighting. Under all conditions the image holds up beautifully. A few scenes look a tad soft; that’s about the worst I can say.

The English DTS-HD MA 5.1 surround sound track is tremendously effective and engaging. Right from the start the level of immersion is apparent and impressive. Sound effects are well-balanced and separated nicely to allow for audible spacing. The rear speakers are continually aflutter, especially during the thunderstorm when lighting is cracking and thunder booms intensely. The disc also includes a Spanish Dolby Digital 5.1 surround sound track. Subtitles are included in English, English SDH and Spanish.

“The Voices: From Fridge to Frame” (HD) is more or less a typical EPK, just with a bit more information to go around. It doesn’t get too deep although there are interesting takeaways.

“VFX: The Making of Bosco and Mr. Whiskers” (HD) - The animals talk, their mouths move, and it was of the utmost importance that everything look seamless when shown on screen.

“VFX: Comparison Showreel” (HD) - Shot progressions are shown, from the in-camera image right up through once digital elements have been added.

“The Voices of Ryan Reynolds” (HD) - Reynolds makes some funny faces when voicing the film’s animals. Watch him do just that here.

A handful of deleted scenes (HD) are mostly little bits of exposition, with a lengthy scene that would’ve come near the end of the film where he “talks” to his dad.

Extended scenes (HD) add a bit more to Jerry’s job and his disastrous date with Fiona.

A reel of animatics (HD) shows off the film’s storyboards, with off-screen actors voicing the roles.

“Cast & Costume Sketch Gallery” (HD) shows off 18 images of the film’s characters and their looks.

From A Whisper To A Scream (1987) Blu-ray review

Director Jeff Burr has helmed a handful of dubious cinematic achievements in the world of horror – nearly all of them sequels to popular titles – but the only horror film he’s ever directed that he feels is his and his alone would be From a Whisper to a Scream (1987 – a.k.a. The Offspring), his second feature. Personally, I’ve long had an appreciation for Burr’s work and I find him to be a genuinely affable, enthusiastic personality who is brimming with wonderful stories and good ol’ boy charm. Leatherface: The Texas Chainsaw Massacre III (1990) is still my favorite sequel in that series. But on that film, and others such as Pumpkinhead II: Blood Wings (1993) and The Stepfather II (1989), Burr was hampered by studio executives, looming timelines and a near-total lack of creative input or control. The only time he’s enjoyed complete freedom on a horror picture was with From a Whisper to a Scream, a horror anthology that has aged quite well in addition to featuring one of the legendary Vincent Price’s final roles.

Oldfield, TN is a town with a rich history… of evil happenings. On the eve of a murderess’ execution, a local reporter (Susan Tyrell) pays a visit to the town’s historian, Julian White (Vincent Price), who happens to be the uncle of the newly-deceased woman. When pressed by the reporter about his niece’s history of violence, White seems apathetic and resigned. According to him, evil has had a foothold in Oldfield for a very long time and this is simply par for the course. He produces an old journal of tales long forgotten and schools the reporter on the town’s malevolent past.

The first tale, set in modern day, centers on Stanley Burnside (Clu Gulager), an awkward towhead living with his sister. Stanley is desperate for a woman, so he sets his sights high and asks out his boss, Grace (Megan McFarland), who for some reason agrees. After dinner, Stanley gets grabby in the car and, after being spurned, decides the best course of action would be to choke Grace to death. But he never got laid! No matter, once Grace’s funeral concludes Stanley brings some champagne to her coffin and drives in one final nail. But come nine months later he’s in for a shock.

Our second story goes back to the ‘50s, where Jesse (Terry Kiser), a small-time scoundrel, is hiding out from some gangsters he ripped off. Jesse makes a run for it but gets shot before managing to stumble into a rowboat and sail out into the swamp. He awakens in a ramshackle cabin, owned by a genial old black man (Harry Caesar) who nurses him back to health. When the man goes out to town, Jesse, being the scumbag he is, goes through the man’s belongings looking for loot. Instead he stumbles across a life-changing secret, one that he’s foolish enough to go after.

Next up, we travel further back to the ‘30s and visit a carnival, where glass eater Steven (Ron Brooks) performs with a sideshow of freaks. He’s in love with a local girl who has a mouthful of a name, Amarilliss (Didi Lanier), but the controlling owner of the carnival, Snakewoman (Rosalind Cash), refuses to allow him to leave. Steven and Amarilliss attempt to flee, but they both soon realize that Snakewoman’s voodoo powers can reach far beyond the borders of the circus tent.

Finally, the film goes way back to the Civil War, following a trio of men – led by Union Sgt. Gallen (Cameron Mitchell) – who come across a stronghold being commandeered by a group of children. At first they don’t take the children or their code of conduct seriously, but after witnessing what happens to those who disobey Gallen and his men (or, more appropriately, what’s left of them) beg for mercy.

I’ll admit to not being so hot on Burr’s film the first time I saw it. The pacing is deliberate and slow, which I suppose is apropos given the Southern setting, and the stories come across a bit half-baked and lacking succinctness. Upon second viewing, however, my opinion has changed. I found myself drawn into each of White’s tormented tales, appreciating how the film goes further back into the town’s legacy successively to establish a long pattern of weird, evil stuff. The stories are also unremittingly grim, stinging with final moments that barely give you enough time to mentally digest what’s just occurred before moving on to the next wicked tale. Burr and his co-writers each wrote distinct stories that are amazingly strong, given that none of them had ever worked on a feature before.

Additionally impressive is the cast that has been culled, anchored by Price and featuring a few other heavy hitters who were a bit past their prime but certainly added gravitas to what was a low-budget film by filmmakers who has no solid credentials – actors such as Cameron Mitchell, Clu Gulager, Lawrence Tierney and Harry Caesar. Nobody is phoning it in here, either; these guys took their roles seriously and the film is all the better for it. Ok, maybe Mitchell isn’t giving it his all but that’s also part of his twilight years-charm. Price may have later said he regretted taking his role, having grown tired of horror pictures, but his presence adds such prestige it can be seen as invaluable.

Burr and his cohorts may have been almost entirely green in the film industry, but they weren’t in over their heads making From a Whisper to a Scream. As one of the included documentaries shows, they had all been toiling away on Super 8 home movies for years, and this was simply the next logical step. Horror is often an “easy” introductory genre for those looking to break into feature filmmaking. Combining filmmaking know-how with twisted tales, peppered with taboo subjects few outside the European or exploitation market employed, this is a horror anthology that can stand tall among the big boys such as Creepshow (1982) or Tales from the Crypt (1972).

After making it past the opening optical credits, which experience some minor telecine judder, the film’s 1.85:1 1080p image stabilizes to show off a surprisingly strong 35mm picture. What’s most impressive about this transfer are the rich, stable black levels and consistent contrast. Film grain is very much apparent, and very thick, but it never looks clumpy or noisy. The print used here was kept in great shape, with only minor flecks appearing intermittently. To be honest, little imperfections such as those help maintain a filmic appearance, reminding viewers they’re watching a vintage 35mm print, albeit digitally. Bright and sunny daylight shots obviously enjoy the greatest exhibition of details and texture, while the darker shots (which are a majority of the film) do lack crispness and appear much softer. On the major plus side, the film’s practical effects are so awesome in that ‘80s a-step-or-two-above-homemade sort of way, and most manage to retain a level of quality in the jump to HD.

Despite the back cover’s claims, the audio here is not an English DTS-HD MA 2.0 track but, rather, an English LPCM uncompressed 2.0 offering. Does this matter much? It won’t for most. Personally, the most effective aspect to the sound was during the opening credits, when a beating heart quickens in pace as names appear. Jim Manzie’s score is great work because he had to compose distinct music for each of the time periods set within the film. His compositions perfectly complement every era. That aside, this is a fairly routine track featuring a good balance for the dialogue, modest separation and an adequate sound design. Subtitles are included in English.

“Return to Oldfield: The Making of From a Whisper to a Scream” (HD) is a documentary that runs for nearly two hours. Clocking in at almost twenty minutes longer than the film itself, this exhaustive piece uncovers every last bit of information known about all aspects of the film’s production, from start through finish. Burr and his childhood buddies turned fellow filmmakers talk about their respective roles on this film. Each has a lot to contribute, detailing how Burr’s idea to do a road movie somehow turned into a horror picture, the reasoning behind doing anthology, getting Burr’s brother involved to handle business affairs, securing Vincent Price (or almost not), shooting on short ends, and a crew mutiny that threatened the picture. This is easily one of the best making-of pieces Scream Factory has produced.

“A Decade Under the Influence” (HD) is another feature-length documentary, this one running for 1 hour and 17 minutes. Although a bit before my own time, this ode to Super 8 filmmaking still feels like childhood. Burr and his filmmaking friends recount the endless home videos they shot using the relatively inexpensive Super 8 cameras and film. There are lots of clips, in full HD, and they’re really awesome to watch. This is one of the cooler features to wind up on any Blu-ray.

Writer/director Jeff Burr delivers the first audio commentary. Those who have heard a Burr track before know he’s never at a loss for words and there’s so much information racing to come out of his mouth his excitement is palpable. He’s not as redundant as you might think given how much the documentary covers, so this is still worth listening to if you want to know it all.

Next up, writer/producer Darin Scott and writer C. Courtney Joyner are on hand for a track that is no less lively than Burr’s. After discussing actress Martine Beswick’s James Bond series past, these two delve deep into talk of topics ranging from using Roger Corman’s studios to who-knew-who-in-order-to-cast-who in the movie.

A plainly named “stills gallery” is actually a massive collection of every bit of ephemera related to the film, as introduced and commentated upon by Jeff Burr. There’s some really cool stuff in here.

A theatrical trailer is listed among the features yet selecting it yielded nothing but a blank screen. The TV spots, however, worked just fine.

New Year's Evil (1980) Blu-ray review

While Joe Six Pack might wait until Halloween to bust out the scary stuff, horror fans only have one time of year they watch fright films: all the time. Not that it ever gets old, but a sporadic way to break up the monotony is through holiday horrors. Odds are pretty good that if a film is set on a major holiday it’ll be getting a yearly viewing from most diehards… even if it’s terrible. This explains how Uncle Sam (1996) winds up in my player every July 4th. Thankfully, New Year’s Evil (1980) is not terrible, even if it is a fairly run-of-the-mill slasher. The film comes across slightly smarter than expected because it incorporates the normal festivities of New Year’s Eve into the plot, turning moments typically of celebration into fear. It also gets another bonus point for a third act reveal that is unexpected (if not a tad cliché) assuming you haven’t checked the cast list on IMDb and ruined it for yourself – which is exactly what I did.

It’s New Year’s Eve! And all the cool kids are celebrating at a taping of Hollywood Hotline, a punk rock & new wave show hosted by Diane “Blaze” Sullivan (Roz Kelly). The show is hosting a late-night countdown, with bands playing on stage and a dozen people standing by to take phone call requests. Diane gets a call from a “fan” who calls himself “Evil” and states that he will murder someone each time the clock strikes midnight in a different time zone, with her to be the final victim. Diane’s security team puts the building on lockdown and keeps her and her son, Derek (Grant Cramer), secured. Meanwhile, victims begin to arrive one per hour as the first stroke of midnight brings with it a nurse’s death. Evil records his crimes and call the show after the deed is done, playing back his promises. It isn’t long before the trail of bodies leads directly to Diane’s dressing room.

This was a fun movie, even for a first time viewer like me who has seen a hundred slashers. Is it original? Absolutely not, but it is very entertaining in a “14-year-old staying up late to watch USA’s “Up All Night” kind of way”. Having the killer strike at midnight works perfectly as a plot device, and it seems like such a natural choice to play up the film’s holiday ties. Perhaps one of the best aspects to the production is the decision to reveal the killer early on. I always find this a creepier approach than the boilerplate “hide in the shadows for 85 minutes” killers in the majority of slasher films. This guy is fairly debonair, too; think of Ted Bundy and you’re on the right track. Even better, he’s got a streak of John “Hannibal” Smith (leader of The A-Team (1983-1987), as played by George Peppard) in him because he shows up at each victim’s location wearing extremely convincing outfits. His third act skirmish with a biker gang (!) is so preposterous and deliciously B-grade cinema. Don’t forget, folks, this is a Cannon Films production – always expect the outrageous and then some.

If there’s one thing to remember the film by, however, it’s the title song; a damn catchy one, too. New Year’s Evil, as performed by Roxanne Seeman and Eduardo del Barrio, spent four days blaring the opening lines in my head before I could get it out. It plays on the Blu-ray’s menu, it opens the film and it may be used one other time; I’m not sure. It’s one of those infectious tunes that are impossible to shake. With all these vinyl companies putting out obscure soundtracks these days, someone please get this on a 7”.



New Year’s Evil is a perfectly decent slasher movie while also being highly enjoyable to watch for the sheer ridiculousness of it all – making it the ideal choice to pop on with a group of wasted friends on its namesake holiday. Or, perhaps, by yourself, Smirnoff Ice in hand, lamenting another year gone by with no social life to show for it. Either way you’re destined for Fun City.

This is the Blu-ray debut for New Year’s Evil, having previously been issued on a burn-on-demand DVD from MGM. The film’s 1.78:1 1080p image appears to have been faithfully reproduced, for better or worse. This is not a good looking film by any means, but it’s about as cleaned up as it needs to be. The print sourced from MGM is in good shape, with the only real anomaly showing up in the form of a yellow vertical line appearing 1/3 of the way across the screen for three shots. It’s a very minor defect. Line work in the shadows tends to fade into a murky mess, and black levels get pretty noisy when it’s really dark. That’s all the bad stuff. On a positive note, closeups reveal nice little details in faces and clothing textures. Colors are nicely saturated. Other than some grain spikes during night scenes, the majority of the appearance is very filmic.

The English DTS-HD MA 2.0 stereo track has exactly one issue with it, a high-pitched ringing that occurs for around ten seconds at approximately 30 minutes into the movie. That aside, this is a typically competent audible offering from Scream Factory. Dialogue is balanced and discernible, songs have a moderate presence and sound effects are given good weight. There could be a bit more oomph to the sourced music, especially that theme song, but this gets the job done just fine. Subtitles are included in English.

The film’s audio commentary features writer & director Emmett Alston, and it’s a bit on the dry side. Code Red’s Bill Olsen is on hand to moderate the proceedings, which delve into typical production speak about location shooting, budgetary concerns, how Alston got hooked up with Cannon, etc. It’s a subdued affair that even serious fans of the film may find boring.

“The Making of New Year’s Evil” is a behind-the-scenes piece that runs for nearly 40 minutes. This is yet another in a series of winning behind-the-scenes pieces from Scream Factory, featuring interviews with many cast & crew members who offer up all sorts of interesting anecdotes and reminisce fondly on their time making the movie. Stick around through the brief credits for a fun scene at the end.

The film’s theatrical trailer is included in HD.

The Phantom of the Opera: The Motion Picture (1989) Blu-ray review

Confession time: I have never liked theater. The scant few shows I have attended – one of which was a performance of “The Phantom of the Opera” at the Pantages – were well executed and marginally exciting, but there has never been a single time where I felt the urge to take in a show. This apathetic view has extended to cinematic adaptations of musicals, too, although there are unquestionably great films filled with songs. The purpose of this preface is to explain why I’d never watched The Phantom of the Opera: The Motion Picture (1989), despite being acutely aware of it since childhood. As a young horror fan, who wouldn’t have been drawn in by that cover art? It sold the movie as “Freddy: The Musical”, after all, complete with “Freddy” in bold letters on the cover and Englund’s partially-obscured visage looking an awful lot like his signature character. I must’ve passed it a thousand times on the video shelf as a kid and always had the same thought, “Nope, not interested in a musical.”

Oh, what a youthful fool. First off, it isn’t really much of a musical at all. The Phantom’s compositions are obviously a main component of the film, but it isn’t like characters break out into song every time they have a monologue to deliver. And it’s good music, too. Misha Segal’s score has been singled out as one of the film’s strengths, deservedly so. Secondly, this is absolutely a horror movie. If Englund’s presence didn’t make that evident, the choice of Dwight H. Little (he of Halloween 4: The Return of Michael Myers (1988) fame) as director and the use of Kevin Yagher and John Carl Buechler for FX work should make it crystal clear – a great deal of blood will be spilled.

Opening in present day New York City (check out that Tower Records!), Christine (Jill Schoelen) is an opera singer who wants to find something unique to sing for her upcoming audition. She and her friend Meg (Molly Shannon, in her film debut) discover a piece written by Erik Destler, a composer who they learn may have been responsible for a spate of murders in 19th century London. No matter, it’s a great song. Christine sings the piece at her audition, but before she finishes a sandbag crashes down from overhead and knocks her out. She awakens in 1881 London as an operatic understudy to La Carlotta (Stephanie Lawrence), a diva headlining “Faust”. Visions of Erik Destler begin to plague Christine, in which he tells her that only she can sing Carlotta’s parts as they should be performed. An “unfortunate accident” prevents Carlotta from going on that night, and Christine receives a standing ovation after stepping in for her.

The parallels between “Faust” and Destler’s life are then revealed, as it is shown that Destler made a deal with the Devil to ensure his music would be eternal. The catch? His face would be permanently disfigured, allowing people to love him only for his music. He’s also given superhuman strength and is seemingly immortal, so maybe not such a bad deal after all? Destler’s obsession with Christine continues to mount, leaving a trail of bodies in his wake and culminating in an attack on his underground lair in hopes of finally stopping him. Post-attack, we’re whisked back to present day New York City where Christine is waking up from her audition accident to a familiar face…

Jill Schoelen mentions in the bonus features that the film’s failure at the box office was likely due to the fact most horror fans didn’t want to see a musical any more than musical fans wanted to see a horror movie. She’s right there; many horror/comedies fail at the box office for the same reason – genre confusion and disinterest. The stage version may be most closely associated with the title, but this film version hews more to Gaston Leroux’s source novel. The only major change is of locale, from Paris to London, a decision made to give the picture a more “Hammer Studios” aesthetic. Well, that and the signature chandelier scene, which was dropped because Menahem Golan ran out of money. Golan’s name alone should have clued genre fans in to what to expect; the man built a solid career with Cannon Pictures and its hyper-violent films.

One could easily view this film as “Freddy of the Opera” thanks to Destler’s crispy-fried features being brought to life by Kevin Yagher, who handled makeup duties on three A Nightmare on Elm St. films as well as Freddy’s Nightmares (1988-1989). For most of the film Destler hides under a mask made up of the skin from his victims’ faces (he’s skilled at flaying), something he stiches onto himself periodically. When that is removed, however, he looks like Freddy Krueger with extra skin. How could he not?

It’s a shame the planned The Phantom of New York City never came together because this film ends on a sequel-setting note that could have been a worthwhile continuance. I could kick my younger self for not giving this a shot and renting it all those years ago. Thanks to strong FX work, particularly nasty kills and solid performances from horror notables, The Phantom of the Opera is an elegantly vicious retelling of a well-trodden tale. If there’s any downside here, it’s that an unrated cut couldn’t be put together. Apparently much of the gore wound up on the cutting room floor (like, you know, every horror film made around this time) and it would’ve been great to see that FX reinstated. Still, what survives is certainly worth horror fans’ time.

I don’t mind sounding like a broken record in saying Scream Factory has once again delivered a faithful, albeit unspectacular, picture for a catalog release. Maybe not all of their titles get the 2K or 4K treatment, but on the other side of the coin at least they never employ DNR or aggressive new color timing to their releases either. Phantom sports a 1.85:1 1080p image that was sourced from a clean print, free of major defects, dirt and noise. Colors are nicely saturated, especially reds. Grain is moderate and filmic, though it does spike a bit when the scene is in total darkness. As a testament to the FX work, most of the latex skin holds up rather well under the intense scrutiny of HD.

Viewers are given the option of an English DTS-HD MA 5.1 surround sound track or a 2.0 stereo track. Truthfully, to my ears the stereo track appeared more focused and full, while the surround track spreads itself out too thin, resulting in a weak presence and less impact. The film was mixed in Ultra Stereo, making the loss of any rear speaker effects is negligible. Dialogue sounds a bit more present in the 2.0 track as well. The film’s songs carry a decent weight, filling out the front-end assembly nicely. Subtitles are included in English.

The audio commentary track features director Dwight H. Little and star Robert Englund. These two have a great rapport, covering every necessary base including location shooting, relationships with the other actors, the picture’s tone & look and so forth. Definitely recommended if you enjoyed the film.

“Behind the Mask: The Making of The Phantom of the Opera” is a great behind-the-scenes piece that runs for just under forty minutes. Many of the film’s principals – Little, Englund, Schoelen, etc. – are on hand to discuss the film. Scream Factory has a knack for pumping out these highly informative, in-depth pieces on making a film; just about every one they’ve produced has been a perfect complement to its corresponding movie. There’s a lot of history behind this production and the anecdotes fly left & right.

The film’s theatrical trailer, TV spot, two radio spots and a still gallery round out the extra features.

Love At First Bite (1979)/Once Bitten (1985) Blu-ray review

Horror and comedy pair so perfectly it’s almost hard to believe it took filmmakers until the 1980s to really start cranking out some pictures. All those years of pent-up humor exploded at that point, resulting in one movie after the next ditching attempts at absolute terror for a heavy injection of humor. It makes sense why the concept gained traction; after years of seeing horror icons taken so seriously many were plum for roasting. Dracula was one such easy target, what with his Eurotrash romanticism, Misfits devilock-esque ‘do and the roster of staples endemic to vampirism (crosses, garlic, etc.). He’d been indirectly blasted once before by Roman Polanksi in The Fearless Vampire Killers (1967), but 1979 would bring about his first real skewering (staking?).

Without delving too deeply into the specifics, know that 1979 was an atypical year for vampires. No less than seven (!) films on the subject saw release that year, three of which are labeled as “Disco Dracula” titles. Just think about that – not only is there a Disco Dracula subgenre, but it grew in triplicate during one year. Kind of amazing, especially when you consider disco was heavily declining by that time. Of those three films released in ’79, the only one that still has much of a cult following is Love at First Bite, starring walking skin cancer anomaly George Hamilton as Count Dracula. Just as Mel Brooks had done five years earlier with Young Frankenstein (1974), which spoofed the original Frankenstein (1931), Love at First Bite takes a direct swipe at Bela Lugosi’s Dracula (1931). It isn’t as precise as Brooks’ film, though, using only characters and concepts while ditching the Transylvanian landscape for New York City’s cluttered streets.

After being booted out of his castle to make way for an Olympic gymnastics training facility, Dracula (George Hamilton) and his faithful insectivore servant, Renfield (Arte Johnson), head off to start a new life in New York City. Not for no reason; Drac has a crush on a magazine cover model who lives there, Cindy Sondheim (Susan Saint James). A mix-up at the airport causes Dracula’s coffin to be temporarily switched with that of a recently deceased black man from Harlem – you know where that joke is headed. Things get sorted out and the Count hits the town in search of his bride-to-be, whom he is convinced he already loves. He & Cindy meet due to his magnetic personality and cocksure charm, but once her guard comes down it’s clear she’s a bit of a mess. She’s sloppy and neurotic and, yet, the Count doesn’t care because he sees her as the reincarnation of his long lost love, Mina Harker.

One fly in his ointment, however, is Cindy’s therapist – and part-time-lover – Rosenberg (Richard Benjamin), who also happens to be grandson to Dracula’s old nemesis Fritz van Helsing. When Rosenberg finds out who has been pursuing Cindy, he runs Dracula through the gamut of apocryphal methods that will supposedly kill the undead vamp. None finds much success. Rosenberg’s very public antics eventually get him arrested, despite his vocal protests that Dracula is a public menace. He’s only taken seriously when a rash of blood bank robberies and sporadic attacks get the attention of the police chief, who authorizes Rosenberg to get back on the trail of Dracula and Cindy.

First off, in case you weren’t aware this release has restored Alicia Bridges’ “I Love the Nightlife” during the show-stopping disco number. Considering that sequence is one of the film’s highlights – and, really, a perfect fit for this sort of film - it’s amazing anyone thought it was even remotely acceptable to remove it in the first place. Yea, I know… music clearances and all that. Still a boneheaded move.

Having never seen the film, I think what surprised me most was the love story, which I had assumed would be half baked so the focus remained on the humor. Instead, it’s a complicated relationship with some genuine ups-and-downs. Dracula is way into Cindy just based on her looks, but his superficial love is immediately tested when it’s shown that Cindy is far from the glamorous, put-together model he envisioned. She’s a lady with some major hang-ups in life. Truthfully, a whole lot of the humor in this film fell flat for me, and I got most of my enjoyment out of watching these two imperfect lovers try to develop an actual relationship.

Part of the humorlessness that pervades this film comes in the form of Richard Benjamin as Rosenberg. He’s just so… stiff, mono-emotive and not really a good actor. There’s a real lag during the second act when so much of the film is following his character around while Dracula takes a bit of a backseat in his own movie. At least Renfield provides some decent laughs; he’s a little less Dwight Fry and more Marty Feldman’s Igor. It’s a fun, albeit dated, film.

Outshining Hamilton’s bronze resplendence is pale Canadian Jim Carrey, in his first theatrical leading role with Once Bitten (1985). This one plays more like a ribald ‘80s teen comedy, full of horny virgins and plenty of un-p.c. humor. In a somewhat coincidental twist, this film sees an actual supermodel, Lauren Hutton, playing the role of a vampire known as Countess. She looks remarkable for someone who’s “400 if she’s a day”, according to her personal assistant Sebastian (Cleavon Little), but the upkeep on those to-die-for looks is a steady supply of virgin’s blood – three sips before Halloween to be precise. Only problem is, finding a virgin in a city like Los Angeles isn’t easy work. Luckily, one of Countess’ nights on the town coincides with high schooler Mark (Jim Carrey) and his buddies’ own evening of prospect searching. Mark’s girlfriend, Robin (Karen Kopins), refused to have sex with him the night before, so he quickly determines the next best option is to find a willing partner somewhere in Hollywood. Countess and Mark hit it off at a singles bar and the two head back to her place almost immediately.

They hook up, although Mark’s recollection of their steamy night is pretty foggy. Did they have sex? She claims so. But now he’s starting to feel weird and act very different. The sun seems too bright. His fashion sense is getting darker. He’s having incredibly bizarre dreams. And he eats raw meat and drinks animal blood without giving it a second thought. Robin is justifiably concerned. When Countess draws blood from Mark a second time, it leads directly to a dance-off face-off between Mark, Countess and Robin (set to an on-the-nose track entitled “Hands Off”). If Countess manages to siphon some virgin blood from Mark just one more time her beauty will endure, but Robin isn’t willing to let her guy go without a fight. It might be a faux pas now, but how can you not laugh at the stampede brought about by the cry of “Fag alert!”?

The humor in Once Bitten is typical of ‘80s teen comedies, but what puts it over the top are Jim Carrey’s physical mannerisms and wacky faces. Fans of his style will be cracking up watching him dance with a sweater, or when he hisses at a couple local kids, or during any of the vampiric nightmares he has throughout. His malleable punim and range of expressions are his bread-and-butter comedy, but he’s also just as able to handle the scenes of serious drama. Cleavon Little kills it here, too, as Countess’ snarky out-of-the-closet assistant who is lightning quick with his quips. Mark’s two eternally-horny buddies are so desperate to get laid it’ll make you cringe, especially when one of them continues to use his staple pickup line, which is the sort of thing a guy with no understanding of women would say to get laid. The scene in the locker room showers where the two of them are looking for a bite on Mark’s thigh, at the behest of Robin, had me rolling because it’s just so wrong.

Love at First Bite makes its Blu-ray debut on this double-feature disc, featuring a 1.85:1 1080p image that is undoubtedly a step up from previous releases. The print from which this transfer was sourced looks very clean, with only minor flecks here and there. The cinematography presents a decent level of depth which comes through clearly in HD. Detail is only moderate in medium or wide shots, but up close it’s very sharp and lifelike. Colors are accurate and saturation is where it should be. Black levels, too, are strong.

The situation is the same in regard to the 1.85:1 1080p image for Once Bitten. The majority of productions around this time tend to have similar aesthetics, so as long as the source materials are kept in great shape – which these were – the end result is pretty expected. No DNR was used on either film, leaving grain intact as a fine layer over the picture.

Both films feature an English DTS-HD Master Audio 2.0 stereo track, and as you might’ve guessed both are more or less similar in terms of delivery, separation and overall presence. The sound design is typical of ‘80s comedies, with most of the focus on the dialogue and not much in the way of action. That’s not a complaint, just a fact. Luckily, Scream Factory has a knack for delivering solid stereo tracks, with dialogue clean, centered and well-balanced in the mix. Both films also feature source music that is presented with high fidelity, adding some weight to the track. “Once Bitten” has a little more in the way of discreet effects and separation, more dynamic, but otherwise these two are very similar. English subtitles are included for both films.

As far as extras go, there isn’t much here at all. Each film has its trailer, while Love at First Bite also gets a few radio spots.

Pumpkinhead (1988) Blu-ray review

Despite the subjectivity of nearly every horror film in existence, there are a handful of titles that more or less remain above reproach because they’re just so damn beloved. These are the films that would make you question a person’s love of the genre if they claimed not to be a fan. When it comes to a title like Pumpkinhead (1988), horror fans should fall into one of two categories:

1. Those who love it. 2. Those who haven’t yet seen it.

After toiling away in Hollywood since the early ‘70s, special FX pioneer Stan Winston finally got the chance to direct his first feature length film (and it should have stayed his first and only, if you’ve seen his one other theatrical picture, 1990’s A Gnome Named Gnorm). Pulling from a concept screenwriter Gary Gerani had kicking around in his head since the late ‘70s, along with a poem written by Ed Justin, Pumpkinhead is a seminal supernatural creature feature; a morality tale pitting film’s two oldest foes against one another – good vs. evil. Swathed in atmosphere and anchored by a strong lead in Lance Henriksen, the true star here is the eponymous demon of vengeance, Pumpkinhead, who remains one of cinema’s most realized, emotive creations of latex and mechanics ever produced. Even heathens who only find the film to be decent can’t argue the beast Winston’s team conjured up isn’t an enduring icon of horror; its legacy only diluted by some truly atrocious sequels (although, being a child of ‘90s horror, I have to admit to fostering a soft spot for Pumpkinhead II: Blood Wings (1994) despite the fact it is entirely unnecessary).

Ed Harley (Lance Henriksen) is a simple man. He lives in a modest cabin with his young son, Billy (Matthew Hurley), and their dog, Gypsy (who also played the Peltzer family pet in 1984’s Gremlins), since his wife passed away many years ago. By day, Ed and Billy run a local market & feed store by the roadside. One day, some city folk stop by on their way to a weekend getaway in the woods. Ed is forced to leave the shop when he forgets some feed for Mr. Wallace (played by John Carpenter crony George “Buck” Flower), leaving Billy “in charge” momentarily. And in that moment, Billy is run down and killed by Joel (John D’Aquino), a hothead dickhead who drinks constantly, thus ensuring that even when he does have a legitimate accident (see: Billy) he still has to go on the lam. Steve (Joel Hoffman), Joel’s brother, does the right thing by staying behind and trying to speak with Ed when he returns. As you might imagine, Ed is not thrilled.

Ed drives back down to the Wallace’s place, hoping to get in touch with an old woman who lives in these parts. She’s rumored to be able to conjure up something to even the score; a demon that Ed witnessed killing a man (Dick Warlock, in a very brief role) back when he was a young boy. One of Wallace’s kids shows him the way, down into the swamp where Haggis (Florence Schauffler) lives in a ramshackle cabin. Ed wants vengeance, which Haggis can provide… at a high price. Ed is instructed to dig up a malformed corpse from atop a small plateau within a pumpkin patch. He returns with the body, Haggis performs a ritual and the corpse transforms into the gargantuan demon of vengeance, Pumpkinhead. Numerous deaths follow.

It’s a tale as old as time – good vs. evil, revenge, justice, consequences. Pumpkinhead doesn’t succeed by doing things differently; it succeeds by getting a number of variables right, including the casting of Henriksen, who brings a strong sense of gravitas to the picture; delivering an atmospheric, almost gothic aesthetic set deep in the woods of Califo…er, the South; and, most importantly, Pumpkinhead as a character is unforgettable. Winston was mostly hands off during production because he had so much to manage running the ship. Thankfully, his shop contained a number of insanely talented individuals – Tom Woodruff Jr., Alec Gillis, Shannon Shea – that they were able to craft such amazing work in the span of several weeks. As a malevolent creature from another world, Pumpkinhead feels organic; it moves and emotes with as much realism as possible. Verisimilitude aside, the design is just flat-out spectacular, too. You almost can’t blame these producers for making sequels because it’s the kind of movie monster you want to see more of. Note I did say “almost”.

Henriksen is such a damn solid actor. He’s got this soulful charm to him, whether he’s playing a villain or a hero. It’s a magnetic presence. Side note: the guy is just like that in real life, too. Total class act. Here, as Ed Harley, he’s a man who makes a rash decision based upon raw emotion and a sense of total loss; he needs these kids to feel as he does, in this moment. Only after Ed is vicariously linked to Pumpkinhead does he understand the error of his choice, a wrong he desperately tries to right until the very end. It’s hard to imagine anyone doing a better job filling Harley’s boots.

The film’s road to theaters was not an easy one, fraught with studio change-ups, a poorly-timed wide release date and very few screens. Still, it thrived upon hitting home video, where mass audiences were finally able to appreciate the hard work Winston and co. had done. It’s possible for some this is one of those “rose-tinted memory” films that might not hold up for first-time viewers more accustomed to CGI creatures and hot-bodied teens in their horror. I stress “possible” because, really, you can’t love horror and not love everything about Pumpkinhead. It’s a brisk romp through the swamp, full of creepy creature moments and gorgeously lit, looking like a southern-fried Mario Bava flic.

Fans of Pumpkinhead have likely purchased this film at least a handful of times – VHS (which had the best cover art of any release), a full-frame DVD, a special edition widescreen DVD and now, finally, the reigning kings of horror on Blu-ray, Scream Factory, have delivered what should be taken as the definitive version, with a 1.85:1 1080p image that looks just great. Barring an extensive 4K restoration, this is the best the film will ever look on home video. There’s not much to complain about here. The picture relies heavily on colored lighting and a brooding atmosphere to heighten the horror, with many shots bathed in hues of red or blue. That blue, in particular, looks very effective when coupled with all the smoke pumped into the shots when our characters are trying to escape from the woods. Black levels are stable and rich; and they need to be because nearly the entirety of the film takes place in dimly-lit woods. Contrast takes a bit of a hit at night, when details tend to get obscured by shadow, though much of that lost detail is just inherent to such low lighting. Unsurprisingly, the image looks best during the daylight scenes, when finer details are able to more fully show themselves. No digital tweaking has been done here; no DNR or unnecessary tampering. Other than a few minor specks, the print used here is in great condition. Some minor compression issues pop up in the background of a few scenes; nothing major, though. I’ve seen this movie a hundred times on a half dozen formats on this is unquestionably the best it has ever looked.

As usual, fans have the choice of an English DTS-HD MA in either 5.1 surround sound track or 2.0 stereo. Now, the film was originally mixed in Ultra Stereo and the additional tracks added for a more immersive experience aren’t completely needed. The multi-channel option does sound a bit fuller than the stereo track, so this will simply come down to a matter of preference for most. Personally, unless a 5.1 channel track is terribly done it’s usually my go-to pick simply because the soundfield is expanded more fully. If you’re a purist, however, just know the 2.0 stereo track gets the job done nearly as well. Dialogue tends to sound a bit thin and flat on either track, lacking presence. Rears get some sporadic play during tense moments, never quite delivering enough audible cues to be totally immersive. The highlight here is composer Richard Stone’s score (someone get on a vinyl release, ASAP), which is perfectly constructed for the film. Stone uses a great deal of Southern instrumentation here, including some great pieces done with slide guitar and harmonica. There’s nothing generic about this score. Subtitles are included in English.

Continuing on with their mission to provide amazing releases, Scream Factory not only included ALL of the bonus materials found on the previous special edition DVD but they’ve also included newly-produced featurettes in an effort to absolutely pack every bit of space on this disc with awesome material. In addition to the returning audio commentary, documentary, trailers and featurettes, the disc also includes new interviews, a retrospective on Winston and an image gallery.

Ported over from the previous DVD is this audio commentary, featuring co-screenwriter Gary Gerani and creature FX creators Tom Woodruff Jr. and Alec Gillis, moderated by filmmaker (and super fan) Scott Spiegel. It’s a mostly-active session, with all participants getting plenty of time to discuss their respective contributions to the film. Everyone does quiet down on a few occasions, leaving awkward gaps of silence, and some info is redundant if you watch the other bonus features first. Still, if you want to know everything you possibly can about the production, this is an essential listen. Pumpkinhead Unearthed is a six-part documentary that runs just over an hour. No stone is left unturned here, as nearly every available principal cast & crew member is interviewed about their work on the film. This documentary was excellent when it arrived with the SE DVD, and here, presented in HD, it’s no less interesting to watch all over again. Behind the Scenes is a vaguely-titled piece that looks at the genesis of Pumpkinhead as a practical creation. Most of this footage consists of the special FX crew guys testing out a rough form of the Pumpkinhead suit, as well as sculpting the “hero” head and seeing the entire thing all put together on set. Night of the Demon with Richard Weinman is an interview with the veteran producer, who has some vivid recollections about working with Winston, including one moment of testosterone overload when he and producer Dino DeLaurentiis got into a screaming match. Dino, of course, won. The Redemption of Joel with John D’Aquino is an interview with the film’s big jerk. Ironically, he originally wanted to play the Jeff East good guy role, but wound up playing the heavy. He makes mention of his death scene being very painful due to the rig in which he was hoisted up. The Boy with the Glasses with Matthew Hurley is an interview with the actor who played Ed Harley’s son. Young Billy is all grown up, looking very much like you’d expect Older Billy to appear. Being so young during the time of filming, he’s got nothing but golden memories of his time on set. He points to Henriksen as making a great effort to keep him comfortable during the shoot. Demonic Toys is an interview with Jean St. Jean, sculptor at SOTA toys, who talks about the process by which he created the 20” tall Pumpkinhead figure that was put out many years back. It looks badass, but I’ll say this: it can’t stand for sh*t. Kids, leave most of your toys in the box. Trust me. Remembering the Monster Kid – A Tribute to Stan Winston is a slightly moving, slightly long remembrance of the FX legend. Stan was a major innovator in the film world; this is undeniable. Some of his contemporaries (mostly those who worked on this film) show up to wax fondly on how much they admired him. A couple tales of his temper are worked in, though nothing all that revelatory or shocking is told. This could’ve had more substance to it, but as an effusive tribute it’s not half bad. A still gallery containing 102 images and the film’s theatrical trailer, looking rather rough, complete the extra material.

The cover art is reversible, allowing for display of either newly-commissioned art (which is some of the best to grace a Scream Factory title) or the original theatrical key art, which, frankly, isn’t all that awesome. Nobody would’ve minded if they chose the VHS art, but this is a very minor quibble. A slipcover featuring the new art is included on first pressings.

Men In Suits (2013)

Movie monsters have been a staple of genre films going all the way back to the beginnings of cinema. Many of us carry fond memories of a childhood spent glued to the television set, watching Godzilla (or some other menacing beast) smash through miniature sets much to our unbridled delight. But what many people may forget is that there is a person inside that suit – drowning in sweat, muscles aching with every movement – and he (or she) is responsible for bringing the creatures we hold so dear to life. In some ways, it’s a testament to the actor’s performance that viewers can so easily forget an anthropomorphic beast would be lifeless if not for the performance of that person inside. Thankfully, Men in Suits (2013) has come along to remind fans that not only is there a captain inside that rubber ship, but being that person is a demanding job, one that requires an incredible amount of stamina, strength, and the ability to emote without saying a word. It is an ambitious love letter to a timeless craft, speedily covering decades of ground in a scant 93-minute run time.

There are a number of well-known suit actors interviewed here, including Doug Jones, Tom Woodruff Jr., Brian Steele, Douglas Tait, Bob Burns, Van Snowden, and Haruo Nakajima. One thing all of these actors agree on is that being a suit actor is a demanding job that often doesn’t receive the accolades it deserves. Jones in particular seems to be very passionate regarding the “suit actor vs. screen actor” debate, noting that sometimes he felt like he was “treated like a prop” on set, rather than getting the respect a non-suit actor might have received. Many of the performers also agree that a lean body is best, as suit work is an additive process much like prosthetics, and keeping in shape requires rigorous exercise and incredible stamina. For example, Brian Steele’s costume for “Wink” in Guillermo del Toro’s Hellboy 2: The Golden Army (2008) weighed over 100 lbs., and he was required to perform – at the same peak level - for up to 12 hours a day. You have to be conditioned to endure this kind of abuse because if the suit actor calls it quits, shooting stops. It’s that simple. Steele said he would ride his bike to set every day – a 40 kM trek – to maintain his physical prowess. Jones, too, admits the work can wring you dry, but he also jokes that if he were to drop dead in a rubber suit on a del Toro picture he’d “die a happy man.”

With so many monsters and actors to cover, no one creature is focused on for too long, but the film does devote a sizeable chunk to cinema’s King of the Monsters: Godzilla. Actor Haruo Nakajima, who is still spry at the ripe age of 84, recalls the original suit he wore for Gojira (1954) weighed over 200 lbs. and was so reinforced and stiff he could leave it standing upright once he exited the back. It was not uncommon for a cup of sweat to be drained from the suit at the end of each day. Luckily, for the sequels the suit’s weight was cut by more than half, which allowed for Godzilla to battle Toho’s stable of kaiju more effectively. Nakajima proved so adept at maneuvering (however he could) inside a suit that he went on to be cast as many other top monsters – Varan, Rodan, Baragon – and he was also brought on to the cast of Ultraman so that, while performing, he could train the other suit actors who had little to no experience.

Many of the film’s history lessons are provided by the endless encyclopedia of creature features himself: Bob Burns. He knows this stuff inside and out, schooling viewers on everything from naming all of the top actors who performed in Hollywood’s gorillasploitation movies, to describing his own work as an actor and how the suits he manned were constructed. Of course, he’s got all the goods to show off on camera, too. Numerous film clips are shown to provide context to the pictures discussed, and no single film is too heavily covered. Remember, the goal here is to educate fans on the actors inside the suits. So don’t be surprised when Star Wars only gets a passing mention before the film moves on to other things. If I had any complaint at all here, it would be that the film can be a bit schizophrenic at times, trying to blaze through almost a century of cinematic history. It’s not small feat, and the film largely succeeds at covering the major bases, but the frenzied nature will oftentimes leave you wanting a little more on certain subjects.

Steele mentions that suit actors started to get a little nervous around 1993, when Jurassic Park dominated the marketplace and showed how far computer-generated images had come. It was a bit of a dark period, and even when studios were hiring actors for suit work it was usually for superficial reasons – tall actors, built actors, etc. They weren’t hiring actors who had a history of delivering rich, nuanced performances that the roles called for. Seizing the opportunity, Steele started Creature Boy, essentially a union for suit actors. If a production is looking for a specific type of actor to play a role, they can turn to his company and receive a number of qualified recommendations. As suit technology has improved, many films have reverted to using the tried and true man-in-suit method to have something tangible on-screen. Even the prevalence of motion-capture technology still requires that an actor inhabit the role, which can only means Steele and his contemporaries will be in business as long as they’re still making movies.

Speaking of his contemporaries, the film’s wraparound (and occasional intercuts) have us following actor Douglas Tait as he prepares to don a demonic creature suit for a role in Joe Lynch’s still-unreleased Knights of Badassdom. By allowing viewers to see Tait acting in various stages of his suit’s completion, the film allows for a better understanding of the design and acting process behind his work. Getting an early feel for the suit allows him to determine what muscles he’ll have to focus on building up to make sure his body is up to par (get on those forearms, Doug!). Tait describes his thought process along the way, cluing us in on how advancements in technology have made his job moderately easier… but at the end of the day he’s still sweating his ass off in a 100+lb. suit for hours at a time. The enthusiasm for his craft is infectious, though, rarely showing him without a smile every step of the way. It goes a long way to show that the men inside these suits are the same kids we used to be - only now with a profound appreciation for the work that it requires. After watching Men in Suits, I’d be surprised if anyone else didn’t feel the same.

The Keep (1983)

There's a seemingly endless list in my head comprised of countless film titles that I've been anticipating seeing for ages. I'm not talking about films I want to see, per se, so much as these are films that have a storied and/or controversial history which makes them even more appealing. One such title has been director Michael Mann's disowned 1983 Nazis-versus-ancient-demon picture, The Keep. To be perfectly honest, as aware as I've been about its troubled production and heavily edited final release form, the bulk of my interest lay in hearing Tangerine Dream's score. The group has been responsible for imbuing pictures with a life far beyond what many "normal" composers could achieve, simply by virtue of the fact that their themes and instrumentation are often second-to-none. I still think the score for Ridley Scott's truncated theatrical version of Legend (1985) is outstanding, fully elevating the film to a higher plane even maestro Jerry Goldsmith couldn't match with his score to the director's cut of the picture. It also didn't help that I've heard nothing but praise for the soundtrack, even more so than for the film.

Don't think I'm discounting Michael Mann's name here. Without delving too deep into my thoughts, know that I am a HUGE fan of his filmography. Except for his HBO series, Luck, which was fucking dreadful. Not sure what went wrong there, but part of it was likely due to the fact that watching jackasses bet on horse races redefines ennui. But I digress. It's also relatively well-known that he has more or less disowned this film, which (if I had to guess) is almost entirely due to the fact that he hasn't ever re-cut it to his original intentions. Mann is one of those filmmakers who loves to re-edit his movies, sometimes years after the picture has found an approving audience (or not).  Sometimes he even pulls off sly edits, with no press given to them, by removing or adding small bits of footage because he is clearly a fastidious auteur obsessed with the minutia of his films. I'm fairly certain Heat has been slightly tweaked for each subsequent home video release, as just one example. Mann's original cut for The Keep was rumored to run around three and a half hours in length, which is a far cry from the current running time of 96 minutes. To prove just how much he hates his own movie, Mann successfully blocked Paramount from releasing it on DVD in 2004, although another reason for that release's cancellation was a dispute between Tangerine Dream and Virgin Records, too.

Enough with the history lesson, pal. How's the damn movie? Intriguing and dark, despite clear evidence that it has been substantially altered. It opens with Nazi officer Klaus Woermann, played by the always intimidating Jürgen Prochnow, leading his party of German troops to a desolate village. Surely, he has come to crush these peasants with his iron f- oh, wait, he's being nice and polite to everyone. What kind of sick film is this? Klaus sets up camp inside an old citadel (the titular "keep"), whereby he is instructed to "NEVER TOUCH THE CROSSES" by an emphatic, enigmatic servant to the keep, played by Wild at Heart's William Shepard. These Nazis are greedy fuckers, though. So, sure enough, a couple of them start trying to pry off a cross made of silver when suddenly - WHOOSH! (That was the sound of ancient evil being unleashed). Something has been awoken in the keep, and it is absolutely destroying the shit out of these Nazis. Fearing Klaud may not be up to the task of keeping his men safe, the SS troops send in Eric Kaempffer - a subdued but cunning Gabriel Byrne - to get a hold of the situation. Using sensitive and investigative SS tactics, Kaempffer threatens to kill five villagers for every one Nazi that dies until he gets an answer as to what's doing the killing. Even though Klaus has told him the villagers don't know. Hey, maybe that old servant dude knows! He's been tending to the keep for his entire l- oh, wait, Kaempffer just shot him and his two sons dead. Well, shit. Guess it's up to this mysterious holy man, Glaeken (Scott Glenn, with a goddamn majestic pair of blue eyes), to combat whatever old-school evil is up to nefarious deeds.

I got sucked into the film's mystery quite easily once the picture got rolling. Mann had already displayed his trademark abilities - long, lingering shots; deft camera work; fantastic shot composition - in his directorial debut, the utterly brilliant Thief, starring James Caan, so it's not like he made this film still rocking his directorial training wheels. In fact, his style is a major reason why the film manages to work as well as it does. In lesser hands, this could have been a cheap looking, unspectacular monster movie. The keep is an ominous building, standing like a massive monolith above this shanty town. The mysteries surrounding it spark interest, and the more we learn as an audience the more it feels like the film is building up to something big.

Only it doesn't. Not exactly. Once this "evil" is unleashed, it turns out to be a roided-out version of Uncle Frank from Hellraiser. The more souls this big beast claims, the more complete his physical appearance becomes. I do have to admit that the demon design, supervised by Alien's Nick Allder, isn't all that bad. It's right on that borderline of being a big, blocky meathead, but the sculpt - and some well-placed lighting - ends up lending the creature a foreboding visage.  

"I've been trying to cut down on my carb intake."

 

Scott Glenn's mysterious wanderer, Glaeken, seems to have taken the brunt of the editing massacre. Very little is known about him. Maybe that was intentional, though I'd like to think Mann wanted to build him up to be a little more than a pretty set of (contact lensed) eyes who bangs a concentration camp victim's daughter within moments of meeting her. The only thing we really know for sure is that he can combat whatever evil is trying to escape the keep. Once he does, however, the film's big climax ends in a very anti-climactic fashion. The writing is on the walls; you can see what Mann likely wanted to do here, but lack of final edit over the finished film means that we probably won't ever get to see his true vision. Even in this truncated form, it's not a bad film by any means. And Tangerine Dream fans will undoubtedly dig on the score. I hope that a company like Shout! can somehow obtain the rights and see that this film is given its due. 

X-Ray (1982)/Schizoid (1980) Blu-ray review

Of all the sub-genres that exist within horror, slashers have traditionally been a fan favorite. Though the subgenre (arguably) kicked off with 1974’s Black Christmas, it didn’t gain traction in cinemas until films like Halloween (1978) and Friday the 13th (1980) became major hits. And so began a “golden age” of sorts for the slasher film, which lasted right up until the mid-‘80s. For all the icons these films have produced, however, there have been countless others that have fallen by the wayside over the years. Shout! Factory has paired up two of them (likely since neither title would sell enough on its own to justify a release) – 1982’s X-Ray, and 1980’s Schizoid – in a fun, delightfully gory little package that should at least have minor appeal to fans of gloriously cheesy ‘80s stalk-and-slash fare.

Barbi Benton was quite the busy, busty Playmate in the ‘70s. Primarily known for her television work, X-Ray was one of only a handful of films she starred in during her career. Here she plays Susan Jeremy, a woman who visits her local hospital for a routine checkup required for a new job. But someone in the hospital has other plans for Susan! A someone who, 19 years earlier, she had scorned when he professed his unrequited love for her. He also killed a fellow child at the time, but apparently the police were really bad at their jobs back then, so he was never caught. Anyway, Susan’s results are faked to show she has a serious illness, leading another physician to strongly recommend she stay the night for further tests. As expected, the killer stalks the hallways of the most abandoned hospital seen on film since Halloween II (1981), brutally killing nurses, patients, and doctors alike with some nasty surgical implements.

Firstly, I have another titling issue with another Shout! release. X-Ray is technically the title of the heavily-cut version of the film, which runs around 77 minutes. This fully uncut version should really be titled Hospital Massacre, which is how it’s recognized on IMDB and Wikipedia. Or if Shout! wanted to get all kinds of crazy, they could’ve gone with the original pre-release title of Be My Valentine, or Else…, which is superior to the first title it had, Ward 13. Whew! So, just in case anyone who actually remembers all of that was concerned, this is indeed the full uncut version, just released under the cut name. Capiche?

Although it would be easy to objectively call the film a bit of a slog to get through, the fact is that it embodies much of what slasher fans love. The threadbare plot exists only to further the murderous rampage of Harold, whose identity is concealed well enough that his reveal is a minor surprise. Every doctor employed here acts like a creep, and every nurse treats Susan like a mental patient who missed her morning dose of pills. Among the small cast of characters is a hospital drunk – a clear red herring – who stumbles around with bottle in hand, while nurses shrug off his antics and remind him to return to his room. Everyone is so indifferent to her claims that I half expected them to reveal everyone was in on the plot to kill her.

The kills here are fairly nasty, with Harold making use of the many hospital tools at his disposal. And his victims make it really easy, too. Seriously, it seems like no one makes any kind of effort to, I don’t know, just turn and run. Most just stand there, apparently so consumed with fear that they’re unable to move. One guy is attacked with a corded surgical saw; a death that could have been avoided if he simply walked another foot or two away so the cord wouldn’t reach. But, again, this is the kind of nonsensical, nasty murdering fans should be expecting here. The film doesn’t skimp on the red stuff, ensuring that everyone’s demise is met with a crimson wave. Hell, Harold even manages to one-up My Bloody Valentine’s Harry Warden with his own take on a wrapped box of chocolates.

What would a slasher be without some gratuitous T&A? Fear not. Benton was a former Playmate, after all. And one of her strange, lecherous doctors is more than willing to insist she strip down for an uncomfortably scintillating exam. Director Boaz Davidson mentions there was a full crew on set that day, and when Benton’s ample assets are pored over it’s easy to see why. X-Ray might not be a great film, or even good by some standards, but as a de facto slasher it’s got enough going for it to satisfy fans yearning for lesser-known ‘80s sleaze.

Schizoid, on the other hand, moves at a positively glacial pace. This 1980 turkey is paired up with a slasher, but in reality this film plays more like a giallo. Killer wears black gloves (nice nod to Argento)? Check. Red herrings a-plenty? Check. Overly-complicated plot? Sadly, no. This one is mostly mundane. Klaus Kinski – don’t get too excited, he isn’t playing crazy here – is Dr. Fales, a therapist who oversees a group of patients. One by one, the members of the group are being killed. Julie (Marianna Hill), a member of the group, has been receiving threatening letters at her office, where she works as an advice columnist for the local paper. What follows is a slow game of stalk-and-kill, and Julie has to figure out who’s behind it all before she’s next! It could be almost any member of the male cast. Maybe it is Dr. Fales, who despite being a trollish slug of a man beds every nubile female in his group. Or, perhaps Gilbert (a young, mustachioed Christopher Lloyd), the maintenance man who constantly stares at everyone in silent, creepy ways. No? How about Doug (Craig Wassom), Julie’s ex-husband who is clearly still infatuated with her? Oh, wait, I know, it’s got to be Dr. Fales daughter, Alison (Donna Wilkes). You know the one who remains mute for almost half of the movie before spending the second half pitching major fits at the dinner table and brandishing firearms. Maybe in some strange twist Julie is actually sending herself the lette- nah, that’s probably not it.

Despite the undeniable ennui that set in once this film got going, I can’t really say I totally disliked it. This is the kind of shit I grew up with, and despite having never seen this film before I could still appreciate it for what it tries to do. It’s almost laughable how many people are suspects in the cast. Literally half of the main players could be the killer, which is de rigueur for any giallo. And we’ve got quite a cast, too. Kinski is always great fun to watch, but here he’s just a weird old sexual deviant with a therapy practice; he’s not chewing scenery and crapping thunder like the days of old. Donna Wilkes seriously speaks two words in the first 45 minutes, then in the last half of the film she goes right off the rails. She’s also wears some bizarre, noir-ish outfit for the climax. Craig Wassom should be familiar to horror fans as Dr. Neil Gordon from A Nightmare on Elm St. 3: The Dream Warriors (1987). The film also features a young Christopher Lloyd, who looks very different with dark hair and a mustache. This was one of his earliest film credits, though he was already an established name thanks to his work on Taxi (1978-1983). Finally, the great Richard Herd is teamed up with Joe Regalbuto as a couple of cops who are actively investigating the case. This film could have easily fallen completely apart with a lesser cast, but everyone here turns in a good enough performance that the material is elevated.

The ending blows, though. It’s totally weak. I won’t spoil anything except to say that people seem to die in this movie very quickly from what would normally be minor and/or non-life threatening wounds. This is usually the norm for films of this ilk (we’re still years away from torture porn), but it totally kills any impact the finale might have had.

X-Ray sports a widescreen image that generally looks free of debris and damage, though grain is a bit on the thick side - on occasion it borders on noise, but aesthetics such as this tend to lend themselves well to old-school horror. Some scenes have a hazy appearance, almost like there was a little bit of smoke pumped on to the set. Black levels are anemic for the most part, usually never looking consistent or even totally dark. Colors are mostly good, however, and Barbi Benton’s lips look shinier than a freshly waxed car. The DTS-HD MA stereo track gets the job done with a soundtrack that sounds like a cross between Harry Manfredini’s cues for Friday the 13th (1980) and Goldsmith’s work on The Omen (1976). Dialogue sounds clear and is free of any hisses, pops, or crackling.

Schizoid looks a bit better, with far less grain (though it is still very much present) and a nice color palette. Fine details are slightly more apparent than they were on X-Ray, although I wouldn’t call this a sharp image by any means. Closeups do exhibit an appreciable amount of detail, though. Black levels are more rich and consistent here, too. Audio-wise this is no better than the first half of this double bill, but I will say that I dug the synth-heavy, funky electronic score here more than X-Ray’s derivative tones. Neither disc includes subtitles.

There’s one lone bonus feature on and that’s a 12 minute interview with director Boaz Davidson. The Israeli director (who also helmed The Last American Virgin, also released in ’82) talks about how this was not his typical kind of film, but he couldn’t turn down his hometown producers of Golan & Globus when they asked. He also speaks very highly of Benton’s work, especially her lengthy nude scene. Schizoid doesn’t get much more, as it contains an interview as well – this a 10 minute conversation with actress Donna Wilkes – and the film’s theatrical trailer. The interview is candid, with Wilkes discussing the most pertinent of topics: how big of a perv was Kinski on set. Answer: she got along with him fine, but he was not especially liked the virtually every other female on the crew. This set also includes a DVD copy containing both films and their respective bonus features.

Separately, they’re mediocre. But together, Shout! has provided a package worthy of any horror fan’s collection. Just the pedigree of both films having been released under the Cannon Films label and featuring production by the legendary Israel duo of Golan/Globus should be enough to convince people this is worth a spot on their shelf.