Halloween - Complete Series Limited Edition Box Set (1978-2009) Blu-ray review

Horror fans, most of whom have long since grown weary of studios double-dipping on their favorite titles, finally have cause to celebrate. Rather than piecemeal releasing every film in a series ad nauseum (which they’ll still find a way to continue doing), many companies have begun to release complete series collections. This September alone sees the hi-def release of sets featuring every picture from franchises such as The Exorcist, Saw, Leprechaun and, most unexpectedly, Halloween. Considering the rights to various entries lie with different studios, it seemed highly unlikely a complete Halloween box set would ever be made available. Thanks to a joint, temporary partnership between Shout!/Scream Factory, Starz/Anchor Bay and the Weinstein Company, fans of The Shape can finally put all their eggs in one attractive little basket. The announcement was enough to whip fans into a frenzy, especially when it was announced the set would feature the home video debut for one of horror’s most sought-after holy grails: the legendary producer’s cut of “Halloween 6: The Curse of Michael Myers” (1995).

Elation from that revelation aside, what else of value is here for fans? Finally seeing the oft-reviled sixth entry in a cleaner form than the ubiquitous bootlegs that littered the horror convention circuit is a major draw, but there’s got to be more than just a recut version of a tepid entry to entice people to cough up $100+ on redundancy. This set was made for hardcore Haddonfield fans, and more than likely the majority of them have purchased every film in the series numerous times on differing formats. Many of the discs included here are identical to current releases – releases likely sitting on fans’ shelves – and when excitement is held aside it looks an awful lot like people are dropping serious coin for an alternate cut of an unpopular entry and… that’s it?

Not exactly. It depends on how much of a bonus feature viewer you are. The set includes nearly all of the supplemental material found on prior releases (more on that later), along with newly-produced, in-depth featurettes that are absolutely fantastic. These new behind-the-scenes pieces dive deep, churning up all kinds of information on the sequels that will captivate fans eager to learn all they can.

This review will closely examine all of the new content presented, while taking a cursory pass at what is carried over. As previously mentioned, this set was made with fervent fans in mind; fans who likely own all of these films on Blu-ray already. For those of you who don’t, or if you only have the films on DVD and are looking to make the jump to hi-def, then just stop reading now and buy this set. It will not get any better than this; especially since Scream Factory has said the licensing agreements that made this set possible expire next year, meaning this deluxe limited edition might actually be limited after all. Regardless, odds are you know the films, you like them to varying degrees, and you just want the details on this hulking Blu-ray behemoth. What will follow is a disc-by-disc breakdown, covering what’s new, what’s old and what’s gone. And rather than review films in long form most have seen a hundred times, each one is getting a haiku (somewhere, a Dead Right Horror Trivia player just broke a sweat).

Disc One: Halloween (1978)

Little Mikey kills/Shatner face stalks all the girls/A franchise is born

Aside from the disc art, this is the exact same 35th Anniversary Edition Blu-ray Anchor Bay issued last year in an attractive DigiBook package.

The picture – 2.35:1 1080p - remains the same, and it contains the same robust English Dolby TrueHD 7.1 surround sound track found on that release, but this edition adds the original mono mix in, Dolby TrueHD, for those purists out there. Previous releases have offered a mono option, but they were either a downmix or taken from the revised audio, and not the true original mono track.

What’s New:

Well, hey, look here - an audio commentary track, featuring director of photography Dean Cundey, production designer/editor/jack-of-all-trades Tommy Lee Wallace and The Shape himself, Nick Castle. Can I just say how refreshing it is to hear some perspectives on making the film not coming from Carpenter or Curtis? Not that they aren’t excellent commentators, but hearing from others who were involved allows for additional technical details and anecdotes, which are in no short supply between these three. Wallace keeps course here, asking questions of the other two while highlighting the many hats he wore on set. There’s such a great rapport between these old friends it’s palpable, making this an excellent track that is a must-listen.

What’s Returning:

- Audio commentary with co-writer/director John Carpenter and actress Jamie Lee Curtis - The Night She Came Home!! featurette - On Location: 25 Years Later featurette - TV version insert scenes - Trailer - TV spots - Radio spots

Disc Two: Halloween (1978)

Anchor Bay must’ve had some old stock of the first Blu-ray released in 2007 lying around, because that’s what this disc is. It’s inclusion is a nice touch, not only because this features the controversial color timing that was “corrected” (quotes because some loved it while others abhorred it) for the 35th Anniversary Edition release – which will allow fans to watch the film transfer of their choosing - but there are some bonus features found on this disc that weren’t on that edition, too. The picture is presented in 2.35:1 1080p, while the audio offers a lossy English Dolby Digital 5.1 surround sound track, uncompressed PCM 5.1, or a mono mix.

What’s New:

Nothing.

What’s Returning:

- The old Criterion laserdisc audio commentary, featuring co-writer/director John Carpenter, actress Jamie Lee Curtis and producer Debra Hill - Halloween: A Cut Above the Rest featurette - Trailer - TV spots - Radio spots

Disc Three: Halloween II (1981) – Theatrical Version

I shot him six times/Less stalking and more slashing/Loomis and Michael go boom

If you are an owner of Scream Factory’s current disc, then you are also the owner of this disc, which is identical to what was released a few years back. Nothing has been added, nothing has been removed. Although, if you want to get technical it does lose the reversible cover art, electing to only offer the original theatrical key art. Tech specs remain unchanged – 2.35:1 1080p, with audio in English DTS-HD MA 5.1 or 2.0 options.

What’s New:

Nothing.

What’s Returning:

- Audio commentary with director Rick Rosenthal and actor Leo Rossi - Audio commentary with stunt coordinator/actor Dick Warlock - The Nightmare Isn’t Over – The Making of Halloween II featurette - Horror’s Hallowed Ground – The Locations of Halloween II - Still gallery - TV spots - Radio spots - Trailer - Alternate ending with optional commentary by director Rick Rosenthal - Deleted scenes with optional commentary by director Rick Rosenthal

Disc Four: Halloween II (1981) – Television Version

This is the same DVD included with the previous issue of Halloween II by Scream Factory, featuring the TV cut of the film, presented in 1.33:1 4x3 with a Dolby Digital 2.0 stereo track.

What’s New:

Nothing.

What’s Returning:

- Download Film Script (stick the DVD in your PC and follow the instructions)

Disc Five: Halloween III: Season of the Witch (1982)

Tom gets all the girls/Six more days till Halloween/You’ve got to stop it!

Do you own Scream Factory’s prior excellent release? Then you own this disc. Nothing new has been added, though it may irk some to know the reversible cover art has been done away with here, too. Tech specs remain unchanged – 2.35:1 1080p, with audio in English DTS-HD MA 5.1 or 2.0 options.

What’s New:

Nothing.

What’s Returning:

- Audio commentary with director Tommy Lee Wallace - Audio commentary with actor Tom Atkins, moderated by Michael Felsher - Stand Alone: The Making of Halloween III: Season of the Witch - Horror’s Hallowed Grounds – The Locations of Halloween III - Still gallery - TV spots - Trailer

Disc Six: Halloween 4: The Return of Michael Myers (1988)

Back to Haddonfield/Michael is at it again/Loomis looks melted

Anchor Bay issued both this film and its direct sequel on Blu-ray back in 2012. This disc sports the same 1.85:1 1080p image, along with an English Dolby TrueHD 5.1 surround sound track.

Unfortunately, it also features the same sound synch issues that affected the first release; a glaring problem which, according to reports, is actually exacerbated on this new release. The problems start around the 45:30 mark, when Jamie is wandering the streets alone, having lost her group of trick-or-treaters, before bumping into Rachael. The character’s lips are clearly not matching up with their words, some lines much more obviously than others. The issue persists for a good ten-minute chunk before correcting itself. Fans have brought this problem to the attention of both Scream Factory and Anchor Bay via their respective Facebook pages, and the response has been… less than helpful. The problem doesn’t lie with Scream Factory since Anchor Bay first issued the disc, and while AB acknowledges there is an issue their response essentially suggests fans “enjoy what is an otherwise great set.”

I have to call bullshit on that. I understand a lot of time, effort, etc. went into culling this big box together, but paramount to everything – packaging, bonus features, what have you – should be A/V quality. Period. Fans may enjoy the bells and whistles, but they’re buying the films. Films that are going to get watched many, many times. To release a disc with a known audio defect simply because you didn’t want to pony up and pay to re-author it properly isn’t excusable; it’s lazy. I can only hope that by the time of this writing, there is an exchange program put into place that will allow fans to receive corrected copies of the film.

What’s New:

Plenty, but those features have been saved for the bonus disc included in this collection.

What’s Returning:

- Audio commentary with director Dwight Little & author Justin Beahm - Audio commentary with actors Danielle Harris & Ellie Cornell - Theatrical trailer

What’s Missing:

A panel from the Halloween 25th anniversary convention covering both Halloween 4 & 5, which ran for nearly twenty minutes, has been excluded. Considering how much ground is covered in all the supplements included here, however, its loss is insignificant.

Disc Seven: Halloween 5: The Revenge of Michael Myers (1989)

Kind loner heals Mike/Better stab him and get home/Who’s this Man in Black?

Just like Halloween 4, this disc is identical to the previous Anchor Bay release. Tech specs remain unchanged with a 1.85:1 1080p picture and audio available in English Dolby TrueHD 5.1 surround sound. Thankfully, there are no audio defects to be heard here.

What’s New:

As with H4, the new material is saved for the bonus disc.

What’s Returning:

- Audio commentary with Don Shanks and author Justin Beahm - Audio commentary with director Dominique Othenin-Girard and actors Danielle Harris & Jeffrey Landman - Halloween 5: On Set featurette - Halloween 5: Original Promo featurette - Theatrical trailer

What’s Missing:

Nothing from the prior Blu-ray, but if you’re a real stickler the Anchor Bay Divimax DVD contained an introduction to the film with Danielle Harris and Ellie Cornell.

Disc Eight: Halloween: The Curse of Michael Myers (1995) – Theatrical Version

New mythology?/Look, Mommy, it’s raining red/Bye, Dr. Loomis

The sixth entry in Michael Myers’ story is part of the “Miramax trilogy” that also includes the two subsequent sequels, H20 and Resurrection. Fans are already aware these films have often been given less-than-stellar (or even average) releases, both here in the U.S. and in Canada. Previous issues included a stand-alone release from Echo Bridge Entertainment, various double-and-triple-features with the following sequels, and a Canadian release from Alliance that crammed the all three films onto one Blu-ray disc. And all of these releases were in 1080i, with audio that was severely lacking.

This new release is roughly on par with those prior editions, sporting a 1.78:1 1080p image and English DTS-HD MA 5.1 surround sound and 2.0 stereo offerings. The picture enjoys a minor boost in quality thanks to this progressive (rather than interlaced) transfer, though it’s still far from exemplary. Colors look a little oversaturated, black levels suffer from crush sporadically, and there are telltale signs of edge enhancement application. Still, these are deficiencies most viewers might not even notice, let alone ruin their enjoyment of watching the film. Audio-wise, the multi-channel track features a wider range and a host of discreet effects, even if the rear speaker assembly isn’t employed as often as it should be. Of all the released editions of the film available in North America, this is undoubtedly the best presentation it has enjoyed, even if it’s far from perfect.

What’s New:

To my knowledge, none of the previous editions have had any bonus features, so the little bits featured here are all new, even if they’re mainly ephemera.

- Theatrical trailer - TV spots - Still gallery

Disc Nine: Halloween 6: The Curse of Michael Myers (1995) – Producer’s Cut

Now, the Holy Grail/This is what we waited for?/What are these dumb rocks?

Here it is, folks: the unicorn of horror filmdom - Halloween 6: The Curse of Michael Myers Producer’s Cut, presented in beautiful HD with improved audio and an absolute heaping helping of bonus goodies. You didn’t think this day would come, did you? Well, it has.

Here’s the thing – it’s absolutely awesome that Scream Factory/Anchor Bay have teamed up to bring this rarely-seen gem to home video, giving fans the last jewel in the Michael Myers crown. This version only existed in whispers and apocryphal tales before becoming a denizen of the bootleg circuit, where rabid fans would gleefully exchange their hard-earned money for something that looked like it was recorded from a twelfth-generation VHS tape. All those years of frothing at the mouth imaging what could have been are now over with this release, which allows fans to compare both versions as presented in equal quality.

Frankly, neither one is very good. Have you ever watched a movie as a kid, loved the hell out of it, and revisited it decades later only to discover what you had fallen in love with was actually a bad film? This producer’s cut invokes a similar feeling; all those years of pent-up demand, wondering what footage this mythical cut contained, and the experience of watching it ends with the same sense of deflation provided by the theatrical cut. Great modern example: the two differing cuts of the fourth entry in The Exorcist series, neither of which is worth anyone’s time. Shrader’s lost cut only held a semblance of promise until it was shown, when everyone realized it, too, sucked a great deal. These films aren’t that bad, but they’re far from satisfying.

Personally, I’ve got a bit of a soft spot for the theatrical cut because it was the first Halloween film I saw in theaters. I remember dying to see the film after watching Halloween 5 and being desperate to know who this Man in Black was. In fact, I can recall an interview with Joe Chappelle (I think?) in Fangoria, where he said the answer to the Man in Black’s identity was contained in the first film, which I then watched obsessively, scrutinizing every frame and bit of dialogue trying to yield some clues. It turns out Chappelle’s clue referred to a brief bit when Loomis is at Smith’s Grove and a “Dr. Wynn” is paged by the nurse. Totally obvious, right?? Anyway, even with my rose-tinted view I can say the theatrical cut is far from a good film. In the canon of the series, I’d rank it above 5, Resurrection and both of Rob Zombie’s films.

The producer’s cut is very different in terms of thematic content. The theatrical cut is much more a traditional slasher film, whereas the producer’s cut contains more of the rune/ritual stuff. The mid-‘90s were a time when many slasher icons were being redefined and taken to new places, eschewing the standard storylines they’d all followed up to that point. Freddy went meta. Jason disappeared for 90 minutes before getting dragged to Hell. Leatherface listened to heavy metal and learned how to read. Pinhead became an astronaut. Michael Myers joined a cult. Farrands’ script veers wildly off the trodden path, suggesting Michael has been under the control of a clandestine group of hooded druids who use him to do their bidding. Michael’s actions are controlled by his “caretaker” and lunar cycles and planets and… what? It gets convoluted. Origins are rarely fun, especially when they come this late in the game. Who cares why Michael kills? The producer’s cut makes odd choices, like keeping Jamie around past the opening (she dies in the TC) only to kill her off later on after serving no real purpose. And don’t even get me started on Paul Rudd’s rocks freezing Michael in place. Considering Michael is relegated to background player status for a lot of his own movie, I’d rather see the bloody, gratuitous theatrical cut. Still, this makes for an interesting, alternate oddity in the canon and its inclusion here is a huge selling point.

In terms of A/V quality, the producer’s cut looks a bit better than the theatrical cut, featuring the same 1.78:1 1080p picture. Setting aside the fact that virtually anything would have looked better than what’s out there, the image here is highly defined, with a healthy layer of film grain and no visible print damage. Colors are accurate and black levels, though a little hazy at times, are generally strong. The fact that you’d be hard-pressed to tell this transfer from the theatrical cut should be an indicator as to how good it looks, relatively speaking. Audio quality is just as strong, with an English DTS-HD MA 5.1 surround sound track with clear & clean dialogue. Fidelity is good, with a decent range to the soundfield and nicely balanced effects. Surrounds don’t get as much use as they should, but the discreet effects used up front almost make up for it. Sure beats the VHS I’ve been playing for years, I’ll tell you that.

What’s New:

Everything, and there’s so much of it. Most newly-produced, some vintage material.

Kicking things off is a highly informative audio commentary track featuring screenwriter Daniel Farrands and composer Alan Howarth. Barring a commentary from Chappelle (that will never happen), this is a must-hear is you want to know everything detail major & minor about the making of this troubled production. Farrands talks about the original script, what was changed, what was kept, his ideas for the series, and so much more. Interesting note: he originally wrote the role of Dr. Wynn for Christopher Lee. How awesome would that have been? Howarth interjects with minimally, but with good anecdotes.

Acting Scared – A Look at the Film’s Cast features interviews with both Mariah O’Brien and J.C. Brandy, with both actresses talking about their own careers, getting their respective roles and how they feel about the alternate cut of the film.

The Shape of Things – A Look at Michael Myers’ Murder and Mayhem is all about sculpting the film’s masks and creating the special FX.

Haddonfield’s Horrors – The Sights of Halloween 6 takes a look at production design & cinematography. Of all the films in the series, I would arguably say this one nails the atmosphere of Halloween better than most.

A Cursed “Curse” – An Interview with Producers Malek Akkad & Paul Freeman features both men, interviewed separately, discussing getting the film together, story concepts, initial visions and more.

Full Circle – An Interview with Composer Alan Howarth finds the legendary composer discussing how he approached the score for this entry.

Jamie’s Story – An Interview with the Original “Jamie” Actress Danielle Harris features this film’s almost-Jamie discussing why she didn’t reprise her role here. Hint: $$$.

Cast & Crew Tribute to Donald Pleasence is full of gushing about the late actor. There aren’t many stories, just lots of kind words.

The original teaser trailer, released as Halloween 666: The Origin of Michael Myers is included. For those of us who vaguely remember seeing this on TV and swearing it was real, now you have eternal proof.

Archival Interviews & Behind the Scenes Footage features vintage footage of the principal cast & crew talking about the project, along with some B-roll on-set shots.

Behind the Scenes Footage is almost 25 minutes of footage shot by Farrands during the 1st week of production. It’s all handheld and very candid.

Alternate Deleted Scenes (Not Present in Either Cut of the Film) presents roughly seven minutes of footage that isn’t very revelatory or different, but those who want to see all they can will dig these odds and ends.

Finally, there’s an Electronic Press Kit from 1995 with some interviews and the usual stuff found in those puff pieces.

Disc Ten: Halloween: H20 (1998)

Laurie Strode is back/That ending will never stick/Michael cannot die

Now we move on to what may arguably be the best sequel in the series, Halloween: H20. Personally, because my opinion certainly matters, I give Halloween II the edge only because this film has some ‘90s teen horror moments that I hate. And before anyone says Halloween III: Season of the Witch is the best sequel, know you’re right. But I don’t consider it part of this series, really. It should just be retitled “John Carpenter’s Season of the Witch”. But I digress.

H20 has been released on Blu-ray before, but it was either the incorrect aspect ratio (Echo Bridge) or in 1080i (Alliance). This release restores the intended 2.35:1 aspect ratio and presents it in full 1080p. Anyone who prefers the “open” 1.78:1 image put out by Echo Bridge should understand that this film might have been shot on Super 35 but it was composed for scope. So the only picture information you are “losing” is the stuff the filmmakers meant to lose in the first place. As far as quality goes, this bests the Echo Bridge edition, though not by much. Detail is much stronger and colors appear more vibrant, but there’s still a murky veneer that infiltrates many of the nighttime images. A proper remaster may have helped here. The English DTS-HD MA 5.1 surround sound track utilizes a contemporary sound design that allows for great fidelity and a wide range for effects to be placed discreetly. Dialogue is balanced and clean, and there’s a decent low end to the mix.

What’s New:

More or less, everything here is new. Previous Blu-ray releases held no bonus material, and what little was on the DVD release isn’t of importance.

Remember that time this movie came out on DVD and it claimed to have an audio commentary track with director Steve Miner and actress Jamie Lee Curtis that wasn’t actually included? Well, here it is. The two are moderated by Repository of Halloween Knowledge Sean Clark, who knows when to let the main participants speak and when to chime in with questions to keep the track on… track. Curtis dominates, though, with few moments of silence heard.

Blood is Thicker Than Water – The Making of Halloween: H20 is one of the main reasons fans should be buying this set. This in-depth piece – which runs nearly an hour - features interviews with Jamie Lee Curtis, Josh Harnett, and other members of the film’s cast & crew. Lots of ground is covered here, delving into aspects of the production both big and small. As a nice touch, archival interview clips with Moustapha Akkad and L.L. Cool J are included to help round out cast & crew thoughts on the film. There is also a good amount of time dedicated to talking about the many masks used during filming, which sometimes change from shot to shot. Capping off with Jamie’s role as Laurie Strode, the piece ends with some talk regarding her (weak) demise in Resurrection. Featurettes like this are exactly how bonus features should be done.

Scenes with John Ottman’s Score presents around 25 minutes of footage featuring original composer John Ottman’s compositions. Dialogue has not been mixed in, with the score being isolated completely.

Vintage Interviews & Behind the Scenes Footage contains over 45 minutes of on-set interviews as well as footage of the film being shot. Every principal gets some face time here – L.L., Miner, Curtis, Williams, Hartnett, etc.

The disc also includes a theatrical trailer, TV spot and still gallery.

Disc Eleven: Halloween: Resurrection (2002)

Finally back home/”Trick or treat, muthafucka”/A franchise is dead

Unsurprisingly, the final nail is the original series’ coffin is dumped here with little fanfare. Resurrection is truly a terrible film; an unredeemable sack of rancid meat that stinks worse each time you open the bag. Maybe it’s kind of cool that Myers has finally returned home. What isn’t cool is populating the film with some of the most annoying teens to ever grace the silver screen. Even worse, we have to contend with both Busta Rhymes and Tyra Banks, who we don’t even have the satisfaction of seeing killed. At the time, bringing Rosenthal probably seemed like a great idea; in hindsight, it was a death knell. The series should have remained dormant for a long while after the events of H20, but Moustapha Akkad absolutely refused to let Michael Myers die. Can’t blame the guy, it was his cash cow, after all. The film commits any number of cinematic atrocities, but the worst is killing off famed heroine Laurie Strode so ignominiously. Make it grand if you’re gonna do it.

Tech specs are similar to what was released on Blu-ray by Echo Bridge, which was a surprisingly strong release considering their track record. The 2.35:1 1080p image here may actually be a little weaker than that release. Film grain appears overblown and noisy, moreso than before, and black levels definitely seem anemic. Colors look good for the most part, and detail is strong in close-up shots. Medium and wide shots, however, look a bit dull and drab. This has never been a particularly good looking entry in the series – and it isn’t likely to leave most fans’ sets – but expect little in the way of visual impressiveness despite being a newer entry. At least the audio handles well, with a strong English DTS-HD MA 5.1 surround sound track that provides a boisterous, enveloping soundfield to immerse viewers in the world of Dangertainment.

What’s New:

Vintage Interviews & Behind the Scenes Footage hasn’t appeared on any previous Region 1 release, though it may be the same material that was found on Region 2 copies of the DVD. As you’d expect, it’s a bunch of talking heads and on-set footage. Nothing special, but its inclusion is appreciated.

What’s Returning:

- Audio commentary with director Rick Rosenthal & editor Robert A. Ferretti - Alternate endings with optional commentary by director Rick Rosenthal - Deleted scenes with optional commentary by director Rick Rosenthal - Web Cam Special with optional commentary by director Rick Rosenthal - Featurette: Head Cam - Storyboard Analysis - Set tour with production designer Troy Hansen - Set interview with Jamie Lee Curtis - Theatrical trailer - Home video TV spots - Still gallery

What’s Missing:

Other than a note of apology from Rick Rosenthal? Nothing, it seems.

Disc Twelve: Halloween (2007) – Director’s Cut

One good fucking scare/Michael fucking Myers, fuck/Man, fuck this movie

Rob Zombie’s pastiche of white trash suburbia horror is easily the most divisive film in the series. He deserves a modicum of credit for getting exactly two things right: the production design is strong, and the Myers mask is easily the best to appear in the series since the first film. Otherwise, it’s half a movie featuring an origin nobody wanted, followed by compressing Carpenter’s original film into half its original running time. And, Christ, if Scout Taylor-Compton’s Laurie Strode isn’t one of the most annoying characters to ever appear on screen then I don’t want to know who is. Anyway, the less said here, the better.

This is the same Blu-ray released by TWC, with a 2.35:1 1080p transfer and English DTS-HD MA 5.1 surround sound audio.

What’s New:

Mercifully, nothing.

What’s Returning:

- Audio commentary with writer/director Rob Zombie - Deleted scenes - Alternate ending - Bloopers - The Many Masks of Michael Myers - Re-Imagining Halloween - Meet the Cast - Casting Sessions - Scout Taylor-Compton Screen Test (Laurie Strode) - Theatrical trailer

What’s Missing:

The theatrical cut, which should be considered the superior version simply because it doesn’t feature that horrendously gratuitous rape scene during Michael’s escape. It got a Blu-ray release in Canada, on a double-feature disc with the theatrical cut of its sequel, but in the U.S. it’s only ever been released on DVD. Personally, the best version of this film was the workprint that got floated around near the time of the film’s release, but even that is a mostly-unwatchable piece of crap.

Disc Thirteen: Halloween (2007) – Bonus Disc

This disc houses exactly one extra, but it’s a big one: Michael Lives: The Making of Halloween is a gargantuan documentary that covers every conceivable aspect of the film’s production, clocking in at a whopping 4 hours and 20 minutes. It is arguably better than the film itself and well worth watching, even if you don’t like the movie.

Disc Fourteen: Halloween II (2009) – Director‘s Cut

Transient Michael/An existential journey/Fucking fucking fuck

The adventures of Hobo Myers continue. I’ve noticed some people who still hate Zombie’s first film have decided to give this one a major pass because he tries to do something different. He does, yet it’s still an abysmal failure; an incoherent mess full of puerile scripting, over-the-top brutal violence, and nonsensical hallucinatory sequences.

Once again, this is the same disc that was released before, with no new additions. Zombie switches up aspect ratios between films, shooting this with a tighter 1.85:1, and this disc features the same 1080p transfer previously issued. Audio, too, remains unchanged with an English DTS-HD MA 5.1 surround sound track.

What’s New:

Nothing.

What’s Returning:

- Audio commentary with writer/director Rob Zombie - Deleted & alternate scenes - Blooper reel (which, surprisingly, doesn’t just play the entire film) - Audition footage - Make-up Test Footage - Uncle Seymour Coffin’ Stand-Up Routines - Captain Clegg & The Night Creatures Music Videos

What’s Missing:

As with the last film, we don’t get the theatrical version here. This director’s cut runs around 14 minutes longer, and doesn’t feature added rape-y scenes, so it’s probably the one to watch if you’re feeling masochistic.

Disc Fifteen: Bonus Disc

Here’s the treasure trove, people. Shoved unceremoniously into the casing of Halloween II (2009) is this disc, exclusive to the deluxe limited edition box set. Why wasn’t this given its own case? I mean, you’ve already got ten cases in this set, so what’s one more? Most people won’t even open up Zombie’s cinematic bowel movement of a sequel, meaning many may overlook the fact there’s a disc chock full of goodies stashed away in there. It’s a mix of new and vintage material, and not exactly well-organized in terms of menu, so let’s break it down.

What’s New:

The Making of Halloween 4 is another comprehensive warts-and-all featurette, running over 45 minutes, from the guys who put together the in-depth featurette for H20. Just about every major face shows up here to discuss their time on set, and there’s also talk about the problems the production faced regarding making the right mask. It’s almost hilarious how a mask that seems so simple in design has been a source of constant contention on the set of every single sequel.

The Making of Halloween 5 also comes from the same team as the other two great featurettes. This featurette still manages to be interesting despite the fact the film isn’t all that great. One nice touch I liked: each of these featurettes has a custom carved pumpkin in the background, featuring the art for the film they’re discussing.

Interview with Make-up Effects Artist Tom Burman on Halloween III: Season of the Witch is a nice, unexpected piece, featuring the FX artist discussing his work on that sequel as well as his career in general. He also did The Devil’s Rain (1975)!

There are also a handful of new Horror’s Hallowed Grounds episodes included here. While it would have been nice to have every episode either in one place (on this disc) or on a disc with their respective films, that would’ve required all kinds of re-authoring of discs and this was clearly the easiest option. Included here are new episodes for Halloween 4, Halloween 5, Halloween 6, and an extended cut of the original Halloween episode. As a bonus, there’s also an episode shot on the last day of the Halloween – 35 Years of Terror convention (which was co-produced by yours truly), featuring host Sean Clark and a handful of the series’ actors visiting the local filming locations in Pasadena, CA.

What’s Returning:

Halloween (1978) Extended Version in HD (TV inserts in standard definition). I considered putting this in the “new” category, but it isn’t really new. It’s odd that it says “extended version in HD” when the extended scenes are in standard definition. Even worse, word is that Anchor Bay has the film elements for these additional scenes, meaning the only reason they aren’t in HD here is because it would have cost money; and, more likely, because they need something to hook fans into buying another edition of the film down the line. The HD version used here is the print from the 35th anniversary edition, with English DTS-HD MA 5.1 audio. The additional scenes don’t look all that bad, but clearly a bump to HD would have made them appear seamlessly within the film.

- Halloween Unmasked 2000 featurette - The Making of Halloween 4: Final Cut - Inside Halloween 5 - Interview with producer Moustapha Akkad - TV spots for Halloween 4, Halloween 5, Halloween (2007) and Halloween II (2009) - Radio spots for Halloween III: Season of the Witch - Halloween, Halloween 4 and Halloween 5 still galleries

The set comes housed in a large, sturdy slipcase, with each film housed in a black Blu-ray eco case. There’s a thick booklet, full of production phots from the series and an essay by Fangoria’s Michael Gingold.

Is this the final, definitive set to end all sets? Of course not. There will always be a new angle to sell these films over and over, but for most fans this set represents the end of the line. Previous editions of the first three films and Zombie’s films covered all the ground they had to, and the bonus features afforded to the middle sequels has now done that job, too. I’m aware some people are still frothing at the mouth over Don May Jr.’s reels of outtakes and alternate scenes not being included here. Their inclusion would have been welcomed, but, really, hours of raw footage with no audio shouldn’t be a deal breaker for anyone. Fans can and will nitpick this set into oblivion, yet the fact remains that just getting all of this together was a monumental achievement.

Clive Barker's Nightbreed (1990) - Limited Edition Blu-ray review

”I have seen the future of horror, and his name is Clive Barker.”

Nearly every horror fan is familiar with the above quote, taken from another one of the genre’s titans, Stephen King. This was said sometime in the mid-‘80s, when Barker’s “Books of Blood” were hitting paperback in the U.S., before he’d even crept into the film industry with Hellraiser (1987). King’s words weren’t just hyperbole designed to move copies of Barker’s books, however, because the promise was there. Clive was a visionary in so many ways. Even today, years after his most revered and cherished works have been released, Barker’s name hangs firmly in the upper echelon of horror. It’s a rare talent that can master so many mediums – art, literature, and cinema, specifically - with such a distinct vision that remains fully intact… usually. Of those three, cinema is easily the most fickle, as Barker quickly found out on his second film, Nightbreed (1990).

Hellraiser, his first foray into cinema, had a relatively small budget (about $2 million), with Barker being given almost total creative freedom to make the movie he wanted. Other than some cuts forced by the studio to tone down violence, the movie released to theaters was the film he intended to make. Well, to get a bit more technical the studio did also force him to change the film’s name from the original novella title, “The Hellbound Heart”, to something more horror-y. He encountered this exact same problem with Nightbreed - which was going to be called “Cabal” since, that too, was the original novella title. And this time around they gave him a lot more money – approximately $11 million. Armed with a sack of cash, a wealth of monstrous characters from his novella, a crew of England’s top special FX artists, and the expanse of venerable Pinewood Studios, Barker set out to make “the Star Wars of horror movies” as he put it. It was an ambitious undertaking. Barker was building an entire universe on screen. There were hundreds of characters, literally. Sure, the principal faces only numbered a dozen or so (which is still large), but all-in there are some 300 monsters in total. I know this because one of the bonus features included here mentions how Nightbreed held a Guinness World Record at one point in time for having the most made-up characters in a movie.

Once shooting was completed, Barker delivered his cut to the studio. They balked. Reshoots were done in Los Angeles to punch up some of the plot (mostly related to David Cronenberg’s character) and Barker recut the film once again. It still wasn’t accepted. At this point, original editor Richard Marden left, refusing to butcher the film further, and the top brass brought in another editor to chop it down to a final running time of 102 minutes with credits. A far cry from the 2+ hours Barker had originally assembled, and even further from the vision he had in mind. This watered down version was released to theaters during prime dumping season – February – where it didn’t even recoup its modest budget. A home video release followed and, while a strong cult following quickly developed, the door had effectively closed on the world of Midian.

Cut to over two decades later and the artistic integrity of “Nightbreed” has finally been reclaimed. The story of how the ball got rolling is covered somewhat extensively within this package; watch the supplements, read the booklet, and learn the facts. Suffice it to say very few people ever thought this day would come, Clive among them. But to understand what makes the Director’s Cut work so well, we must first express why the theatrical cut does not. What it all boils down to is marketing and cold feet. Studios only love originality when it makes them money, but they’re afraid to embrace new things for fear of losing that money, causing them to stick to trodden paths. See the catch here? Nightbreed was simply too ambitious, which you would have thought the executives knew considering they greenlighted Barker’s film based on that vision.

The plot was “tightened” and focus shifted more toward Cronenberg’s Dr. Decker and his battle with Boone (Craig Sheffer), a patient who dreams of a world where monsters live - Midian. Decker tries to convince Boone he’s the one responsible for a spate of familial killings that have occurred recently, when the reality is it’s Decker doing the dirty work. Boone absconds to Midian, is initially spurned by the inhabitants (during one of the film’s best sequences… Peloquin (Oliver Parker) and Kinski’s (Nicholas Vince) introduction is fantastic), and winds up “dead” after a run-in with local law enforcement due to Decker’s meddling (“He’s got a gun!”). Because Peloquin gave him a chomp on the shoulder, however, Boone revives as one of the “Breed”, once again making his way back to Midian, where he is now welcomed with open arms. Boone’s girlfriend, Lori (Anne Bobby), also makes a visit to Midian and tries to find her man. She does, but she also finds Decker and the Nightbreed, who don’t take kindly to her being a “Natural”. Boone and the tribe clash over her presence, leading to both of them being banished by Lylesburg (Doug Bradley, but voiced by an unknown German actor), leader of the Breed. Boone can’t stay away, though, and soon law enforcement agents are brought in at the behest of Decker. What follows is an all-out war on Midian, with Boone galvanizing the typically-peaceful inhabitants to fight for their turf. And, of course, it all culminates in a showdown between Boone and Decker.

Barker had meant for this to be the story of two troubled lovers – Boone and Lori – and how they navigate the tribulations of the two worlds each inhabits. It wasn’t supposed to be the routine slasher/creature feature hybrid that wound up being the theatrical cut. Truly, if you watch both versions back-to-back it’s clear the studio cut is a desperate attempt to corral Barker’s imagination into something audiences were familiar with. Too much emphasis is placed on Decker, leaving other subplots to languish thanks to unscrupulous editing. The theatrical cut is not a bad film per se, but even fans agree it feels truncated and incomplete.

This brings us to the Director’s Cut – finally, right? All the proper film elements had been located, allowing Barker the ultra-rare opportunity to go back and re-cut the picture to his specifications. Unlike, say, the recently released Halloween 6: The Curse of Michael Myers Producer’s Cut (1995), Barker had actually shot the film he wanted to make without great compromise; that part came during editing. Also unlike that film, this is truly something to be proud of. Nightbreed’s Director’s Cut is a wholly superior film in nearly every way. Barker added an additional 20 minutes of footage, as well as including 20 minutes of alternate takes, and the final product feels every bit like the film it always should have been. Decker’s storyline is now just one of a few major subplots, with more emphasis added to Boone and Lori’s relationship. There’s also much more in Midian, in particular the final assault which is replete with new monsters, new footage and a completely different ending… which I wasn’t totally nuts about. Without spoiling anything, I’ll simply say many characters are left in a place vastly different than the theatrical cut. The theatrical ending held promise for the future of Midian; this ending goes for something more intimate and less utilitarian. It’s not bad, just different and maybe not as good. But all of the additions to the film help a great deal. This is a remarkable achievement, both for Barker and for the film’s fans.

I do have one very minor qualm, though: there’s a weird edit at the end, when Lylesburg is preparing to release the Berserkers and one of the plaid-clad yokels pops his noggin with a rifle shot. In the theatrical cut the redneck sort of plays around with the red dot a bit before firing, whereas in the Director’s Cut nearly as soon as the dot appears on Lylesburg’s forehead the shot’s impact is shown. Barker’s choice? I don’t know; seems arbitrary. Most won’t notice this but I watched them back-to-back and it was glaring.

Much debate has been had over how this affair would look & sound. The theatrical cut has existed on DVD with a decent transfer for years. This new cut of the film began life as a VHS tape – under the moniker of “The Cabal Cut” - and it looked rough. Really rough. Because film elements were located, and because Scream Factory wisely put some money into new color timing and a new sound mix, the results are spectacular. It doesn’t look rough anywhere at all, and the audio is almost perfect, too. There were one or two scenes where it sounded like a tape source had been used for dialogue (specifically, when Lori meets Boone at the auto mechanic shop where he works near the beginning), but the quality didn’t dip to a level where it became unacceptable. These are minor complaints. In fact, the English DTS-HD MA 5.1 surround sound track is quite robust, with a strong presence and deep, resonating bass. It positively smokes the theatrical cut’s weak-by-comparison English DTS-HD MA 2.0 stereo offering. Danny Elfman’s score was composed during his prime years, full of the wonderment and ethereal stoicism that are his trademarks. I’d say it’s arguably one of the finest scores he’s ever done. As strong as the track is for most of the film, it really kicks things up a notch once the big battle happens at the end. I swear my subwoofer rumbled for ten minutes straight. Visuals come in the form of a 1.78:1 1080p transfer. The theatrical cut came straight from an interpositive source, and it looks very good considering no real restoration work was done to it. Similarly, the director’s cut looks nearly identical. Detail is very strong during daylight scenes, of which there are actually quite a lot. Night shots are mostly stable, but can get a bit iffy when darkness really sets in. There’s a slight bit of crush in a few scenes, nothing too major. Honestly, I was just amazed the entire time that here’s this long lost cut of Nightbreed and it looks killer in HD. There are no glaring problems to nitpick.

Not content just to lovingly restore a cult classic, Scream Factory also spoils us with an embarrassment of riches in the bonus feature department. If you’re a serious Midian aficionado, you’ve probably pre-ordered the Limited Edition three-disc set. You will be pleased. Here’s the thing: I’m glad they included the theatrical cut of the film for the sake of posterity, but I’ll likely never watch it again. Barker’s vision is realized with this Director’s Cut. This is how it should have been. Looking back on the theatrical cut, it feels so inferior in light of how much Barker’s cut enhanced the picture. The theatrical cut will be reserved for those who watch it to waxy fondly on nostalgic memories, and even they might opt for the new cut nine out of ten times simply because it’s a better movie. Additionally, the Limited Edition also features a bonus Blu-ray disc full of exclusives. It’s all great stuff, featuring a mix of new interviews and old footage. But first, let’s dive into disc one…

Writer/director Clive Barker and restoration producer Mark Allan Miller collaborate on an audio commentary track that I would describe as lively and occasionally struggling for clarity. First off, I’m pleased to hear that Clive has a smoother speaking voice after having some throat problems in recent years. He now sounds very British and very old, despite not being very old. It’s the sort of voice that should be narrating the migration of birds on a BBC nature special or something. Both of these guys are exuberant about being there, finally watching what Clive had tried to make all those years ago. Miller, of course, recalls in detail all of the events which led to this historic moment. Clive, meanwhile, is so damned excited that he spends the entire track tripping over his words to get them out. Take a shot every time he says “Um, um, um” and you will die. You can’t blame him, though. It’s great to hear the man so enthused about the project and every frame of footage he was able to add back in, including that musical number, which is awesome by the way.

Tribes of the Moon: The Making of Nightbreed is a documentary that runs for over an hour. Barker, strangely, doesn’t participate here, but we do get Craig Sheffer, Anne Bobby, Doug Bradley, Hugh Ross (wearing his King Rocker shirt!) and a few other notable names. This lengthy piece gets in detail about what Midian means to these actors and in general, as well as discussing their respective characters. Bradley recalls a lot about Clive’s early days, when the two first became friends. Other topics include make-up application processes, the production design, marketing, Bradley’s voice being ADR’d out of the movie and this new cut of the film.

Making Monsters: Interviews with Make-up Effects Artists features over 40 minutes of interviews with artists Bob Keen, Martin Mercer and Paul Jones. The three, interviewed separately, talk about the wealth of ideas everyone had on set, designing the monsters (specifically the Berserkers) and the contribution of Tony Gardner to the film. Interesting takeaway: Clive insisted all the Berserkers have a large phallus, something I never noticed before seeing the clip included here.

Fire! Fights! Stunts! – 2nd Unit Shooting is an interview with Andy Armstrong who, as the title suggests, did all the second unit filming. His work was mostly capturing action, of which there was a lot considering the scope of the final battle. He worked well with Barker, and the two collaborated closely on making sure the action scenes looked big for a film with their modest budget.

The disc also includes the film’s theatrical trailer in HD.

That’s what you get with the regular Blu-ray edition. With the Limited Edition, you’ll also get a bonus disc that includes:

Deleted scenes. There’s around 23 minutes worth, most involving Lori, Detective Joyce, or Decker. There are some interesting moments in here, though most will agree all was wisely trimmed. Anything good is now back in the movie. The quality here ranges from Blu-ray to rough VHS, with some scenes employing both to piece events together. That can be a little jarring, but at least the audio is consistent, even if nearly all of it is tape-sourced.

Monster Prosthetics Masterclass is an interesting account of the process by which actors are made up into monsters, with Bob Keen detailing every step of their work. Some behind-the-scenes footage of Malcolm Smith being done up as Ashberry is shown along with his words.

Cutting Compromise is a really great interview with editor Mark Goldblatt, the man brought in by the studio to deliver a “tighter” film. Original editor Richard Marden is no longer with us, but it’s equally fascinating to hear from the guy responsible for chopping Barker’s vision down to size. Goldblatt has some good stories and speaks candidly, admitting right away that he felt Marden’s cut of the film needed work. He basically did what the studio told him, with no input from Barker.

The Painted Landscape is five minutes of artist Ralph McQuarrie’s artwork as compared to the final picture, set to the film’s score.

Matte Painting Tests features the actors walking around with the matte painting in place, similar to how it appears in the final film. This footage is also set to the score.

Makeup Tests is exactly what it sounds like, featuring footage of various characters being worked on. Again, set to the score.

Stop Motion Lost Footage briefly discusses the production’s aspiration to do more with stop-motion animation, but it was cut further and further due to budget. The Director’s Cut restores some of this footage, though it does feel a bit out of place but is by no means unwelcomed.

Extended Torture Scene is a full three-and-a-half minutes of the Crusade-like killings of the Breed as shown when Rachel tells her story.

Rehearsal Test made me laugh a little. It’s the actors doing the film’s opening run through the graveyard sans costumes. Weird seeing them out of character.

Finally, there are Extensive Still Galleries that look at Early Sketches, Deleted Scene, Poster & Pre-production Art, On the Set of Nightbreed and The Cast & Crew.

All the theatrical cut has on it is a trailer, the same one included on the Director’s Cut disc one.

Also in the package is a thick booklet, which includes an overview of how this Director’s Cut came to be, as written by Mark Allan Miller, along with some character spreads for the various Breed. Everything comes housed in a sturdy side-loading slipbox, with a separate Blu-ray case for each cut of the film.

This is the set Nightbreed fans have dreamed of owning. If there’s maybe one thing I would have liked to see, it’s a lengthy piece covering the process whereby this cut came to be, but all the facts are presented here in one form or another; a featurette may have felt redundant. Casual fans will have zero complaints about what’s included on the standard edition, while serious fans will be extremely pleased by the Limited Edition’s offerings.

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.

The Legend Of Hell House (1973) Blu-ray review

There are a number of variables that can lead horror fans to make assumptions about a film’s quality before seeing a frame of footage, but none seems more arbitrary than the rating. Slap an “R” on a film and there’s a buzz of excitement in the air; garner a “PG-13” and almost immediately complaints pop up decrying that a film has been neutered for younger audiences. Sometimes the latter is true – and also foolish, since the 12-17 demographic that studios so desperately chase is a minor slice of the movie-going public pie – but, really, a film’s rating is not intrinsically linked to its quality. Just look to the past for ripe examples of horror films that are truly terrifying despite their (gasp!) “PG” rating. Of course, many of these examples were from an age before the advent of a “PG-13” rating. Still, the great thing about horror is that gore and nudity aren’t required to instill terror, and there is a subgenre that can skate by without either of those: hauntings. Going back to an era before these films relied almost entirely on jump scares, some of the most consistently lauded fright films are decades-old favorites such as The Haunting (1963) and Poltergeist (1982), both of which have “mild” ratings.

One film that seems to get overlooked on many lists is the British cult classic The Legend of Hell House (1973) which, personally, I’ve always found to be quite effective. The screenplay was written by famed literary icon Richard Matheson, based upon his own novel of the same name. The plot is very basic: four people are commissioned to stay in “the Mount Everest of haunted houses” in an effort to prove whether or not life continues after death. That’s it. There are no ulterior motives, no sneaky sinister characters, and no slow building of tension before culminating in a frenzied climax. Four people enter a home that is unquestionably teeming with paranormal activity and the spirits within endlessly torment them until the very end. Ably directed by John Hough, who has helmed many cult favorites during his career, the film stands as a strong example of using fear of the unknown (and unseen) to bolster scares without relying on graphic imagery.

The picture opens with the following text:

“Although the story of this film is fictitious, the events depicted involving psychic phenomena are not only very much within the bounds of possibility, but could well be true.” – Tom Corbett, Clairvoyant and Psychic Consultant to European Royalty.

Lionel Barrett (Clive Revill), a prominent physicist, has been tasked by an aging millionaire to investigate the Belasco House, site of a massacre many years ago. The massive mansion was constructed by Emeric “The Roaring Giant” Belasco, a six-foot-five mountain of a man who disappeared shortly after the killings in his home. It is said the house is haunted by the spirits of those who died there. Previous expeditions to prove the existence of the supernatural ended poorly, with nearly every person who set foot inside dying under mysterious circumstances. Barrett brings along his wife, Ann (Gayle Hunnicutt); a psychic medium, Florence (Pamela Franklin); and a physical medium, Benjamin Fischer (Roddy McDowell), the one survivor of the research team that was killed in the home. Barrett is convinced the phenomena seen inside can be explained away as unfocused electromagnetic energy, and he’s brought along a giant machine (which looks like an old prop from “Star Trek”) that can reverse the energy fields.

Ridding the home of its evil won’t be that easy, however, as the four soon find out. Almost immediately, the place is abuzz with activity, which Barrett thinks is nothing more than Tanner using her abilities to manifest phenomena. Fischer is simply along for the pay day, keeping up his mental walls so as not to allow the house any influence over his mind. The others aren’t so detuned, and Barrett’s wife finds herself continually under a hypnotic spell that causes her to unleash her restrained sexuality. Tanner, too, is heavily influenced by the spirit of whoever resides here. She is continually attacked both mentally and physically, the latter of which comes in the form of a sleek black cat that is unrelenting in its attacks. Fischer finally lowers his mental block and lets his mind focus on the home’s energy, which lets the group uncover some of its hidden secrets. But, ultimately, Barrett thinks only his machine can clear the evil out and end all of this madness. He may be right; however, arriving at such a conclusion requires confronting the evil forces head-on from their origin point in the heart of the house, the chapel.

The Legend of Hell House might seem tame by today’s standards, especially when you consider it lacks anything visceral. They still get away with quite a bit for a “PG” rating, including some decent side boob action, a few strong sexual moments and some mild, bloody imagery. Where the film succeeds is by presenting a constant stream of nefarious activity that occurs almost as soon as our team of four enters. The scares aren’t major, but there’s an eerie undercurrent that’s slightly unsettling because of that intangible, unknown entity causing chaos. Is there only one malevolent spirit? Several? Barrett and his team are under constant attack, both from outside and from within their own group. What’s more, Barrett is able to play the skeptic despite an abundance of clearly inhuman activity because he attributes all of it to electromagnetic energy, claims Tanner and Fischer find dubious.

The acting here is very… British; and by that, I mean kind of stuffy. It shouldn’t come as much of a surprise that McDowell is the strongest player here, though I wish the script had exploited the angle of him being the sole survivor of previous investigations much more. Fischer seems to be the only logical person on this mission, knowing full well what awaits them in that place. He must be very hard-up for cash considering he voluntarily re-enters the place where his colleagues died in the name of scoring some extra scratch. Old millionaires must pay very handsomely.

Hough’s film plays, in many ways, like a Hammer picture, which makes perfect sense considering he spent a good deal of time directing at the venerable studio. The Legend of Hell House presents a solid ghost story along with a dreary, austere atmosphere. Again, the scares found here may seem tame in comparison to today’s haunting films, but there’s an undeniable charm in the ‘70s aesthetic and gothic setting. If there’s one complaint, it would be there are way too many title cards. On the last day in the home, the date and time must flash on screen a dozen times. If there’s a second complaint, it would be that the ending sort of fizzles out unexpectedly, especially considering the gravity of the secrets that are uncovered. When people ask me to recommend a good, scary horror film that they haven’t seen this has long been one of my go-to picks. Revisiting it now, some of the scares aren’t quite as impactful as I had remembered, though that doesn’t make the experience of watching it any less enjoyable.

For a film that’s over 40 years old, The Legend of Hell House sports a 1.85:1 image that is fairly strong for a low-budget affair. Film grain is very evident throughout, mostly lending the cinematic aesthetic it should, but occasionally it turns to noise and the image quality suffers. This mostly happens during some interior shots. The print itself looks to have been well-preserved, with only minor flecks & dirt apparent. Hough uses extreme close-ups quite often, which not only adds to the sense of claustrophobia even in a huge mansion, but the image detail gets to shine through more than ever. When the camera is shooting medium or wide, though, the picture is softer than a moldy piece of fruit. Black levels hold strong, with only a couple instances of looking hazy. Colors look a tad on the faded side; nothing much pops here. Contrast is stable, but under the weight of shadows image details are swallowed up. This is the kind of transfer that punches up every aspect of the picture as much as it can, even if the results aren’t eye-popping. It would require extensive restoration work to look much better.

There’s not much to be said about the English DTS-HD MA 2.0 stereo track. It’s clean, free of hisses & pops and carries the dialogue with good fidelity. The real standout here is the electronic score by Delia Derbyshire and Brian Hodgson. It’s an atypical score that delivers an aura of foreboding, full of low-end instrumentation (think contrabassoon) and bursts of energy when the house comes alive. With so many labels churning out film soundtracks these days, someone should get on giving this its first proper commercial release. It’s absolutely fantastic. Subtitles are included in English.

Actress Pamela Franklin is the lone participant on the audio commentary track, which may just be a repurposed interview cut to use as a commentary. When selected, the disc starts off around five minutes into the movie, when Franklin’s character first appears. She’s pretty lively and quick with the anecdotes, but there are also many gaps of silence. This might’ve been better presented as a sit-down interview. The best extra included here is the Interview with director John Hough (1080p), which features the veteran director candidly talking about his style of shooting pictures, efforts to build suspense, the film’s energy, and he mentions they even had psychic advisors on set to make sure events were being presented correctly. He’s had a long, strong career and hearing him speak about his craft is a joy. The film’s theatrical trailer, a photo gallery, and a handful of radio spots conclude the supplements.

Ginger Snaps (2000) Blu-ray review

It could be argued that despite the lycanthropic lore of shape-shifters existing in mainstream cinemas since 1935’s Werewolf of London, the subgenre has yet to fully reach its pinnacle. An American Werewolf in London (1982) is often cited as the best werewolf film ever made, and rightfully so, but even with Rick Baker’s astounding make-up FX work there are inherent limitations preventing the film from showing off the rampaging beast in all its glory. The werewolf design is iconic, instantly recognizable, and the transformation Naughton undergoes is breathtaking every single time you see it. But the wolf trudges along like an ‘80s animatronic, incapable of the organic kinetic movement required to sell that this is a massive creature of considerable power. From there, every film in the subgenre is of wildly varying quality. Rob Bottin nailed the Eddie Quist transformation scene in Joe Dante’s The Howling (1981), yet the majority of that film isn’t exactly thrilling. Some films, like The Wolf Man (1941, 2010), forego turning their leading actors into a total creature and make them into literal wolf men. This effect can look incredible (Jack Pierce was a master of his craft back in those days) but viewers still aren’t seeing a “complete” transformation. Others go for broke and attempt to use practical FX to construct hulking furry behemoths that, more often than not, wind up looking disappointing on screen. Or when they do look amazing, such as in the much maligned Bad Moon (1996, and a film I happen to really dig), the story suffers. The point of all this rambling is that for such a beloved sector of horror, werewolf fans have always had to accept a certain degree of deficiency in nearly every film.

Ginger Snaps (2000) sets itself apart from the pack by doing something different that still operates within the wheelhouse of werewolf lore. In fact, to show how much it’s trying to be unique the word “werewolf” is never spoken once; they’re referred to as “lycanthropes”. This is as feminist a take on the werewolf tradition as anything ever done before, or since, using a young girl’s coming of age (getting “the curse”) as a metaphor to explain her drastic changes from sweet & innocent to savage & beastly. Writer Karen Walton only wanted to tackle this subject matter if it could be done in an atypical way, outside the genre norm and focused on horrors of the body – both natural and unnatural. This approach gives “Ginger Snaps” a very Cronenberg sensibility, which is no coincidence as both Walton and director John Fawcett cite the legendary Canadian auteur’s early efforts as a direct influence. The relationship between Ginger and Brigitte is similar to that of Elliot and Beverly Mantle (Jeremy Irons) in Dead Ringers (1988). These qualities are what make “Ginger Snaps” an aberration, since outside of the well-crafted story of two sisters there isn’t much else to laud.

Ginger (Katherine Isabelle) and Brigitte (Emily Perkins) are two sisters with as close a relationship as any could have, and they are both obsessed with death. Their favorite pastime is to stage morbid, grisly death scenes, which they photograph for personal and, sometimes, school use. A string of dog attacks has had everyone in the neighborhood on high alert, but Ginger & Brigitte see the gruesome deaths as an opportunity to produce art. While out in the park one night, they come across a still-warm canine corpse, which comes apart messily as they try to move it. Brigitte notices Ginger gets some blood on her leg, but it turns out she’s just caught her first wave in the crimson tide. As soon as the revelation is made clear, Ginger is savagely attacked from out of nowhere by some…thing. Brigitte is able to wrestle her away from the beast, which is then struck by an oncoming van driven by Sam (Kris Lemche), a local pot dealer who also knows a thing or two about lycanthropy. The two girls head home, since Ginger refuses medical treatment, and Brigitte is shocked to see her sister’s grievous wounds have already begun to heal.

Now that she is inflicted with a new curse, Ginger’s behavior begins to radically change. She’s aggressive. She begins to flirt with the boys. And she starts to alienate herself from Brigitte. Concerned for her sister, Brigitte works together with Sam to understand her problem, namely, her gradual metamorphosis into something inhuman. Sam thinks that monkshood, a perennial plant, may hold the key to controlling Ginger’s urges, which are only intensifying. It wasn’t enough that she knowingly infected another boy with her disease, but she’s now moved on to killing local dogs and anyone who is foolish enough to cross her. The events lead up to a massive party on Halloween night, when Brigitte and Sam search for Ginger, who is quickly beginning to assume a more lupine form. Their mother, Pam (Mimi Rogers) attempts to help her daughters, as does Sam, but ultimately it all ends with an expected showdown between the two siblings.

Ginger Snaps unquestionably succeeds in presenting strong, developed characters that anchor the picture. Ginger and Brigitte aren’t the usually paper-thin female archetypes employed in most horror films. They have depth and meaning, giving events that occur later in the film weight because we’re emotionally invested on more than a base level. The girls talk like real teenagers (which means an abundance of “fucks” throughout the picture) and it’s easy to empathize with their outcast status. Underneath the veneer of death photographs and morbid obsession, they’re just another two female adolescents trying to find their way in life while transitioning into womanhood. Now, clearly, there are a number of inferences to be drawn from the conceit of a young girl becoming a woman juxtaposed with literally turning into a snarling, fanged beast. Walton was trying to horrifically visualize the feeling of a woman’s body “betraying” her via the changes that come with a certain age. Again, this is all very Cronenberg-esque stuff – the terror of seeing the vessel you inhabit, the flesh you trust, taking on a life of its own and becoming something unfamiliar. Isabelle turns in a solid performance that has her running the gamut of emotions, sometimes drastically within key scenes. Perkins, likewise, is equally adept at delivering the necessary pathos for viewers to connect to her character.

But, man, is that damn wig on her ever distracting.

On the lycanthropic side of things, well, most of that is left off screen. And that’s probably for the best. Fawcett wanted to do all of the film’s effects using practical make-up, a decision more directors should try sticking with, but this was also filmed around the turn of the century. At that time, CGI was still a bit rough if you didn’t have a massive budget (which this film did not), and had Ginger Snaps gone the CGI route it would have almost undoubtedly looked atrocious. Still, the lycanthrope presented here isn’t the strongest example ever seen in film. Maybe not the worst, either, but (unfortunately) it’s pretty close. The design doesn’t look like an organic creature; it’s more like a static sculpt that stands in one location and has limited mobility. It would be more at home in Knott’s Scary Farm than a feature film. Props for giving it boobs, though; you don’t see that too often. The film also gets some kudos for shaking up the werewolf mythology by eschewing cinematic traits like full moon shape shifting, silver bullets, and how the disease is contracted. Pro tip: if you’re going to have sex with a she-wolf, wear a condom.

While it might not be a total success as a true werewolf film, Ginger Snaps succeeds in a number of areas. Characters are well-written… as long as they’re female. Reciprocation doesn’t extend to the male actors, who are either totally absent in character (i.e. the girls’ father) or pander to expected male high school stereotypes (horny, pushy, jock-ish). The idea of bodily betrayal, and not conforming to the usual werewolf tropes, is also refreshing. The film is proof that strict adherence to unwritten genre guidelines isn’t necessary, and often times going outside those boundaries yields something that can galvanize genre fans. The only major downside here, really, is a lack of strong werewolf FX that could have capped this off on a stronger note. As it stands, Ginger Snaps is inventive horror filmmaking that managed to rise above most of the muck being churned out during its time period.

It could be easy to find fault in the 1.78:1 1080p image Scream Factory has presented here on Blu-ray, but let’s remember the home video history of Ginger Snaps. The original DVD release was unceremoniously dumped on fans in 2003, with a full-frame transfer and a total lack of extra features. Keen buyers might have snatched up the Canadian DVD, which was in the proper aspect ratio and loaded with bonus goodies. Both discs, however, lacked in the video & audio department by featuring some truly ugly, muddied visuals.

This latest release is unarguably the best the film has ever looked, as dubious a distinction as that may be. There’s a fine grain structure present throughout that looks very filmic, never noisy or too heavy. The print is in reasonably good shape, though white flecks and some dirt is noticeable. Colors appear warmly saturated, with red being a pervasive hue that pops off the screen quite well. Black levels are consistent and dark, though there are a number of moments when they do look a bit hazy. Contrast is acceptable, but it’s much stronger in exterior shots than interiors, where things get a little muddled. Definition is strongest in close-up shots, while medium and wide shots look slightly above average at best. Background elements are also lacking in minute detail, appearing soft and unfocused more often than not. On the plus side, no post-processing has been done here – no DNR or edge enhancement to ruin the picture. This is a suitable image for a low-budget production.

The biggest boost the film receives is in the audio, where the English DTS-HD MA 5.1 surround sound track exhibits excellent fidelity to deliver a solid presentation. First off, Mike Shields’ score is absolutely exquisite, with the main leitmotif sounding very dramatic and operatic in execution. This is a film score that can stand independent of the feature and play wonderfully on its own. Dialogue is clean and always discernible, perfectly balanced alongside a bevy of sound effects and source music. Speaking of which, prepare to hear some horrifically dated tunes, especially during the Halloween party. There’s little activity in the rear assembly, giving this track a range that isn’t too expansive and lacks total immersion. The lycanthrope snarls and howls, however, sound beefy and thick; perfectly selling that what we are hearing is no ordinary wolf. An English DTS-HD MA 2.0 track is also included. Subtitles are available in English.

Fear not, owners of the Canadian SE DVD, because Scream Factory has ported over nearly all the good stuff as well as including some new features that are well worth your time. There are multiple audio commentaries, a documentary, featurettes galore, deleted scenes, cast auditions, trailers, and more.

Director John Fawcett delivers the first audio commentary, and he’s never at a loss for words. He dives right in, talking about the location shooting and finding somewhere to house a suitably bleak atmosphere. He also discusses the sheer terror he felt when it was discovered Emily Perkins had cut off nearly all of her hair just before being cast, requiring her to wear a wig that he clearly is no fan of. There’s a constant flow of solid information here. The second audio commentary is with writer Karen Walton. She delivers a track full of insight into the script, discussing her original ideas, thoughts on differing POVs in the film, and examining horror through a feminist lens. Fawcett’s track is a bit more in depth regarding the shoot as a whole, but this is no slog to get through.

Ginger Snaps: Blood, Teeth and Fur is a documentary that runs for over an hour. As you might guess based on the length this kitchen-sink-and-all piece looks back at the film’s early beginnings, when it was almost sunk due to backlash over “teen violence” films post-Columbine, to the casting, location shooting, FX work, scripting and much, much more. Katherine Isabelle is notably absent here, which may or may not be due to the fact she’s stated in interviews that she isn’t a horror fan and only used it as a springboard to get a bigger career. Whether that’s entirely true or not, her lack of appearance is conspicuous. Emily Perkins does participate, and, wow, has she ever grown up into quite the lovely young lady. Growing Pains: Puberty in Horror Films is an excellent, unexpected piece that looks at the horrors of coming of age with four notable female horror luminaries – writer Kristy Jett, filmmaker Axelle Carolyn, writer Heidi Honeycutt, and Fangoria’s Rebekah McKendry. The foursome looks back at films that have dealt with puberty, with some obvious and obscure selections for fans to consider. A reel of deleted scenes runs for around 25 minutes, but, annoyingly, these cannot be selected individually. Viewers have the option of watching them with the original audio, or with audio commentary from either director John Fawcett or writer Karen Walton. Featurette is the EPK that was found on the Canadian DVD, covering the usual bases. Cast Auditions & Rehearsals features Isabelle and Perkins during the process leading up to filming. Perkins is nearly unrecognizable with her shorn locks. Creation of the Beast looks at the design and sculpting process of making the lycanthrope seen during the film’s climax. Being John Fawcett is a silly, short video diary the director shot while on set. Theatrical trailers & TV spots are also included, and the disc is rounded out with a look at some of the production design artwork.

The cover art is reversible, allowing for display of either the newly created artwork (which is striking), or the original key art (which is sort of bland). A slipcover featuring the new art is included on initial pressings.

Under The Skin (2013) Blu-ray review

Nearly every ardent film aficionado understands that cinema is highly subjective, with most pictures garnering an equal number of supporters and detractors. Sometimes, half the fun in seeing a new movie is the post-viewing discussion that breaks out among friends over what did and didn’t work. Few films, though, can divide audiences more rapidly than art house movies. Where some viewers key in on subtleties and nuance, others see a pretentious mess that could bore a person to death. You don’t run across many people who have a “meh” reaction to something intrinsically artistic – either they love it and praise it endlessly, or they hate it and can’t spew enough vitriol. One such film that has recently divided filmgoers is writer/director Jonathan Glazer’s Under the Skin (2013). Adapted from the 2000 novel of the same name, which was written by Michel Faber, it’s the tale of an interstellar succubus that travels to Earth for the purpose of luring in lonely men and denuding their bones of flesh via an… unusual method. It has been met with stirring acclaim – it currently holds an 87% “fresh” rating on Rotten Tomatoes - though there seems to be an equal number of critics who found it to be a pointless exercise of languid cinema. While at a cursory glance it may be easy to see where they’re coming from, the fact is Glazer’s film is purposely unconventional and a bit obtuse, requiring much deeper thought if viewers want to gain knowledge of its true nature. Nothing is overtly spelled out; it’s all in the subtext.

An alien (Scarlett Johansson) arrives on Earth to take the place of her predecessor, who has died under unknown circumstances. What these two “women” share are attractive features that would interest most hot-blooded men, which is essential to their purpose. Johansson (her character is never named) drives the streets of Scotland at night, attempting to pick up on single, unattached men who are more than eager to follow her back to her flat. Once inside the austere, blackened tomb where she resides the men strip down and follow her sultry figure across the room before being enveloped by a viscous liquid that preserves them alive, yet slowly softens their skin before sucking the flesh from their bones. It is not a pleasant way to go, even when you consider their final view of her curvaceous backside. She views humans from an objective perspective, with little regard for their lives and emotions; she is merely a tool here to do a job.

Her nightly endeavors hit a snag when she meets a young, deformed man (Adam Pearson, who looks not unlike the legendary Elephant Man, Joseph Merrick) who is shy and unaccustomed to attention from such a beauty. His grotesque exterior belies the gentle person under the skin, and, so, she begins to learn there is more to humans than just their outward appearance. She decides to let him go. Her experience with this young man changes her perception of not only those around her, but herself; of the body she inhabits. This leads her on a journey of self-reflection and stark realization; a trial through which she attempts to assimilate within the human world, experimenting with food and relationships and sex; things which were once so foreign to her. Constantly shadowed by a male of her species, one who maintains a constant vigil over her affairs and cleans up any messes, she is eventually resigned to the fact that despite her best efforts, she will never enjoy the pleasures our world has to offer.

Plot is secondary here; the story is more concerned with capturing the existential journey an alien takes when confronted with the possibility of becoming something more than what it is. Much like the people around her, viewers are kept at a distance, merely observing her actions without becoming deeply involved. Her purpose on Earth is only vaguely defined – we don’t exactly know why she’s seducing and liquefying these men. So much of the film is left open to interpretation that viewers with a short attention span (i.e., sadly, most of the younger generation) will probably check out early on without considering the messages being conveyed. The title has a double meaning, as it not only refers to there being something more under the skin of Johansson’s character, but also of the film’s depth. A reasonable comparison might be the work of David Lynch (though this film never reaches those lofty heights) because without a deeper evaluation of what’s being shown it would be all too easy to casually dismiss it as artsy, theoretical garbage.

It’s hard to believe any man wouldn’t jump into a vehicle if propositioned by Johansson, but many of the men she preys upon are either uninterested or oblivious to her intentions. If some of the reactions seem rather candid and genuine, that’s because they are. Many of her nightly escapades were shot using hidden consumer-grade cameras mounted in a van, with the actress calling out random men on the street that were only told of the ruse after the shots were completed. It’s a subtle touch that adds an extra layer of realism. Even many of the film’s characters (none of whom are given screen names) were portrayed by untrained actors. The aforementioned young man with severe facial disfigurement? That’s his real face, and his casting is testament to the realism Glazer attempted to achieve. The alien “cleaner” who shadows Johansson’s every move isn’t an actor at all, but a world-class motorcycle racer. The role required someone who could drive at high speeds on slick roads, and rather than use a stunt double Glazer simply hired Jeremy McWilliams, an Irish professional racer, to don the helmet. As a result of these casting decisions, and the fact that most have very little dialogue, the film’s veracity is greatly heightened.

A good film can almost always be elevated by a great score, and the work done here by Mica Levi, aka Micachu (of Micachu & The Shapes), is exemplary. Droning bass lines are punctuated by bursts of Fox string sounds, a technique that has been used for decades to heighten tension and emotion. The score incorporates elements of electronic and acoustic instruments, giving the entire affair an appropriately alien feel. Levi’s leitmotif used during the film’s sequences of seduction is mysterious and sexy, like a lure that emanates from within and puts these men into autopilot. The atonal compositions are hypnotic, easily lulling viewers into a trance. It’s certainly one of the best film scores of the year thus far.

Despite a dearth of major activity, I never found myself bored while watching the film. Sure, Glazer lets himself veer into Terrence Malick territory at times, with long, sweeping wide shots that linger in a fixed position for lengthy periods of time. Thankfully, the Scottish landscape where they shot is so gorgeous that few will be bothered by witnessing its consistent beauty. If some find the film to be cold, well, that was intentional. This is a cold world to an alien being – it’s even cold to those who aren’t alien - and it succeeds in never allowing viewers to feel much comfort. Under the Skin is a stoic reflection of humanity through the lens of the ultimate foreign body. Some of Glazer’s directorial decisions are rather puzzling - with many questions left entirely unanswered - but for those who enjoy films that aren’t wrapped up in a neat package by the time credits begin rolling this is a cerebral experience that feels satisfactory. It may not be perfect, but it certainly is unique in a sea of homogenized cinema.

Viewers must keep in mind that the film’s 1.85:1 1080p image was produced using a variety of cameras, and so the results are going to vary from scene to scene. The color palette veers toward steely, blue hues with saturation stripped down in other colors. The muted aesthetic was intentional, as was the decision to shroud most of the film in a state of near-darkness. Black levels are inky and deep, aside from a few cases where contrast was boosted on purpose, rendering them a bit hazy. The nightly encounters with men on the street were captured using GoPro-style cameras, and they look about as reasonable as can be expected – grainy, not very detailed, and like a home video. Although much of what we see is bleak, the Scottish vistas look simply gorgeous and haunting. This might be far from what Blu-ray aficionados consider “reference quality”, but it is no doubt presented just as accurately as Glazer and his collaborators intended.

A great deal of the English DTS-HD MA 5.1 surround sound track rests on the compositions of Levi because there isn’t a lot of dialogue to be heard. When characters are speaking, it is presented cleanly and balanced, though good luck making out what half the Scots here are saying. Those brogues are thick as a brick. The most boisterous moments come when Johansson enters a nightclub, with bass thumping and the sound of patrons echoing all around. Otherwise, the track comes to life only when Levi’s score is slowly working its magic to immerse listeners. Rears come to life for added ambiance, but this is a very minimal sound design that keeps viewers focused more on the images on screen and less on what they’re hearing. Subtitles are included in English SDH and Spanish.

The back cover sells the supplements a bit short, claiming to hold only one featurette. That one featurette is actually several shorter pieces that together form a nice making-of that runs over 40 minutes, focusing on camera, casting, editing, locations, music, poster design, production design, script, sound, and VFX. An insert containing a code for digital Ultraviolet HD download is included in the package.