Samurai: 400 Vs. 1
(*)/Day Of The Beast 4K
(1995/4K Ultra HD Blu-ray w/Blu-ray**)/Nosferatu
Raid (*both 2020/Well Go
Blu-ray)/A Scream In The
Ultra HD Picture: B+ Picture: B+/B/B-/B-/B/B+ Sound:
C+/B-/B-/B/C+/C+ Extras: C-/B-/C+/C-/C/B Films:
A-/C+/C+/C/C/C+ (both versions)
next genre films are some of the wildest and wackiest we have covered
and in one group, in a while...
Infamous undefeated Miyamoto Musashi (Tak Sakaguchi) challenges the
Yoshioka clan and walks into a 1 vs 400 ambush/battle. The entire
film shot in one 77-minute action sequence, adding to the legend of
Miyamoto Musashi as one of the greatest swordsman of Japan in Yuji
Samurai: 400 Vs. 1
entire Yoshioka clan want some payback after Miyamoto Musashi
defeated one of their masters ...in a 'fair fight' an epic battle of
400 vs 1. 100 Samurai who want the honor and glory of defeating
Musashi and 300 hired mercenaries who want the bounty on his head,
but in order to collect, he must fight the greatest swordsman ever.
was an epic movie, filmed all in one shot. Based on Miyamoto Musashi
who was considered to be one of the Sword Saints of Japan and
invented the dual sword technique. The film had excellent costuming,
setting and real swordplay. The only thing that seemed strange after
a while was how ALL the defeated opponents used their last dying
steps to die off screen and also how Musashi's blade seemed always
free of blood (all the blood was CGI-ed in and then it disappeared
whenever it hit the ground). Extras includes trailers.
de la Iglesia's The
Day Of The Beast 4K
(1995) looked at first like it could be a serious film about Satan
coming to haunt a priest and go on a kill, but it is actually a
somewhat comical exercise (no pun intended) that may not be a great
film, but is still a better comedy in the genre than most made in
Hollywood and most independent cinemas of the last few decades.
priest (Armando De Razza) thinks he has caught onto ominous signs of
a new arrival of Satan and immediately shares this concern with a
fellow priest, who is suddenly killed in the church they meet at. In
a serious horror film, it would start a series of brutal killings
that are supposed to shock the audience and become increasingly
brutal, as in the original Omen
films. Instead, the script decides to make these moments play for
humor with a little ironic distance, then moves on to make commentary
about and show a darker side of society that is as damning of Spanish
and Mexican culture as it is of U.S. and U.K. culture.
ruining anything, this pre-Internet era tale includes TV
personalities on lower channels advertising for call-ins to help
people predict the future and dispel evil spirits, its connection
with music culture (including some mainstream music) and even how
this connects with sexploitation in society. The film is not
outright political or preachy, but these elements are there.
actors never try to be funny and play it all straight, as the comedy
is consistently not trying to be funny throughout, which I liked.
However, the film is still too silly for tis own good, including how
its logic about demonology works (I never bought any of the
explanations, even if they were maybe meant to be funny, but who
knows but the makers) and by the time any explanations are
(consistent or not) offered, too much comedy has set in by then.
film was apparently a hit overseas and I can see with the proper
release timing, why. Now, it is a time capsule of an era that is
sadly gone, as we've recently entered an uglier world. It is a genre
film horror fans will be more likely to enjoy than one might think
and it being a foreign film does not get in the way of how it works
or functions. Now you can see for yourself.
include trailers, four on-camera interview pieces (Antichrist
The Man Who Saved The World
with Actor Armondo De Razza, Beauty
and the Beast
with Actress Maria Grazia Cucinotta and Shooting
with Director of Photography Flavio Martinez Labiano), feature-length
'Making Of' the film piece Heirs
Of The Beast
and the director's short film Mirindas
(1988) is a little-known and shockingly belated sequel to the 1979
that Klaus Kinski did with Werner Herzog that had some acclaim and is
one of their best films. Five directors, none of which were Herzog,
actually contributed to directing this (Kinski being one of them
apparently) and the film has some interesting ideas, but it is not as
good as the 1979 film despite the makers landing Christopher Plummer
and Donald Pleasence.
are both cast well here, but not used to the their or the film's best
advantage, while Kinski is not as restrained and nudity is pushed, as
well as his main female focus being a sexy woman of color that was
more surprising back then. It is also never played for comedy as it
was in Clive Donner's Old
(1975) with David Niven.
result is a curio that has its moments, but never adds up to what it
could have been. In all that, it should be far more well known than
it is at this point and unlike too many films and TV shows, has not
made vampires boring and sadly hip, so you still get an actual
vampire horror film here without any PC adjustments and the locales
before they started to experience record flooding!
include an Original Theatrical Trailer, Outtakes, the documentary
Creation Is Violence about Kinski's final years and two featurettes:
Should Be Played By Real Gypsies!
Bad Can Happen.
(2020) wants to be a martial arts film that impresses, including some
training sequences, but Dolph Lundgren has nothing to worry about.
Ivan Kotik plays a man who has grown up wanting revenge for the
killing of his father in front of him for a few decades and will do
anything to achieve this. The training comes in there.
killer happens to be a man who has now become a top gangster (guess
the government just lets those guys run unchecked) making the revenge
harder, but the chance becomes easier when he discovers a crack group
of fighters will attack a factory owned by the killer. Let the many
fight scenes begin.
was surprisingly dull, though Kotik is actually a stuntman in real
life. That is probably why some of this just looks too rehearsed,
though there are a few moments that were not bad. There is also a
touch of Russian Nationalism here, but it is not ridiculous or
overdone. The problem is ultimately, it is underdone, predictable
and not very memorable. Better luck next time guys!
only include trailers.
Scream In The Streets
(1972) is a bad film with no apologies for being exploitive, sleazy,
sloppy and crude. There is a killer on the loose and the police are
looking all over for the suspect, yet we get several lame sex scenes,
so I guess the killer won't strike in bedrooms? Running 90 minutes,
everything is bad here from the sex to the 'acting' to the script to
the pacing and it is ultimately a homophobic film despite its
thought-police lesbianism scene.
'soft core' items seem like bad filler, as if they knew they had a
bad script, but then this is all over the place. The killer
('surprise') is a cross-dressing man, so you can figure out the rest,
a film to be filed in the 'celluloid closet' world of film studies.
little that does work here includes some of the outdoor footage,
which looks better than expected and not being able to tell if the
actors know how bad they are or even care. If you like trashy films,
you'll want to see this one, but know that it is even not the best
second-rate trash, so you won't be too disappointed.
include trailers and two shorts that were cut out of this film's
'sex' sequences to make more money as sex loops.
the near future, America stands on the brink of social economic
collapse however little do they know it is the end days and the fate
of the world is in the hands of amnesia-stricken soldier (Dwayne
Johnson), a former porn star (Sarah Michelle Gellar) turned reality
TV and a police officer (Seann William Scott). As their fates
intertwine, they try to search for some meaning to their life in
Richard Kelly's Southland
is hit with nuclear bombs and triggers World War III. America is
boycotted and isolated from the world and its people split into
fascism and neo-Marxism. Oil is cut off (electric cars and solar
energy being more mainstream were less of a possibility when the film
was made) and America is forced to search for alternative fuel. As
America's economy collapses, society loses its civil liberties and
socialism. A soldier celebrity with amnesia tries to remember what
happened to him, a reality TV porn star want to use the soldier's
story to expose the corruption and illegal experiments. But what
they discover is in the search of alternate fuel they opened up a
time rift and those who go through it (and live) end up with a double
of themselves, but if they ever come in contact with one another,
they would start a chain reaction and destroy all of existence.
was a sci-fi movie (they have two versions here) and you can tell by
how old the movie was by how young the actors all looked, see Dwayne
Johnson before he became a mega-super star. It is basically a
dystopian movie with low special effects that was transferred onto
Blu-ray. Extras include commentary, interview with cast and crew,
image gallery and trailer.
for playback performance. The
2160p HEVC/H.265, 1.85 X 1, HDR (10; Ultra HD Premium)-enhanced Ultra
High Definition image on Beast
is easily the best looking transfer here and that is in the face of
some good regular HD transfers. The regular Beast
Blu-ray looks pretty good and has a consistent transfer throughout,
but the 4K edition does a better job showing off the color of the
original 35mm negative (all shot on Kodak film) and makes it all work
better. Both have a decent, but sometimes dated in evidence of some
slight lacking sound and mixing choices, a solid-enough
DTS-HD MA (Master Audio) Spanish 5.1 lossless mix that is the best of
the choices here. The film was a 5.1 digital release.
1080p 1.78 X 1 digital High Definition image on Samurai is the
second-best looking release here, a fine digital HD shoot with
consistent color, depth and detail, but its Japanese DTS-HD
MA (Master Audio) 5.1 lossless mix is not as well presented and was
inconsistent, disappointing and maybe a little off.
1080p 1.85 X 1 digital High Definition image on Nosferatu has
some softness that is part of its style, but it was more often than I
would have liked, so I had to hold it responsible for that
ratings-wise, but it is fine otherwise form its new 2K scan of the
original negative including the color being very consistent. As for
sound, we get DTS-HD MA (Master
Audio) 2.0 Mono lossless mixes in both Italian and English, but it is
the English that is better and more authentic in this case.
1080p 2.35 X 1 digital High Definition image on Raid is softer
throughout than expected, including on some of its few CGI effects,
so only expect so much. The DTS-HD
MA (Master Audio) 5.1 lossless mix fares better, though the makers
offer some odd mixing choices and odd sound effects that one might
find unintentionally funny.
the case fails to note this, Streets is here in two 1080p
digital High Definition versions from its new 2K scan: 1.85 X 1 and
1.33 X 1. They both look good with the 1.33 showing more of the
original frame, but the 1.85 X 1 has a chance to show some better
color.The DTS-HD MA (Master Audio)
2.0 Mono lossless mix was done on a low budget and this is about as
good as this film will ever sound, but do not expect much sonically
1080p 2.35 X 1 digital High Definition image transfer on Tales
is better than the film looked on its older Blu-ray edition, but
being able to see it better does not make it a better film, and no
matter the version. The
DTS-HD MA (Master Audio) 5.1 lossless mix should sound better than
but it is often silent, odd, off or just a bit inconsistent in its
soundfield. Some of the time, that is intended, but other times, it
sounds sloppy, much like the film itself.
Nicholas Sheffo and Ricky Chiang (Crazy,