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Blu-ray Cover

Distributor: Lionsgate Films

Release Date: September 25, 2018

Region: Region A

Length: 01:30:56

Video: 2160P (HEVC, H.265)

Main Audio: 7.1 English Dolby TrueHD (48kHz, 24-bit)

Alternate Audio: Mono English Dolby Digital Audio

Subtitles: English, English SDH, Spanish

Ratio: 2.35:1

Notes:This title has seen many DVD releases and two Blu-ray releases. This marks the film’s UHD debut. Special features are never consistent when it comes to this particular title, and this creates a problem for anyone who wishes for a clean upgrade. The transfer for the UHD disc was sourced from different elements than the included Blu-ray (see below for a more detailed analysis).

Halloween

“Well, you call it a slasher film. I guess the original slasher film was Psycho. That was the film that all of these things are kind of based on… Psycho was the big daddy of them all. And it had a literal slashing scene in…

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Blu-ray Cover

Distributor: Olive Films (Signature Series)

Release Date: October 16, 2018

Region: Region A

Length: 01:20:19

Video: 1080P (MPEG-4, AVC)

Main Audio: 2.0 English DTS-HD Master Audio (48 kHz, 1854 kbps, 24-bit)

Subtitles: English

Ratio: 2.00:1

Bitrate: 31.50 Mbps

Notes: This title has been released previously on Blu-ray and DVD by Olive Films, but this “Signature” edition represents a notable upgrade. It contains a better transfer and several worthwhile supplemental features that were not included on that earlier release. However, it should be made clear that this release has been limited to 5,000 units.

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The 1950s isn’t a decade that springs to mind when it comes to terrific science fiction or horror films. Such films in this particular decade tended towards ridiculously large bugs, blobs, mutations, the tamest of space creatures, and the ravages of nuclear fallout. It is simply much too difficult to take such films seriously as they weren’t terribly well written, technically proficient, thought provoking, or scary. However, one particular film from this genre does seem to stand above the others and that film is Invasion of the Body Snatchers. It isn’t without its flaws, but it manages to captivate the imagination despite itself.

Invasion of the Body Snatchers was directed by Don Siegel (Dirty Harry) and stars Kevin McCarthy, Dana Wynter, Carolyn Jones, Larry Gates, and King Donovan. McCarthy portrays a doctor in a small California town whose patients begin to suspect that their loved ones have been replaced by emotionless imposters. When their concerns eventually prove to have validity, it is too late to save the town—but can he save himself and his small group of friends (not to mention the rest of the world)?

The thematic concerns of the story have divided fans for generations. Some believe the film to be an allegory about McCarthyism while others claim that is was alluding to Communism. The truth of the matter is that if the film was solely about either one of these issues, it would no longer be seen or discussed today. It is more accurately about the dangers of blind conformity in general, and this is a theme that is unlikely to go out of style. There are simply too many people in our society willing to sell their identities to the lowest bidder. Individuality is out! Everyone feels the need to be like everyone else, and those who are unwilling or incapable of falling in line are damned to the margins of society. This is the reason that Invasion of the Body Snatchers has already been remade three times (in 1978, 1997, and 2007)! Seriously, who doesn’t know their fair share of pod people?

There is a line from the end of the film that should sum up this review and answer this question rather admirably: “They’re already here! You’re next!

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The Presentation:

4.5 of 5 Stars

The Blu-ray disc is protected by a clear case that showcases a dual-sided sleeve with film relater artwork on the outside cover and a production still that decorates the inside of the case.

A small booklet featuring a scholarly essay by Kier-La Janisse is also included. The essay is entitled At First Glance Everything Looked the Same: Identity Crisis in Don Siegel’s ‘Invasion of the Body Snatchers and it discusses the themes of identity and conformity that are inherent in the film. It also gives contextual information about the sociopolitical environment of the time that it was released. It is a nice and attractive bonus that is illustrated with production stills.

Menu

The attractive static menu utilizes the same artwork featured on the cover and is easy to navigate. However, there is a strange misalignment on the words “English Subtitles” (see above).

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Picture Quality:

4 of 5 Stars

Olive’s “Signature” edition transfer of Invasion of the Body Snatchers is actually sourced from the same elements that were used for their previous release. This does seem to be a slight upgrade, but there really isn’t an overwhelming upgrade in terms of image quality. However, it is a dramatic upgrade from any other release of the film on home video. It isn’t at all a terrible transfer, but it isn’t nearly perfect either. The encode is superior to their 2012 release—at least from a technical standpoint, but this is a film in need of a new scan of the best available film elements (at a resolution of at least 4K). There is obvious crushing of detail in the darker sequences and it is quite a bit softer than it needs to be. Obviously, this softness may very well be the result of the “Superscope” process (they artificially render an image as anamorphic in post-production after shooting in the academy ratio). This lends a softer look to the image. Density and depth are somewhat problematic as well. It is nice to find that Olive hasn’t made any effort to artificially correct these issues, because this would have only made matters worse. Film damage is never really problematic or distracting, but there is the occasional blemish.

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Sound Quality:

4 of 5 Stars

The 2.0 English DTS-HD Master Audio transfer is also quite solid as the various sound elements are well prioritized in the mix, and given room to breathe in high definition. It is a technical upgrade from the film’s previous Blu-ray release (the previous transfer was a 16-bit render while this transfer is 24-bit). Age related issues such as distortion or hiss seem to be absent. In short, we are given a very clean representation of the film’s original audio.

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Special Features:

4 of 5 Stars

Feature Length Audio Commentary by Kevin McCarthy, Dana Wynter, and Joe Dante

Joe Dante (The Howling, Gremlins, The ‘Burbs) moderates a conversation with McCarthy and Wynter that is always engaging, usually charming, and occasionally informative. Dante is an obvious fan of the film and contributes quite a few nuggets of trivia while McCarthy is quick with anecdotal memories. However, Wynter is a bit less vocal—though she does attempt to discuss one of her recollections only to be cut off by Dante and McCarthy. Such interruptions happen all throughout the track, but Wynter never gets back around to whatever she was going to discuss. This seems a shame.

Feature Length Audio Commentary by Richard Harland Smith (Film Historian)

Richard Harland Smith’s commentary is less engaging but more informative than the Dante-McCarthy-Wynter track. He covers topics such as the film’s production history, biographical information about the cast and crew, the fifties sociopolitical climate, his personal observations and interpretations, and so much more that it moves rather rapidly. While some commentary tracks suffer from long periods of silence, this one has the opposite problem. Smith covers so much information that his delivery is too fast for the listener to completely digest. The occasional brief pause is essential and would have helped him punctuate the various points that he is trying to make. His commentary about the imagery of the pod-birth scene is especially interesting and might alter the way the viewer experiences the sequence for the rest of their lives.

Sleep No More: Invasion of the Body Snatchers Revisited – (26:35)

Kevin McCarthy, Dana Wynter, John Landis (An American Werewolf in London), Mick Garris (Sleepwalkers), Stuart Gordon, and Bob Burns (Historian) discuss the production and legacy of Invasion of the Body Snatchers in this short documentary that sits somewhere between a “making of” account of the production and a generic “appreciation” of the film. It’s not a very comprehensive “making of” program, but it certainly beats nothing at all.

[Note: Mick Garris doesn’t seem to have any real understanding of the Hitchcockian “MacGuffin.” He misuses the term in this segment. This was one of this program’s weaker moments.]

The Stranger in Your Lover’s Eyes – (11:54)

This may very well be the disc’s best video-based supplement. The first portion of the two-part essay finds Kristoffer Tabori (Don Siegel’s son) reading from Siegel’s autobiography (A Siegel Film) about the production of Invasion of the Body Snatchers. This is illustrated with a wealth of stills and footage from the film. The second part can be best described as Tabori’s personal observation of the film’s themes as they apply to his father’s life and personal concerns. It really packs a lot of information in a relatively short span of time. It is essential viewing for fans and a true asset to the disc.

The Fear is Real – (12:26)

Larry Cohen (The It’s Alive Trilogy, The Stuff) and Joe Dante both discuss the film and its significance—though Cohen seems to be the more prominent presence. Frankly, he seems more enamored with his own work than the film that he is supposed to be discussing (which is strange considering his films are so terrible). One assumes that he is featured because he had a hand in the horrible 1993 remake of the film, but this is neither here nor there. Both participants share their memories of seeing the film as children and the impact that it had on them and the genre. Dante has more useful comments (while Cohen has more screen time)—including his memories of meeting author Jack Finney with Kevin McCarthy in the eighties.

I No Longer Belong: The Rise and Fall of Walter Wanger – (21:08)

I No Longer Belong finds Matthew Bernstein discussing the life and career of Walter Wanger. It is an incredibly interesting and informative discussion and well worth twenty minutes of the viewer’s time.

The Fear and the Fiction: The Body Snatchers Phenomenon – (08:19)

The Fear and the Fiction is really a conversation about the themes of the film, and how people are divided as to whether it addresses McCarthyism or Communism. Kevin McCarthy, Dana Wynters, Stuart Kaminsky (Don Siegel’s assistant), Stuart Gordon, John Landis, Mick Garris, and others address the issue.

1985 Interview with Kevin McCarthy – (07:25)

Tom Hatten hosts this television interview with Kevin McCarthy, and it is one of the disc’s true treasures. The segment is much too short, but it is certainly nice to hear McCarthy discuss the film and its enduring legacy.

What’s In a Name? – (02:16)

What’s In a Name is an extremely short clip that addresses the various titles considered for the film before they finally landed upon Invasion of the Body Snatchers.

Return to Santa Mira

Return to Santa Mira is a collection of clips that detail where the various scenes in the film were shot and (in most cases) what these locations looked like in 2006 (which is when the clips were shot). It’s a nice addition to the disc but isn’t terribly substantial.

There are a total of eight clips:

Intro – (01:48)
Town Square – (01:34)
Homes – (02:07)
Alley – (01:14)
Cave – (01:41)
Staircase – (01:43)
Overpass – (01:03)
Wrecking Ball – (01:42)

Original Theatrical Trailer – (02:18)

It is nice to see that the original theatrical trailer has been included on the disc. It is a nice addition to a supplemental package that was already far above average.

Rare Documents

Thirteen production documents are featured here. There are call sheets, a list of actor’s considered for the leading role, the screenplay’s cover page, memos about censorship (mostly concerning the fact that both of the leading characters are divorced), and an opening narration featuring Orson Welles that would have been completely superfluous and overwhelmingly cheesy had it been shot.

At First Glance Everything Looked the Same: Identity Crisis in Don Siegel’s ‘Invasion of the Body Snatchers

This is the same essay by Kier-La Janisse that was included in the booklet. One can also read it on their television screens if the whim strikes them, but it is difficult to imagine that anyone would prefer to read it in this particular manner when the booklet is much more convenient.

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Final Words:

This reviewer has never been terribly fond of the horror and sci-fi films of the 1950s but this film is an exception. This is the best that Invasion of the Body Snatchers has looked on any home video format (even if it is only a marginal improvement over the previous Olive Films release). Fans will want to add it to their collections, and curious parties who haven’t already seen the film should check it out. It will make an excellent addition to your Halloween festivities.

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Distributor: Lionsgate Films

Release Date: October 09, 2018

Region: Region A

Length: 01:33:38

Video: 1080P (MPEG-4, AVC)

Main Audio: 5.1 English DTS-HD Master Audio

Subtitles: English SDH, Spanish

Ratio: 1.85:1

Notes: This title is also available in the DVD format.

Growing up has always been hard. However, it is nearly impossible in this age where teenagers see magazine pages filled with flawless photoshopped images of models, films that feature characters with perfect bodies and radiant skin, and social media posts from individuals who filter the flaws from their selfies and post updates that are designed to create the illusion that they are living perfect lives. Worse, middle school and high school hallways usually have a small handful of boys and girls that seem to validate the legitimacy of these unrealistic images. This doesn’t even take into account the fact that these hallways are also littered with sociopaths who make it their mission to invalidate and abuse anyone who doesn’t fit into their particular clique. Everyone is someone else’s scapegoat. The social structure of the typical school isn’t unlike that of a prison—and this isn’t hyperbole. It would be nearly impossible not to develop an unhealthy dysmorphophobia about one’s image and an overwhelming amount of social anxiety.

This is why Bo Burnham’s Eighth Grade is such a remarkable film. It taps painfully into this teenage hell with the occasional dose of awkward humor. Elsie Fisher is an attractive teenager, but she is allowed to be a human being here. Her body isn’t at all toned or athletic, her acne-prone skin is on full display, and these things are shown without ever becoming a story point. It is simply her reality. People need to see real people with everyday flaws in the films that are being released. Impressionable minds rarely take into account that the seemingly perfect-looking actors who saturate most mainstream films have personal trainers and a top-notch hair and make-up team to create this illusion (not to mention the fact that they are occasionally “digitally enhanced”). Films should, above all, attempt to arrive at some sort of truth, and Fisher deserves a lot of credit for allowing her true image to be photographed. Her flaws are one of Eighth Grade’s most beautiful attributes, and her performance here is really quite remarkable (not to mention remarkably brave).

The film covers quite a bit of territory: social anxiety, the pressure to sexualize one’s self for the attention or validation of others, sexual harassment amongst one’s peers, the heartbreak of feeling invisible, and so much more. This is proof that small movies about “everyday” concerns can pack a powerful punch and become successful at the box office. These may be small subjects but they have enormous power. It is time for the film industry to wake up and offer audiences more films about true to life problems instead of the brainless stream of generic comic book movies that studios have been dumping into theaters with such mind-numbing regularity.

The Presentation:

4 of 5 Stars

Lionsgate houses their disc in a standard Blu-ray case featuring a sleeve with artwork taken from the film’s original one-sheet. The difference here is that the image has been cropped at the top and bottom and the review blurb included is from Peter Travers (Rolling Stone) instead of Kate Erbland (Indiewire). The first pressing includes an O-sleeve featuring this same artwork.

One Sheet

The animated menus utilize footage from the film and are both attractive and intuitive to navigate.

Picture Quality:

4 of 5 Stars

Lionsgate’s 1080P transfer is quite solid. Colors appear accurate and natural throughout, fine detail is usually perfectly respectable (although Kayla’s video blogs are intentionally shown with less resolution), black levels are fine and do not seem to crush pertinent information. There are no distracting compression issues to report either. There is really no room for complaint.

Sound Quality:

4 of 5 Stars

The included 5.1 DTS-HD Master Audio track certainly showcases the film’s unusual music admirably and with great dynamic range. Other elements are also well handled and admirably prioritized with the sometimes mumbled lines of dialogue always coming across clearly. Most would probably agree that the mix isn’t terribly dynamic as surround activity is rather modest, but one must take into account the sort of film that they are watching. There are certainly a few directional effects on display throughout the length of the film. Reasonable viewers should be pleased.

Special Features:

2.5 of 5 Stars

Audio Commentary with Bo Burnham (Director) and Elsie Fisher (Actress)

Burnham’s informal conversation with Fisher is engaging enough for a single listen and will probably please most fans of the film. However, those who listen to these tracks for technical information, insight into the director’s artistic approach, production anecdotes, or anything else that might have been of practical use to the future filmmakers of tomorrow will find the track wanting. Basically, what we learn here is that the film was originally titled, “The Coolest Girl in the World” and that both parties are quite pleased with the final result.

Deleted Scenes – (11:55)

This is without a doubt the best supplement included on the disc. We are given a handful of deleted and extended scenes that were taken out of the final assembly of Eighth Grade and fans will be thrilled to have them here.

You’re Not Alone: Life in Eighth Grade – (14:49)

Those hoping for a comprehensive glimpse behind the making of Eighth Grade will be disappointed to find that this short featurette is simply a better than average EPK reel that finds Bo Burnham, Elsie Fisher, and a few of the other actors discussing the film’s story and themes in an extremely general way. There are a few brief glimpses at the cast and crew shooting the film, but this is really all anyone should expect.

Music Video – (02:33)

Frankly, this doesn’t add much to the package. It is a waste of disc space. They simply took footage from the film and applied various filters that make it look quasi-psychedelic (sort of like a really bad Instagram filter). This is accompanied by a piece of instrumental music from the actual movie. I would have preferred to have the film’s original theatrical trailer included here instead.

Final Words:

Eighth Grade has been embraced by audiences and critics for very good reasons. More small stories like this should be made. This is a Blu-ray that comes highly recommended!

Blu-ray Cover

Distributor: Lionsgate Films

Release Date: October 09, 2018

Region: Region A

Length: 01:25:26

Video: 2160P (HEVC, H.265)

Main Audio: 5.1 English Dolby TrueHD Audio

Subtitles: English, English SDH, Spanish

Ratio: 1.33:1 & 1.85:1

Notes: This release includes a Blu-ray disc and a digital “Ultra-Violet” copy of the film.

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“I always thought that Evil Dead was a little campfire story that you tell at a camp to kids to scare them at night. But, I don’t think anybody thought it was a beautifully produced, theatrical experience. It was shot in 16mm, all the effects were done for a quarter… It was something that was crudely done…” –Sam Raimi (Horror Galore, March 25, 2015)

The “crude” and low-budget nature of Evil Dead’s production is really a major part of the film’s charm. Unlike Night of the Living Dead and The Texas Chainsaw Massacre, there is an over-the top superficiality to this film about a small group of young twenty-somethings trapped in an isolated cabin while being overcome by demonic forces. Raimi blends an eerie atmospheric tone with absurd silliness, and it somehow works—at least for a certain kind of audience.

Evil Dead has a production history that is almost as insane as the film itself (just read Josh Becker’s incredibly whiney production journal). Actually, two films were produced. A short demo film was initially shot on 8mm in order to show their potential investors in Detroit:

Within the Woods was made I think in 1979. It was made to be a tool to help us raise money from potential investors. So it wasn’t really a prototype, like a ‘pilot’ or anything like that, for Evil Dead. It was really just something that we could show investors. ‘See, we’re going to make a horror movie, and it’s going to be like this. We’ll have monsters, monster makeup. Bruce Campbell will be in it as one of the actors. Ellen Sandweiss will be in it as another.’ So they could see them acting, even though it wasn’t exactly the same story. ‘We’ll have suspense sequences and scares, and the monster will be something like this.’ You know, the point of view of the camera. ‘We’ll never show it.’ So it’s really a tool for these kids—Bruce Campbell, Rob Tapert and Sam Raimi, me—to show potential investors what we were doing. Because, in Detroit, the idea is so insane to ask somebody for money to invest in a movie—especially 30 years ago. They had no idea what we were talking about. So we needed something to show them.” –Sam Raimi (IGN, October 30, 2015)

Once the money was raised, the young filmmakers were thrown into an insanely difficult shoot that would challenge their resolve and threaten their health:

“It was the most difficult thing I’ve ever done in my life… I was very young. There was no running water, and [the weather] was in the 20s and 30s—we didn’t have any winter wear. It was freezing. When you’re in that cold for 16 hours, you start to—I started to die. There was no food, and everything was covered in Karo syrup in that temperature. So I’d be running the camera, but my hands were covered in Karo syrup. You’d lean against something and get it all over your hands. The only water we had was in a hot water heater so you could make instant coffee. Boiling water over your hands from the tap; that’s how you’d wash them, to load the film into the camera… it was really slow, and eventually the cast, one by one, dropped out and said, ‘I’ve got to go home. You said this would only be for like four weeks. It’s been like eight weeks.’ Even our cameraman and what little sound we had left said, ’we’ve gotta go.’ So we were left with just Bruce, Rob, myself, my friend Josh Becker and my other friend David Goodman. David never came down to the set. He was always our cook back at the house, so it was really the four of us.” –Sam Raimi (IGN, October 30, 2015)

Of course, the filmmakers still had a number of obstacles to clear after the film was eventually finished. In fact, we probably wouldn’t be discussing the film some 35 years later if it hadn’t been for Stephen King’s kind endorsement.

“We could not find distribution for our film. No American distributor wanted to touch it once we were done. It was a very depressing process, going to every single distributor in America and getting a ‘no.’ But we were lucky enough to find a man by the name of Irvin Shapiro, who was a film sales agent. He said to us when he saw the movie, ‘Well, it ain’t Gone with the Wind, but I think I can make some money with it.’ So he took it to Cannes—not the festival, per se, but the film market, which happens concurrently with the famous film festival… During one of these marketing screenings at the Cannes film festival, where there were different distributors watching the films trying to make their judgments as to what they’ll buy that year, Stephen King was in the audience, and we heard, ‘Oh, he was really screaming and shouting during the movie.’ And I was the biggest Stephen King fan in the world… Irvin Shapiro said to me, ‘Ask him for a quote, if he liked the movie.’ So I called him, because he was also represented by Irvin Shapiro, and his movie Creepshow, and said, ‘Could you give us a quote, what you honestly thought of the film?’ He said, ‘I won’t do that, but I will write a review. If there’s something in the review that you want to use as a quote, you can.’ So he wrote a review for ‘Twilight Zone’ magazine. It was very generous of him, and we were able to use the very positive quote that he gave us. Without that, the movie may have been lost, but with Stephen King’s endorsement, we were able to make our first sales. Then the film started to be successful where it had been sold. Then, after that British success, we were able to enter it into film festivals and awards. Then we were able to find an American distributor. So really, his endorsement opened the doorway for the film to be seen.” –Sam Raimi (IGN, October 30, 2015)

The article written was entitled, “Evil Dead: Why You Haven’t Seen It, and Why You Ought To,” and it is an affectionate article that provided plenty of positive fodder for the Evil Dead team to add to the film’s marketing materials:

“When I met Sam Raimi at The Cannes Film Festival in May of 1982, my first thought was that this fellow was one of three things: a busboy, a runaway American high school student, or a genius. He wasn’t a busboy, and Raimi finished high school some time ago, although he has sort of ageless sophomore looks that are going to keep bartenders asking to see his driver’s license or state liquor card until he’s at least thirty five. That he is a genius is yet unproven; that he has made the most ferociously original horror film of 1982 seems to me beyond doubt. The only problem is that you may never see it…

…Most of the large American film distribution nets have now passed on Raimi’s independently financed film. (The latest to pass was Paramount, which distributed the hugely successful—if brainless—Friday the 13th; their verdict… was that too much was just too much.)

The Evil Dead has the simple, stupid power of a good campfire story—but its simplicity is not a side effect. It is something carefully crafted by Raimi, who is anything but stupid… [The story synopsis] doesn’t sound like much. Well, neither does ‘Hansel and Gretel‘ or ‘Bluebeard‘ in the hands of an untalented teller. What Raimi achieves in Evil Dead is a black rainbow of horror. The make-up of his zombies is derivative of Dick Smith’s work on The Exorcist, the plot is derivative of Romero’s Dead movies (even the antidote is derivative of these—remember the idiotic sheriff in Night intoning that you had to ‘burn ‘em or shoot ‘em, but they move slow . . . they’re dead. They’re all messed up’?), and his small troupe of actors ranges from the merely adequate (Ellen Sandweiss and Betsy Baker) to the fairly good (Bruce Campbell and, in particular, Hal Delrich, who brings the happy, beer swilling fraternity scuzzo to gruesome life). So, what’s going on here?

Mostly what’s going on is Sam Raimi, who is so full of talent that somebody unable to get it together might be tempted to wonder if gobbling the man’s fingernails might do any good. In Evil Dead, the camera has the kind of nightmarish fluidity that we associate with the early John Carpenter; it dips and slides and then zooms in so fast you want to plaster your hands over your eyes. The film begins and ends with crazily exhilarating shots that make you want to leap up, cheering. (At Cannes, French cinema-freaks did exactly that.) In the first, we are skimming giddily over a swamp; in the last, we come plunging madly down a wooded hill into that damn deserted cabin, where all the madness, dismemberment, and lunacy occurred. This was no Steadicam, imported at five thousand dollars a day (as in The Shining), it was, instead, what Raimi and company ingeniously called a “shaky-cam.” He describes it in the offhand manner that a wunderkind might explain how he made an atom smasher out of a couple of Campbell’s soup cans for the Hicksville Science Fair.

‘We couldn’t afford a Steadicam,’ he says, ‘so we improvised. We mounted the camera in the middle of a two-by-four about fifteen feet long. A couple of guys grabbed it, one on either end, and they just ran like hell.’ In some of Evil Dead’s other eye-popping shots, Raimi or Philo carried the camera—which weighed about ten pounds—strapped to one hand. Somebody ought to tell Kubrick, Spielberg, ‘et al’ that there’s really nothing to this stuff. Just bolt the camera to a two by four and run like hell.

The Evil Dead was basically a cottage production, much like Night of the Living Dead, which made its appearance in less difficult (read pre-MPAA) times. Raimi and his two partners put up what money they could; he and producer Rob Talpert went after the rest. Talpert and Bruce Campbell, the film’s star, dropped out of Michigan State University and raised much of the film’s small budget (well under a million) from private investors: lawyers, Raimi says, doctors, builders, contractors—‘people like that.’ …But it wasn’t just to raise dough for the production, he emphasizes; they would hire a good bunch of lawyers to hammer out an airtight investment agreement. And so they seem to have done, because the investors are happy enough. Evil Dead may never play an American screen, but deals have been made in several foreign countries, including the lucrative Hong Kong market. The investors will probably get clear, mostly due to Raimi’s jury-rigged production company…

…But so far, nothing is shaking up in Raimi’s native country, in spite of the standing ovations at Cannes. The smart Hollywood thinking is that the day of the ‘raw horror film’ has passed. Raimi is not happy about the idea, but in the meantime he’s turned his attention to a new picture. The working title is Relentless. The same word might apply to Raimi himself.

Asked what he wants out of the business, he says: ‘Right now I want to make enough money to get my car fixed. It’s been sitting out in the front of my house since we finished Evil Dead, and my folks are pestering me to have it taken away. I don’t want to do that. I want to get it fixed.’ Raimi’s car, it turns out, is the one driven by the hapless college students in Evil Dead. At one point, it almost drops through a decaying bridge. The crew saved it after the crucial take, but as he turned into his home block after the film was wrapped, the engine caught on fire. It’s sitting there now, in Detroit. So’s the film—waiting for an American distributor. Any takers?” –Stephen King (Twilight Zone, November 1982)

Sam Raimi has gone on to enjoy a terrific career in film, and Evil Dead went on to find an American distributor and eventually became a cult phenomenon. This reviewer disagrees with King about the degree of potential genius inherent in the film (and the comparison to John Carpenter), but horror nerds who haven’t discovered this particular movie should check it out immediately and forego the remake.

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The Presentation:

4 of 5 Stars

Lionsgate houses their UHD and Blu-ray discs in a standard 2-disc UHD case with a sleeve that includes the same artwork that graced the film’s most popular one sheet. This should make fans extremely happy! The first pressing also includes a sleeve with this same artwork that will help protect the case and the discs that are housed inside.

One Sheet

The UHD menu is reasonably attractive and easy to navigate while the included Blu-ray utilizes the same animated menu that graced earlier North American Blu-ray editions. (In fact, it is the exact same disc.)

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Picture Quality:

UHD: 4 of 5 Stars
Blu-ray: 4.5 of 5 Stars

Disc One: 4K UHD

In all honesty, Evil Dead was never going to be an adequate demo reel for the strengths of the 4K UHD format. One can only expect so much from a low budget 16mm film. Grain is abundant, the image is rather soft, clarity isn’t terribly impressive, and the transfer seems to crush some of the shadow detail (although the limitations of the original film elements seem to be at least partially to blame for most if not all of this). However, depth does appear to be decently rendered, and the contrast is somewhat better than what can be seen in the standard Blu-ray transfer (which has always been a reasonably strong one when one keeps their expectations in check). Color also sees a notable improvement over the Blu-ray edition. It is actually difficult to imagine the film looking much better than this, and our four (out of five) star rating was given based upon what consumers expect from the format. Had we rated the disc merely on what the film’s original elements are capable of delivering, it may have very well been given at least half of another star.

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Disc Two: Blu-ray

This is the same Blu-ray transfer that was included in the previous two disc “Limited Edition” that was released in 2010 and the “Steel Book” edition that was released in 2014. In fact, this is the same disc (complete with the same menu and opening previews). In other words, if you own any of the previous North American Blu-ray editions of Evil Dead, you already own this disc and know exactly what to expect in terms of quality. The only thing different about the disc is the artwork that decorates it.

Two versions are included here: a 1.33:1 version and a 1.85:1 version. It seems likely considering the film’s original distribution method that Evil Dead probably played in both ratios during its original release but it is impossible to say for sure. I have read that Raimi requested a 1.85:1 presentation during days of DVD, but various sources seem to differ as to which of these is the actual intended ratio. In any case, the viewer is allowed to choose their preference. Both versions are of comparable high quality, and this allows one to discuss both of these versions at once.

The heavy grain inherent in the 1080P image was organic to the source elements, as is the softness of the image and the deficiencies in clarity. Everything we described in our description of the 4K transfer also applies here. This is a very good representation of the source elements, and the result is an extremely clean image. Anomalies such as dirt, debris, and damage are minimal and never distracting. The film has certainly never looked better than it does on these discs.

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Sound Quality:

UHD & Blu-ray: 4 of 5 Stars

Evil Dead employs a rather lively sound design but it wasn’t originally a 5.1 mix. Purists will no doubt wish that a high definition transfer of the film’s original mix had been included here. There were obviously limitations inherent in the film’s original audio elements, but this track manages to rise above them as it offers the viewer an incredibly immersive experience. It really sucks the viewer into the film. Panning is employed in the mix, and the atmospheric sounds are all well placed and prioritized. It’s a very engaging mix, and one has few complaints about it. The only trouble is that it seems silly not to offer the viewer the option of watching the film with its original mix.

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Special Features:

UHD & Blu-ray: 1 of 5 Stars

Feature Length Audio Commentary with Sam Raimi (Director), Robert Tapert (Producer), and Bruce Campbell (Actor)

Honestly, this newest commentary track (which originally featured on the film’s Blu-ray debut only to be carried over to this release) has nothing on two earlier commentaries that featured on various DVD editions of Evil Dead. The first was a track with Raimi and Tapert and the second featured Campbell’s perspective. These earlier commentaries were brimming with information, but this one is mostly dead space and goofy chatter. Remember that the word “newer” is not necessarily an indication that something is “better.”

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Final Words:

Those who are fond of Evil Dead will probably be quite pleased with the UHD transfer, but the lack of supplements is bound to disappoint. There’s plenty of supplemental material available, and it seems a shame not to carry it over to this UHD package. However, the die-hards will probably find the prospect of viewing the film in 4K UHD too sweet to pass up.

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Distributor: Gunpowder and Sky

Release Date: September 06, 2018

Region: Region A

Length: 01:45:38

Video: 1080P (MPEG-4, AVC)

Main Audio: 5.1 English DTS-HD Master Audio

Subtitles: English SDH

Ratio: 2.39:1

“The setting is our childhood.” -François Simard (Screen Anarchy, August 09, 2018)

Summer of 84 didn’t exactly set the box-office on fire when it was released to theatres this summer but it deserved a much better response. The film was helmed by the “three-headed-dragon” known as RKSS (François Simar, Anouk Whissell, and Yoann-Karl Whissell)—an independent filmmaking collective that one hopes will gain a huge following in years to come.

The premise is simple and straightforward: Every serial killer is somebody’s neighbor. 15-year-old Davey (a boy whose conspiracy theories have raised the eyebrows of those close to him for quite some time) becomes convinced that the policeman that lives across the street from him is a serial killer known for murdering a number of boys in the area (the “Cape May Killer”). After convincing his three hormonal friends that he may actually be on to something this time, they all agree to investigate and begin spying on the local law enforcement hero. The group treats it as yet another game for a while, but things will soon turn serious when it becomes clear that their actions are going to have severe consequences. Could Davey possibly be right, or is it his overactive imagination? Viewers will probably expect a mystery or some sort of twist ending, but this film has other intentions.

Certain critics have written the film off as derivative (and they are absolutely right), but to complain about the film’s derivative nature is ridiculous in this case for the simple reason that this is a large part of the film’s charm. It feels like one of those Spielbergian coming-of-age thrillers that were so popular in the 1980s (perhaps mixed with a generous dose Stephen King)—and it absolutely nails that atmosphere (even the Carpenter-esque synth score is on point). It would make an excellent double feature with any number of teen horror films that were actually made in that era (The Goonies, Stand by Me, The Lost Boys, Fright Night, The Gremlins, etc). The “familiar” premise actually adds to the nostalgia—and the nostalgia is undoubtedly the key ingredient in this particular experience.

The interesting thing about this is that everything we think we know about this sort of film will inevitably be used against the viewer before the credits roll. Sure, wrap yourself warmly in the glow of what you mistakenly look at as a more innocent era—but you may also want to wear a cup, because Summer of 84 plans to kick you when your guard is down. Davey will never be the same.

The Presentation:

4 of 5 Stars

Gunpowder and Sky houses their Blu-ray disc in a standard Blu-ray case with a sleeve featuring a slightly altered variation of the film’s primary one sheet (the credits at the bottom of the poster aren’t included on the cover and both the title and “A Film by RKSS” have been moved up slightly). More home video releases should carry over a film’s original one sheet. They are nearly always superior.

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Interestingly, the static menu system reminds one of the days of DVD as there is a separate menu for the disc’s bonus features. The primary menu also includes the one-sheet image seen on the disc’s cover, while the supplemental menu has a sort of “in character” group photo of the film’s teenage characters. It is reasonably attractive and easy to navigate.

Picture Quality:

4.5 of 5 Stars

The image transfer is surprisingly solid. There’s an impressive level of fine detail—a fact that a few of the teenage actors may very well lament. Textures are on full display even in many of the film’s darker scenes. Colors are also well handled. Certain optical moments (such as fades and other dissolves) do seem to showcase some very minor flaws but the banding on display during these moments aren’t evident enough to distract the viewer. In fact, one doubts if most viewers will even notice if they aren’t scrutinizing the transfer for these specific issues.

Sound Quality:

5 of 5 Stars

The film’s sonic design will please anyone with an affection for eighties horror as the synth score is always on point and is well supported by this 5.1 DTS-HD Master Audio transfer. It really resonates here—especially as the bass kicks in to create a very rich atmosphere. Dialogue is always clear (even when characters aren’t speaking distinctly) and sound effects are given the appropriate amount of weight. The overall mix is well balanced and effectively handled as it gives the film’s sound design room to breathe in the home video environment. It may not be the most dynamic track in the world, but it will certainly immerse the viewer in the film’s suburban nightmare.

Special Features:

3 of 5 Stars

Feature Length Director’s Commentary with RKSS

There are actually two different commentary tracks available on the disc (one is in English and the other is in French). The English track offers behind the scenes anecdotes and story observations in a very casual and conversational manner. It could have probably provided the viewer with more information (both technical and anecdotal), but the easy-going and jovial track manages to engage and entertain while elevating one’s appreciation for the film. One assumes that the same can be said for the French track as well (no English subtitles were provided for either track).

As a side note, we do lament that there were no deleted scenes included on the disc. The English language commentary makes it quite clear that there was at least one significant deleted sequence in the form of an alternate opening. It seems a shame that it hasn’t been included in this package.

Bloopers Reel – (04:22)

This b-roll footage offers some amusing mistakes and moments of silliness that occurred while shooting certain scenes. It is nice to have these included on the disc.

Stills Gallery – (01:22)

Sixteen “behind the scenes” photos are presented with musical accompaniment. Short dissolves separate each of the photos. There isn’t anything revelatory to be seen within these frames, but those looking for a glimpse behind the curtain will be happy to have them included here.

Final Words:

Summer of 84 may not be the year’s best horror film but it is a fun throwback to the VHS era as well as an incredibly diverting forty-five minutes.

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Blu-ray Cover

Distributor: Cohen Media Group

Release Date: May 26th, 2015

Region: Region Free

Length: 01:31:13

Video: 1080P (MPEG-4, AVC)

Main Audio: 5.1 English DTS-HD Master Audio (48 kHz, 3552 kbps, 24-bit)

Alternate Audio: 5.1 English Dolby Digital Audio (48 kHz, 448 kbps)

Subtitles: English (SDH)

Ratio: 1.78:1

Bitrate: 22.99 Mbps

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When it comes to the subject of Orson Welles, cineastes can be divided into two distinct categories: the apologists and the critics. The apologists believe that everything he touched is, at the very least, a flawed masterpiece that could’ve been a perfect film if it hadn’t been for meddling producers and studios or a lack of funds. The critics seem to view him as a man who couldn’t get out of his own way and play the game. Obviously, either one of these views makes for an incredibly interesting subject for a documentary, but it probably won’t surprise most people to learn that Chuck Workman’s Magician: The Astonishing Life and Work of Orson Welles falls on the side of the apologists.

The documentary’s original release fell on the eve of his centenary and takes the viewer on a journey through his life and career—but with the exception of the earlier portions of the film, it is really devoted almost entirely to his work in film (both in Hollywood and as an independent filmmaker). It has obviously been produced with love and includes many interviewees who offer their memories, knowledge, or general appreciation for his work. What’s more, there is plenty of archival interview footage with the always articulate director, and one can see scenes from nearly every film that Welles directed (both finished and unfinished).

One imagines that it will be shown often in classrooms and by anyone who appreciates his work, because it offers a rather thorough general overview of his film work. However, his struggles making each individual film was given short shrift, and the production for each of these creative ventures could (and probably should) be the focus of their own feature-length documentary. Magician is also nearly void of any real analysis when it comes to his output. How do these films fit into the filmmaker’s worldview? Are there any camouflaged autobiographical elements in his films? What were they? We never learn, and these subjects are never even raised. There is also no effort to examine his personal life or his interpersonal relationships. All of this seems a shame, but it is also understandable. Chuck Workman cast an extremely wide net, and it was inevitable that the result is simply an incredibly interesting primer.

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The Presentation:

3 of 5 Stars

The Blu-ray disc is protected by a clear Blu-ray case with a sleeve featuring the film’s one sheet artwork framed by the Cohen Media Group’s “C” logo on the exterior and still a still of Orson Welles behind a large film camera on the interior. Inside the case is a small booklet that features chapter stops and film credits. These pages are illustrated with photographs of Welles.

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The disc’s menu features footage from the film and is both attractive and intuitive to navigate.

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Picture Quality:

4 of 5 Stars

Transfers of documentaries are sometimes much more difficult to evaluate, because they usually rely on a wealth of varying sources of varying resolution and quality. Therefore, when this reviewer reports on the disparity between these sources, it would be extremely unfair to hold this against the transfer. On the other hand, one doesn’t wish to give the reader an inaccurate impression of what to expect.

The fresh footage shot by Workman for this particular film looks quite nice as it showcases quite a bit of fine detail and a respectable level of clarity. Most of the clips from the various films in Welles’ filmography also look reasonably attractive, although an amateur short that was shot long before his debut as a proper filmmaker have seen better days. Archival material is (and was always going to be) all over the place, but this adds a quality that some will argue add to the overall experience. Television video dances with old filmed television, damaged behind the scenes footage, and other such sources. It adds personality.

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Sound Quality:

4 of 5 Stars

It’s difficult to imagine anyone expecting a truly dynamic sonic experience from such a film, and those who are will be likely to complain. However, the more reasonable among us will likely agree that Cohen’s 5.1 English DTS-HD Master Audio option more than pulls its weight in support of this documentary feature as it offers nice fidelity for the most part (again, sources were always going to vary in this and every other regard).

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Special Features:

2.5 of 5 Stars

A Conversation with Chuck Workman – (08:59)

Annette Insdorf (Director of Undergraduate Film Studies at Columbia University) interviews Chuck Workman in this short promotional EPK featurette. The experience feels almost like a short appreciation of the director’s overall career in much the same way that DVDs and Blu-rays sometimes include short appreciations of individual films by various filmmakers or scholars in lieu of a proper “making of” documentary or analysis of the feature. It’s nothing more nor less than this, but somehow it seems more worthwhile than many of those that focus on an individual film.

Theatrical Trailer – (02:06)

The film’s theatrical trailer rounds out the disc and does a nice job of introducing the overall tone and method of presentation that the film employs.

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Final Words:

Magician: The Astonishing Life and Work of Orson Welles is an easy recommendation for anyone who is even remotely interested in the work of this incredibly polarizing filmmaker. It might not offer anything new for anyone who is familiar with the life and legend of Orson Welles, but it somehow still manages to hold ones attention. Cohen Media Group’s Blu-ray offers the best way to see the film in the home environment, and it therefore easily earns a recommendation for anyone whose interest has been piqued. It’s also a pretty good way to prepare one’s self for the upcoming release of The Other Side of the Wind.

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Blu-ray Cover

Distributor: Mill Creek Entertainment

Release Date: March 17, 2015

Region: Region Free

Length: 01:27:30

Video: 1080P (MPEG-4, AVC)

Main Audio: 2.0 English DTS-HD Master Audio

Subtitles: English

Ratio: 1.37:1

Bitrate: 29.53 Mbps

Notes: This title received a prior North American Blu-ray release from Sony, but the transfer was inferior. It was also given a Region Free UK release by INDICATOR that includes a very similar transfer.

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“I believe you know the story of [The] Lady from Shanghai. I was working on that spectacular theater idea, Around the World in 80 Days, which was originally to be produced by Mike Todd. But, overnight, he went bankrupt and I found myself in Boston on the day of the premiere, unable to take my costumes from the station because 50,000 dollars was due. Without that money we couldn’t open. At that time I was already separated from Rita; we were no longer even speaking. I did not intend to do a film with her. From Boston I got in touch with Harry Cohn, then director of Columbia, who was in Hollywood, and I said to him, ‘I have an extraordinary story for you if you send me 50,000 dollars, by telegram in one hour, on account, and I will sign a contract to make it.’ Cohn asked, ‘What story?’ I was telephoning from the theater box office; beside it was a pocket books display and I gave him the title of one of them: Lady from Shanghai.

I said to him, ‘Buy the novel and I’ll make the film.’ An hour later we received the money. Later I read the book and it was horrible so I set myself, top speed, to write a story. I arrived in Hollywood to make the film with a very small budget and in six weeks of shooting. But I wanted more money for my theater. Cohn asked me why I didn’t use Rita. She said she would be very pleased. I gave her to understand that the character was not a sympathetic one, and this might hurt her image as a star in the public eye. Rita was set on making this film, and instead of costing 350,000 dollars, it became a two million dollar film. Rita was very cooperative. The one who was horrified on seeing the film was Cohn.” —Orson Welles

…And so goes the legend behind what is quite possibly the director’s most damaged Hollywood effort. Many scholars believe that the film’s failure was the final death blow to his Hollywood career (although he would make Macbeth for Republic the following year and return a decade later with Touch of Evil). Only one thing is certain: the film, it’s troubled production, and the studio’s mutation of Welles’ original editing and intention for the film during post-production is wrapped around legend—and legend tends to be a tumultuous blend of truth and interesting fiction.

There are even signs of apocryphal information in the director’s origin story. For one thing, the picture is an adaptation of a novel entitled “If I Die Before I Wake” by Sherwood King—a novel owned by Columbia after being sold to them by William Castle. However, some elements seem to be true and Cohn sent the director the money that he needed believing that he was getting a writer, director, and a leading actor for a ridiculously low price. Of course, he would soon regret his acceptance of this deal.

The production seemed cursed from the start. Cohn was furious when the director gave Rita Hayworth a make-over for the film and truly believed that her new blonde hairstyle would ruin her career—an opinion that is both incredibly misogynistic and short-sighted since hair grows back and she could always wear a wig during the interim. In any case, this poisoned his opinion of Welles and The Lady from Shanghai from the very beginning of their working relationship. Things were to only get worse when cameras began rolling on location in Mexico. The cast and crew were cursed with the worst environment imaginable and had to deal with poisonous creatures and insects as well as illness and severe weather. Welles was bitten by an insect that cause a reaction so severe that his face swelled to the point where he couldn’t even open one of his eyes, Hayworth became ill numerous times, various crew members contracted dysentery, his assistant cameraman (Donald Ray Cory) became overheated and died of a heart-attack, Errol Flynn (who owned the yacht that appears in the film) stayed drunk and often hold up the production by disappearing for hours at a time, and all of this put them behind schedule.

MILLION DOLLAR HAIRCUT

Rita Hayworth sheds her famous locks for the production of The Lady from Shanghai.

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When Viola Lawrence (the film’s editor and studio stooge) saw the film’s unique location footage, she became worried and reported to Cohn. When he reviewed the rushes, he ordered that Welles shoot glamorous close-ups of Hayworth to have inserted into the film. The result is that the film has a number of awkwardly inserted close-ups of Hayworth that are completely unmotivated. Since Hayworth’s previous films usually included a singing performance, he also had Welles shoot her singing “Please Don’t Kiss Me” during one of the yachting sequences. He somehow made this work for her character, but it wasn’t really necessary and does date the film quite a bit.

Lawrence would again wreak havoc after a preview of the director’s 155 minute rough cut tested poorly. Over an hour of footage was deleted from the film—including substantial portions of the scene at the Chinese opera and the much-lauded funhouse finale. It’s fair to assume that the film would have been trimmed to some extent regardless, but taking an hour of footage out of the film has resulted in an incredibly uneven film (albeit an incredibly interesting one).

To make matters worse, the Welles absolutely hated Heinz Roemheld’s score (and for good reason). He had gone to enormous effort to temp the film in order to give the eventual composer an idea of the proper tone that he wanted for each moment as well as where to add and where not to add music. These cues were entirely ignored by Roemheld. After all, he didn’t work for Welles. He worked for Cohn.

After hearing the result, Welles wrote a memo begging to have the film re-scored. This request was also ignored. Most of the Columbia suits had already written the film off as a disaster and didn’t really want to spend another cent on a film that was doomed to failure—a prophesy they ensured by shelving the film for a year. Of course, this only signaled to the critics to prepare their poison pens for a real stinker, and they were more than happy to oblige.

These things happened all too often throughout Orson Welles’ career, but The Lady from Shanghai seems to suffer the most for it. It is probably the weakest of his Hollywood efforts. Citizen Kane, The Magnificent Ambersons, and Touch of Evil tower above it while The Stranger and Macbeth are more coherent and no less interesting. Lady has a number of brilliant touches, but the overall result is an awkward and somewhat sloppily fragmented viewing experience. It doesn’t flow organically but instead relies on voice-overs to bridge scenes together and answer the inevitable questions imposed on the audience. The film’s final explanation is rendered unsatisfying because of this particular weakness—and in the end these deficiencies are only made more infuriating by the flashes of brilliance inherent in the film’s better moments.

 It is impossible to know for certain whether or not The Lady from Shanghai would have worked better had it not fallen prey to studio hysteria, but it is impossible not to lament the fact that we will never find out.

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The Presentation:

3 of 5 Stars

Mill Creek Entertainment houses their disc in the standard Blu-ray case with a sleeve featuring film related artwork. They’ve made the unfortunate mistake of not utilizing the film’s original one sheet design as it was vastly superior.

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The Original One Sheet for The Lady in Shanghai.

One assumes they decided that it was necessary to have Welles on the cover. They missed a pretty great opportunity as far as their presentation is concerned.

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The static menu features an attractive design, but one feels obliged to warn readers that there are no chapter stops on the disc.

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Picture Quality:

4.5 of 5 Stars

Mill Creek Entertainment isn’t known for quality transfers, but Sony gave them an incredible 4K restoration master for this this release. Frankly, this new Mill Creek release is a significant improvement over the previous Sony release due to a superior transfer of the very same 4K restoration that appeared on that earlier disc. Instead of Sony’s VC-1 transfer (which was done at a much lower bit-rate), we are given an AVC transfer at a significantly higher bitrate (despite the fact that they have used a single layer disc. The film’s short running time and the lack of any supplemental material has allowed Mill Creek to offer this film at a maxed-out bitrate that rivals many dual-layered releases.

This transfer is brighter with less crush and much better shadow detail, but not bright enough to interfere with the Welles’s chiaroscuro aesthetic. Clarity has also seen an overall improvement and grain resolution is never problematic on the Mill Creek disc. Fine detail also impresses… in fact, the entire image is really quite lovely. Those who have been disenchanted with Mill Creek’s transfers in the past will be pleasantly surprised. The only issues of note are obviously the result of the film’s original production (optical effects appear softer than many fans might prefer). What’s more, the image is really quite immaculate… I’ll stop raving. It’s a great image transfer.

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Sound Quality:

3.5 of 5 Stars

The film’s 2.0 DTS-HD Master Audio maintains the original film’s mono limitations but is rendered in a manner that supports all of the various elements—including the aforementioned Heinz Roemheld score, sound effects, and dialogue. There aren’t any distracting anomalies (although there is some very subtle hiss evident if one is listening for it). Those expecting a dynamic mix will be disappointed, but nobody with any sense should expect such a track from a film of this era. Fans won’t be nearly as impressed with the track as they are the image, but rest assured that this is a solid and faithful rendering of the original sound elements.

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Special Features:

0 of 5 Stars

This Mill Creek Entertainment release doesn’t offer any supplemental features.

The previous Sony edition had a commentary by Peter Bogdanovich, but the transfer of the actual film wasn’t terribly great. The UK Indicator release was wise enough to carry this commentary over to their disc while also adding a video interview about the film with Bogdanovich, an appreciative video essay by Simon Callow, the theatrical trailer, and a trailer commentary by Joe Dante.

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Final Words:

The Lady from Shanghai is an interesting but extremely flawed film due to studio tampering. Those fond of Orson Welles or the film noir genre would be wise to add it to their collections, but one doubts if it would appeal to everyone. This Mill Creek Entertainment release is surprisingly solid as it has been taken from a gorgeous 4K restoration transfer and rendered at a maxed out bitrate (on a single layer disc). Those who wish to own a similar transfer in addition to supplemental features will have to pay much more and order the Indicator release from their website. However, if one measures the value of Indicator’s supplemental material against their asking price, they will find that it comes up short on the value end. Most people will find it difficult not to save their hard earned money and choose the Mill Creek Entertainment edition.

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