- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Emily, a troubled spirit, haunts her own house every day, wondering why she can't leave. With the help of Sylvia, a clairvoyant hired to rid the house of spirits, Emily is forced into a 'patient/therapist' relationship, uncovering disturbing mysteries about her past that may help her move on to 'the next place'.”
Like it or not, films are a conglomeration of good ideas and bad ideas.
Rarely does this confluence come together to produce the perfect experience both critically and commercially. Not all films are considered ones for the record book; and the general hope when undertaking any singular story is that all of the people brought together to produce the end result were ‘on the same page.’ Minimally, this gives the surviving picture the chance to then seek out and explore strange new audiences, delivering its message (or messages) in such a way as to endear those watching with some of the narrative pieces. However, the sad truth is that more films are forgotten than are ever truly remembered, so talent does need to work in sync – minimize those bad ideas and elevate the good ones – if they’re to have even a modest chance of being appreciated.
Of course, none of the above really even applies when if you’re talking about preaching to a niche audience; and that’s honestly the only hope an uneven spectral yarn like I Am A Ghost (2012) has. From what I’ve read, the film from writer/director H.P. Mendoza appears to have been assembled this little haunt as a traditional chiller, but the production has mostly been embraced by the trans community with its members largely seeing this tale somewhat quizzically as commenting on their unique lifestyle. Having seen it, I’m not entirely sure I’d concur with that statement; but – as I’m not transgender – perhaps I’m not qualified to speak on such particulars.
Sigh.
What I can say is that Ghost is a somewhat stupefyingly boring film.
Now, before all of you haters rise up and screech, let me remind you what I said above: flicks combine ideas both good and bad. Where I Am A Ghost fails is that there’s far too much weight given to what doesn’t work as opposed to those things that are, frankly, quite exceptional. Having written thousands of reviews over the years, I’m well aware that no reader wants to spend time parsing example after example of the triumphs over failures (and vice versa), so allow me to simply highlight a few of the reasons why Ghost missed where it should’ve struck chords and played like a symphony but didn’t.
Many, many times before I’ve harped on how some storytellers don’t have enough story to fill out, say, a two-hour production – certainly not enough to warrant the exploitation of resources involved – and that’s Ghost’s biggest sin. Even at its economical 76-minute running time, there just isn’t enough in here to keep viewers focused. Mendoza sets the stage with a seemingly endless series of choppy scenes, each and every one with broken endings to highlight things are amiss; and this goes on for far, far, far too long. In fact, an argument could be made that the first twenty minutes of the picture could’ve been trimmed to well under five minutes; and nothing would’ve been lost.
From the film’s IMDB.com page citation:
“Emily, a troubled spirit, haunts her own house every day, wondering why she can't leave. With the help of Sylvia, a clairvoyant hired to rid the house of spirits, Emily is forced into a 'patient/therapist' relationship, uncovering disturbing mysteries about her past that may help her move on to 'the next place'.”
Like it or not, films are a conglomeration of good ideas and bad ideas.
Rarely does this confluence come together to produce the perfect experience both critically and commercially. Not all films are considered ones for the record book; and the general hope when undertaking any singular story is that all of the people brought together to produce the end result were ‘on the same page.’ Minimally, this gives the surviving picture the chance to then seek out and explore strange new audiences, delivering its message (or messages) in such a way as to endear those watching with some of the narrative pieces. However, the sad truth is that more films are forgotten than are ever truly remembered, so talent does need to work in sync – minimize those bad ideas and elevate the good ones – if they’re to have even a modest chance of being appreciated.
Of course, none of the above really even applies when if you’re talking about preaching to a niche audience; and that’s honestly the only hope an uneven spectral yarn like I Am A Ghost (2012) has. From what I’ve read, the film from writer/director H.P. Mendoza appears to have been assembled this little haunt as a traditional chiller, but the production has mostly been embraced by the trans community with its members largely seeing this tale somewhat quizzically as commenting on their unique lifestyle. Having seen it, I’m not entirely sure I’d concur with that statement; but – as I’m not transgender – perhaps I’m not qualified to speak on such particulars.
Sigh.
What I can say is that Ghost is a somewhat stupefyingly boring film.
Now, before all of you haters rise up and screech, let me remind you what I said above: flicks combine ideas both good and bad. Where I Am A Ghost fails is that there’s far too much weight given to what doesn’t work as opposed to those things that are, frankly, quite exceptional. Having written thousands of reviews over the years, I’m well aware that no reader wants to spend time parsing example after example of the triumphs over failures (and vice versa), so allow me to simply highlight a few of the reasons why Ghost missed where it should’ve struck chords and played like a symphony but didn’t.
Many, many times before I’ve harped on how some storytellers don’t have enough story to fill out, say, a two-hour production – certainly not enough to warrant the exploitation of resources involved – and that’s Ghost’s biggest sin. Even at its economical 76-minute running time, there just isn’t enough in here to keep viewers focused. Mendoza sets the stage with a seemingly endless series of choppy scenes, each and every one with broken endings to highlight things are amiss; and this goes on for far, far, far too long. In fact, an argument could be made that the first twenty minutes of the picture could’ve been trimmed to well under five minutes; and nothing would’ve been lost.
Again, this isn’t to suggest in any way that there wasn’t room for more story to be told. The point is that these small vignettes build a foundation perfectly fine as they are; and yet well after their purpose is served Mendoza keeps layering them on and on and on. Essentially, what’s happening here is that our lead character Emily (played by Anna Ishida) finds herself being ‘haunted’ by various loops of her existence – i.e. she’s the ghost reliving significant moments leading up to her demise – with some minor changes taking place in subsequent reels. Far too long after the audience is in on the idea, Mendoza kept reminding them; and such re-runs were exhaustively unnecessary.
Now, there is a bit more context to what we see and learn in these loops. As I said, minor changes happen here and there; and I suspect that Mendoza’s method to this madness was that Emily’s story as it unfolded had some details cleverly withheld. (We learn as much once the first twist takes place.) My problem remains that there just wasn’t enough story in this endless parade of reframing to warrant spinning them for as long as the director believed was necessary, and the loss of forward momentum kills the picture, mostly because that’s the only trick Mendoza uses even when the tale becomes more involved, so its effect has worn off.
However, Ghost’s biggest secret is that Emily discovers there is something more to her story – she’s not exactly trapped in here alone. Sylvia (Jeannie Barroga) is a medium who has been hired by the house’s owner (in the present day) to apparently cleanse the home of the wandering spirit; and it’s this development that really gives the film its greatest chance to shift directions. Our two actresses make the most of some key scenes because of Mendoza’s smart writing; and yet their exchanges eventually return back to the same old time loop format that hamstrung the production from finding its legs in the first place. Thankfully, Emily’s demon shows its face – and genitals, even – in the second half, giving the flick the chance to dabble in some interesting jump scares (if nothing else); but it’s far too late to really salvage what becomes little more than a paranormal identity crisis … one we’ve already known about (or suspected) since the film’s beginning.
Because I’m at heart a good guy, I will say that I don’t find it surprising in the slightest that the project has been a bit of a critical darling. I Am A Ghost is exactly the kind of entity that does well on the film festival circuit where it garners the attention of folks pushing social causes or celebrating niche storytelling to the delight of small groups. The trouble there is that – from my experience – those winners rarely translate to big box office or crowd acclaim. It’s a good effort, but it’s only going to be celebrated amongst those who live and die for such highbrow attention. Still, congrats to all involved.
I Am A Ghost (2012) was produced by Ersatz Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Level 33 Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be quite good throughout: there’s a bit of low-level visual trickery here and there, but it all works well enough to support the slim story. Lastly, if you’re looking for special features? There are a few extras … and here’s the cautionary thing: when the extras are more interesting than the picture itself, then you can be sure this isn’t going to please everyone.
Alas, this one is hard to recommend.
I Am A Ghost favors filmmaking techniques over storytelling, trying to weave a rather simple affair with perpetual visual misdirection to the point of near absurdity. As a result, the audience is propelled into a macabre and uninteresting carnival attraction that’s seemingly unending even though they all know they’ll still be getting off safely when the ride stops. Because there just isn’t enough story to bear the weight of these experiences, Mendoza’s point could easily have been made in a much shorter flick – maybe 30 minutes – as opposed to what feels wasted here.
In the interest of fairness, I’m pleased to disclose that the fine folks at Level 33 Entertainment provided me with a complimentary Blu-ray of I Am A Ghost (2012) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Now, there is a bit more context to what we see and learn in these loops. As I said, minor changes happen here and there; and I suspect that Mendoza’s method to this madness was that Emily’s story as it unfolded had some details cleverly withheld. (We learn as much once the first twist takes place.) My problem remains that there just wasn’t enough story in this endless parade of reframing to warrant spinning them for as long as the director believed was necessary, and the loss of forward momentum kills the picture, mostly because that’s the only trick Mendoza uses even when the tale becomes more involved, so its effect has worn off.
However, Ghost’s biggest secret is that Emily discovers there is something more to her story – she’s not exactly trapped in here alone. Sylvia (Jeannie Barroga) is a medium who has been hired by the house’s owner (in the present day) to apparently cleanse the home of the wandering spirit; and it’s this development that really gives the film its greatest chance to shift directions. Our two actresses make the most of some key scenes because of Mendoza’s smart writing; and yet their exchanges eventually return back to the same old time loop format that hamstrung the production from finding its legs in the first place. Thankfully, Emily’s demon shows its face – and genitals, even – in the second half, giving the flick the chance to dabble in some interesting jump scares (if nothing else); but it’s far too late to really salvage what becomes little more than a paranormal identity crisis … one we’ve already known about (or suspected) since the film’s beginning.
Because I’m at heart a good guy, I will say that I don’t find it surprising in the slightest that the project has been a bit of a critical darling. I Am A Ghost is exactly the kind of entity that does well on the film festival circuit where it garners the attention of folks pushing social causes or celebrating niche storytelling to the delight of small groups. The trouble there is that – from my experience – those winners rarely translate to big box office or crowd acclaim. It’s a good effort, but it’s only going to be celebrated amongst those who live and die for such highbrow attention. Still, congrats to all involved.
I Am A Ghost (2012) was produced by Ersatz Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Level 33 Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be quite good throughout: there’s a bit of low-level visual trickery here and there, but it all works well enough to support the slim story. Lastly, if you’re looking for special features? There are a few extras … and here’s the cautionary thing: when the extras are more interesting than the picture itself, then you can be sure this isn’t going to please everyone.
Alas, this one is hard to recommend.
I Am A Ghost favors filmmaking techniques over storytelling, trying to weave a rather simple affair with perpetual visual misdirection to the point of near absurdity. As a result, the audience is propelled into a macabre and uninteresting carnival attraction that’s seemingly unending even though they all know they’ll still be getting off safely when the ride stops. Because there just isn’t enough story to bear the weight of these experiences, Mendoza’s point could easily have been made in a much shorter flick – maybe 30 minutes – as opposed to what feels wasted here.
In the interest of fairness, I’m pleased to disclose that the fine folks at Level 33 Entertainment provided me with a complimentary Blu-ray of I Am A Ghost (2012) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
press release
It Came From Outer Space (1953)
4K UHD + Blu-ray + 3D Blu-ray
Imprint Collection #394
Based on an idea by Ray Bradbury, It Came From Outer Space is one of the most beloved sci-fi films from the 50’s, and a must-see for fans of The War of the Worlds. Starring Richard Carlson (Creature from the Black Lagoon) and Barbara Rush (When Worlds Collide), who won a Golden Globe for her performance.
Our Limited Edition release includes the classic film in 2D on 4K UHD and Blu-ray, the 3D version of the film on Blu-ray, and the made-for-TV sequel It Came From Outer Space II (1996) in standard-definition – all in a Limited Edition Lenticular Hardcase.
An amateur astronomer and his fiancée are branded crackpots when witnessing a spaceship crash to the ground and a mysterious creature who disappears into the darkness. Before long, strange things begin to happen, but will the tide of disbelief turn in time?
1500 copies only.
Special Features & Technical Specs:
Disc One: 4K UHD
Disc Two: Blu-ray
Disc Three: 3D Blu-ray
Our Limited Edition release includes the classic film in 2D on 4K UHD and Blu-ray, the 3D version of the film on Blu-ray, and the made-for-TV sequel It Came From Outer Space II (1996) in standard-definition – all in a Limited Edition Lenticular Hardcase.
An amateur astronomer and his fiancée are branded crackpots when witnessing a spaceship crash to the ground and a mysterious creature who disappears into the darkness. Before long, strange things begin to happen, but will the tide of disbelief turn in time?
1500 copies only.
Special Features & Technical Specs:
Disc One: 4K UHD
- 2160p ultra-high-definition presentation of the 2D version in HDR10
- Audio Commentary by film historian Tom Weaver
- The Universe According to Universal – documentary (2000)
- Theatrical Trailer
- Aspect Ratio 1.33:1
- Audio: English DTS-HD Master Audio 3.0
- Optional English HOH Subtitles
Disc Two: Blu-ray
- 1080p High-definition presentation on Blu-ray of the 2D version (4K remaster)
- It Came from Outer Space II (1996) (standard-definition)
- Audio Commentary by film historian Tom Weaver
- The Universe According to Universal – documentary (2000)
- NEW Jack Arnold Remembers ‘It Came from Outer Space’ – interview with director Jack Arnold (1983) (previously unreleased)
- NEW The 3-D Girl – interview with actress Katherine Hughes (2004) (previously unreleased)
- Theatrical Trailer (2D)
- Aspect Ratio 1.33:1
- Audio: English DTS-HD Master Audio 3.0 / LPCM 2.0 Stereo
- Optional English HOH Subtitles
Disc Three: 3D Blu-ray
- 1080p High-definition presentation on Blu-ray of the 3D version
- Theatrical Trailer (3D)
- Aspect Ratio 1.33:1
- Audio: English DTS-HD Master Audio 3.0 / LPCM 2.0 Stereo
- Optional English HOH Subtitles
About Imprint Films (from Google.com):
Imprint Films is a premium Blu-ray and 4K UHD label, a branch of the Australian label Via Vision. They focus on delivering limited edition, deluxe releases of classic and previously unreleased films, often including new transfers, audio commentaries, and exclusive bonus features. Their releases are known for their high-quality packaging and are aimed at collectors.
Imprint Films is a premium Blu-ray and 4K UHD label, a branch of the Australian label Via Vision. They focus on delivering limited edition, deluxe releases of classic and previously unreleased films, often including new transfers, audio commentaries, and exclusive bonus features. Their releases are known for their high-quality packaging and are aimed at collectors.
- Published on
press release
two classic anthology films from the 1940s
with a supernatural twist
With stories by acclaimed writers such as Oscar Wilde and H.G. Wells, and performances from Hollywood stars including Edward G. Robinson, Barbara Stanwyck, Betty Field, and Michael Redgrave, this is must-see classic horror at its finest.
Packaged together in a Limited Edition Hardbox, and loaded with brand NEW Special Features, discover these predecessors to The Twilight Zone, filled with thrills, chills, tight scripts and remarkable performances.
1500 copies only.
Packaged together in a Limited Edition Hardbox, and loaded with brand NEW Special Features, discover these predecessors to The Twilight Zone, filled with thrills, chills, tight scripts and remarkable performances.
1500 copies only.
Flesh and Fantasy (1943) –
Imprint Collection #395
Three occult tales based on stories by Ellis St. Joseph, Oscar Wilde, and László Vadnay!
When a jittery businessman complains of a disturbing dream, a friend relates three stories to help calm his nerves. In the first, a homely dressmaker wears a mask of beauty to attract a man on Mardi Gras night; a fortune teller predicts an eminent lawyer will commit a murder; and a high-wire artist, haunted by a nightmare in which he suffers a fall, romances a woman who resembles the one he had seen in his dream.
Special Features & Technical Specs:
When a jittery businessman complains of a disturbing dream, a friend relates three stories to help calm his nerves. In the first, a homely dressmaker wears a mask of beauty to attract a man on Mardi Gras night; a fortune teller predicts an eminent lawyer will commit a murder; and a high-wire artist, haunted by a nightmare in which he suffers a fall, romances a woman who resembles the one he had seen in his dream.
Special Features & Technical Specs:
- 1080p High-definition presentation on Blu-ray
- NEW Audio Commentary by film historians Rodney Barnett and Adrian Smith (2025)
- NEW Fear and Fantasy: The Thematic Layers of Julien Duvivier’s ‘Flesh and Fantasy’ – Video Essay by film scholar Joseph Dwyer (2025)
- NEW Tales of Terror: ‘Flesh and Fantasy’ and the Horror Anthology Films – Interview with film critic Jon Towlson author of ‘The Turn to Gruesomeness in American Horror Films, 1931-1936’ (2025)
- Aspect Ratio 1.33:1
- Audio: English LPCM 2.0 Mono
- Optional English HOH Subtitles
Dead Of Night (1945) –
Imprint Collection #396
This spooky anthology connects five original stories by H. G. Wells, John Baines, E. F. Benson and Angus MacPhail, framed as nightmares from guests at an English countryside manor.
Named by Martin Scorsese as the fifth scariest horror film of all time, and ranking at #35 on Time Out’s 100 Best Horror Films, Dead Of Night will have you on the edge of your seat.
“There’d been anthology movies before Dead Of Night, and even a couple of silent horror anthologies. But Dead Of Night brought the format to the mainstream. It was a massive hit. And it did so by lulling its audience in a series of increasingly scary vignettes. … Dead Of Night still packs a wallop and sends the shivers right up your back, even almost three-quarters of a century later.” – Nerdist
Special Features & Technical Specs:
Named by Martin Scorsese as the fifth scariest horror film of all time, and ranking at #35 on Time Out’s 100 Best Horror Films, Dead Of Night will have you on the edge of your seat.
“There’d been anthology movies before Dead Of Night, and even a couple of silent horror anthologies. But Dead Of Night brought the format to the mainstream. It was a massive hit. And it did so by lulling its audience in a series of increasingly scary vignettes. … Dead Of Night still packs a wallop and sends the shivers right up your back, even almost three-quarters of a century later.” – Nerdist
Special Features & Technical Specs:
- 1080p High-definition presentation on Blu-ray
- NEW Audio Commentary by critic and film historian Pamela Hutchinson (2025)
- NEW Short Sharp Screams: ‘Dead of Night’ and the British Horror Anthology – Interview with author John Llewelyn Probert (2025)
- NEW Scoring the Night: On Georges Auric and ‘Dead of Night’ – Interview with author Dr. David Huckvale (2025)
- Remembering ‘Dead of Night’ – documentary
- Stills Gallery
- Restoration Comparison
- Aspect Ratio 1.37:1
- Audio English LPCM 2.0 Mono
- Optional English HOH Subtitles
About Imprint Films (from Google.com):
Imprint Films is a premium Blu-ray and 4K UHD label, a branch of the Australian label Via Vision. They focus on delivering limited edition, deluxe releases of classic and previously unreleased films, often including new transfers, audio commentaries, and exclusive bonus features. Their releases are known for their high-quality packaging and are aimed at collectors.
Imprint Films is a premium Blu-ray and 4K UHD label, a branch of the Australian label Via Vision. They focus on delivering limited edition, deluxe releases of classic and previously unreleased films, often including new transfers, audio commentaries, and exclusive bonus features. Their releases are known for their high-quality packaging and are aimed at collectors.
- Published on
press release
five exciting and terrifying films
that are out-of-this world
come together in the next installment of
tales of adventure
Tales Of Adventure – Collection 5 (1954 – 1957)
Imprint Collection #397 – 400
Five exciting and terrifying 50’s films that are out-of-this-world come together in the next instalment of Tales of Adventure! These sci-fi thrills are filled with suspense and destruction, quintessential entries from the golden era of cosmic obsession. Blast off!
• The 27th Day (1957)
• The Night The World Exploded (1957) - worldwide first on Blu-ray
• This Island Earth (1955)
• Devil Girl From Mars (1954)
• The Gamma People (1956) - worldwide first on Blu-ray
• Plus bonus film The Underwater City (1962) (standard-definition)
Includes a brand NEW Audio Commentary by Heath Holland (Cereal At Midnight) on This Island Earth, and a brand NEW Audio Commentary (Kim Newman and Barry Forshaw) & Interview (author Jon Towlson) on Devil Girl From Mars.
• The 27th Day (1957)
• The Night The World Exploded (1957) - worldwide first on Blu-ray
• This Island Earth (1955)
• Devil Girl From Mars (1954)
• The Gamma People (1956) - worldwide first on Blu-ray
• Plus bonus film The Underwater City (1962) (standard-definition)
Includes a brand NEW Audio Commentary by Heath Holland (Cereal At Midnight) on This Island Earth, and a brand NEW Audio Commentary (Kim Newman and Barry Forshaw) & Interview (author Jon Towlson) on Devil Girl From Mars.
the 27th day (1957) -
imprint collection #397
Based on the novel of the same name by John Mantley, The 27th Day stars sci-fi icon Gene Barry (The War of the Worlds), Valerie French, and George Voskovec (12 Angry Men), directed by William Asher (I Love Lucy, Bewitched).
An American newspaperman, English beauty, Iron Curtain soldier, German scientist and Chinese peasant are mysteriously whisked aboard a spaceship by a creature from another planet and each are given capsules powerful enough to destroy the world!
Technical Specs:
An American newspaperman, English beauty, Iron Curtain soldier, German scientist and Chinese peasant are mysteriously whisked aboard a spaceship by a creature from another planet and each are given capsules powerful enough to destroy the world!
Technical Specs:
- 1080p High-definition presentation on Blu-ray
- Audio LPCM 2.0 Mono
- Aspect Ratio 1.78:1
- Optional English HOH Subtitles
the night the world exploded (1957) -
imprint collection #397
Worldwide first on Blu-ray!
Catastrophic earthquakes threaten Earth in this suspenseful race against time!
A scientific team builds a machine that can predict earthquakes and predicts one will hit California within the next 24 hours to a skeptical government.
Technical Specs:
Catastrophic earthquakes threaten Earth in this suspenseful race against time!
A scientific team builds a machine that can predict earthquakes and predicts one will hit California within the next 24 hours to a skeptical government.
Technical Specs:
- 1080p High-definition presentation on Blu-ray
- Audio LPCM 2.0 Mono
- Aspect Ratio 1.78:1
- Optional English HOH Subtitles
this island earth (1955) -
imprint collection #398
Based on the novel by Raymond F. Jones, This Island Earth stars scream queen Faith Domergue as a scientist recruited by aliens to help fight an intergalactic war.
Two rocket scientists are spirited away from Earth by a mysterious alien to aid in the defense against the Zahgons. They are determined to escape even if it means a battle to the death!
Special Features & Technical Specs:
Two rocket scientists are spirited away from Earth by a mysterious alien to aid in the defense against the Zahgons. They are determined to escape even if it means a battle to the death!
Special Features & Technical Specs:
- 1080p High-definition presentation on Blu-ray
- NEW Audio Commentary by Heath Holland from Cereal At Midnight
- Trailers from Hell: Joe Dante on ‘This Island Earth’
- Audio LPCM 2.0 Mono
- Aspect Ratio 1.85:1
- Optional English HOH Subtitles
devil girl from mars (1954) -
imprint collection #399
With all Martian males extinct after a battle of the sexes, Nyah lands on earth and traps guests in a lonely Scottish Inn with the aim of capturing breeding stock.
Patricia Laffan is the Devil Girl from Mars, a terrifying martian hellbent on bringing back earthling males to her home planet.
Special Features & Technical Specs:
Patricia Laffan is the Devil Girl from Mars, a terrifying martian hellbent on bringing back earthling males to her home planet.
Special Features & Technical Specs:
- 1080p High-definition presentation on Blu-ray
- NEW Audio Commentary by film historian Phillipa Berry (2025)
- Audio Commentary by novelist/critic Kim Newman and writer/journalist Barry Forshaw (2024)
- NEW Invasion From Outer Space – interview with author Jon Towlson (2025)
- Interview with novelist and critic Kim Newman (2024)
- Audio LPCM 2.0 Mono
- Aspect Ratio 1.37:1
- Optional English HOH Subtitles
the gamma people (1956) -
imprint collection #400
Worldwide first on Blu-ray!
Based on an original story by trailblazing auteur Robert Aldrich (What Ever Happened to Baby Jane?, The Dirty Dozen).
An American reporter smells the story of a lifetime when he is stranded in an Iron Curtain country where the local dictator is using gamma rays to transform children into mutated henchmen.
Special Features & Technical Specs:
Based on an original story by trailblazing auteur Robert Aldrich (What Ever Happened to Baby Jane?, The Dirty Dozen).
An American reporter smells the story of a lifetime when he is stranded in an Iron Curtain country where the local dictator is using gamma rays to transform children into mutated henchmen.
Special Features & Technical Specs:
- 1080p High-definition presentation on Blu-ray
- Bonus film: The Underwater City (standard-definition)
- Trailers from Hell: Joe Dante on ‘The Gamma People’
- Audio LPCM 2.0 Mono
- Aspect Ratio 1.78:1
- Optional English HOH Subtitles
About Imprint Films (from Google.com):
Imprint Films is a premium Blu-ray and 4K UHD label, a branch of the Australian label Via Vision. They focus on delivering limited edition, deluxe releases of classic and previously unreleased films, often including new transfers, audio commentaries, and exclusive bonus features. Their releases are known for their high-quality packaging and are aimed at collectors.
Imprint Films is a premium Blu-ray and 4K UHD label, a branch of the Australian label Via Vision. They focus on delivering limited edition, deluxe releases of classic and previously unreleased films, often including new transfers, audio commentaries, and exclusive bonus features. Their releases are known for their high-quality packaging and are aimed at collectors.
- Published on
site update
So many movies ... so little time ...
Lo and behold:
On this day in 1989 (in Canada and the U.S.), Pet Sematary took audiences on a trip into darkness. Directed by Mary Lambert from a story by Stephen King, the Horror/Fantasy starred Dale Midkiff, Denise Crosby, Fred Gwynne, Brad Greenquist, Michael Lombard, Miko Hughes, Blaze Berdahl, Susan Blommaert, Mara Clark, Kavi Raz, and others. It was produced by Paramount Pictures and Laurel Productions.
According to our friends at IMDB.com, here's the plot summary:
"After tragedy strikes, a grieving father discovers an ancient burial ground behind his home with the power to raise the dead."
For the record:
Along with some positive praise from screenings on the film festival circuit, Pet Sematary received a nomination in the category of 'Best Horror Film' at the 1991 Saturn Awards.
-- EZ
Lo and behold:
On this day in 1989 (in Canada and the U.S.), Pet Sematary took audiences on a trip into darkness. Directed by Mary Lambert from a story by Stephen King, the Horror/Fantasy starred Dale Midkiff, Denise Crosby, Fred Gwynne, Brad Greenquist, Michael Lombard, Miko Hughes, Blaze Berdahl, Susan Blommaert, Mara Clark, Kavi Raz, and others. It was produced by Paramount Pictures and Laurel Productions.
According to our friends at IMDB.com, here's the plot summary:
"After tragedy strikes, a grieving father discovers an ancient burial ground behind his home with the power to raise the dead."
For the record:
Along with some positive praise from screenings on the film festival circuit, Pet Sematary received a nomination in the category of 'Best Horror Film' at the 1991 Saturn Awards.
-- EZ
- Published on
site update
So many movies ... so little time ...
Lo and behold:
It was on this day in France all the way back in the year 1943 in which Carnival Of Sinners (aka La main du diable) first opened its doors for theatrical business on the artistic midway of life.
Based on the novel Gérard de Nerval, the book was adapted by Jean-Paul Chanois and directed by Maurice Tourneur. The Fantasy/Horror starred such talent as Pierre Fresnay, Josseline Gaël, Noël Roquevert, Guillaime de Sax, Palau, Pierre Larquey, André Gabriello, Antoine Balpêtré, Marcelle Rexiane, André Varennes, and others. According to our friends at IMDB.com, here's the plot summary:
"Roland Brissot bought for a nickel a talisman that gives him love, fame, and wealth. The talisman is a cut left hand, and it works perfectly. Of course, there is nothing free in this world, and after one year, the devil comes and asks for his due."
-- EZ
Lo and behold:
It was on this day in France all the way back in the year 1943 in which Carnival Of Sinners (aka La main du diable) first opened its doors for theatrical business on the artistic midway of life.
Based on the novel Gérard de Nerval, the book was adapted by Jean-Paul Chanois and directed by Maurice Tourneur. The Fantasy/Horror starred such talent as Pierre Fresnay, Josseline Gaël, Noël Roquevert, Guillaime de Sax, Palau, Pierre Larquey, André Gabriello, Antoine Balpêtré, Marcelle Rexiane, André Varennes, and others. According to our friends at IMDB.com, here's the plot summary:
"Roland Brissot bought for a nickel a talisman that gives him love, fame, and wealth. The talisman is a cut left hand, and it works perfectly. Of course, there is nothing free in this world, and after one year, the devil comes and asks for his due."
-- EZ
- Published on
press release
Bloody Legend:
The Complete Cliff Twemlow Collection
[9-Disc Blu-ray + CD Box Set] - Pre-Order
11 FEATURE FILMS
ON 9 BLU-RAYS
INCLUDING THE AWARD-WINNING DOCUMENTARY
MANCUNIAN MAN
WITH 13+ HOURS OF SPECIAL FEATURES
AND BONUS ‘PETER RENO’ CD
“Welcome to the story of Cliff Twemlow,
the unlikeliest movie mogul you’ve never heard of… until now.
He is finally going to get the recognition he has always deserved.”
American Cinematheque
Cliff Twemlow was a nightclub bouncer, composer, novelist, actor, filmmaker and unsung ‘80s UK legend. For more than a decade, the unstoppable Manchester native – along with a devoted team of local doormen, martial artists, variety performers, models, girlfriends, gym friends, family members and B-listers – created his own low-budget shot-on-video empire via a bollock-bashing oeuvre of gangster films, horror movies, spy thrillers, sci-fi epics and beyond. This first-ever Intervision Picture Corp. box set brings together every film by “The Orson Welles of Eccles” – including his infamous Section 3 ‘video nasty’ G.B.H./GRIEVOUS BODILY HARM – sourced from their original tape masters, as well as 2023’s “sweet, moving and very, very funny” (Deadline Hollywood) documentary MANCUNIAN MAN: THE LEGENDARY LIFE OF CLIFF TWEMLOW directed by Jake West, plus unfinished projects, over 13 hours of Special Features, a CD featuring Cliff’s music from DAWN OF THE DEAD and much more.
Disc 1: MANCUNIAN MAN: THE LEGENDARY LIFE OF CLIFF TWEMLOW
Special Features:
Disc Specs:
Runtime: 124 mins
English Stereo | Closed Captions
Region Free
Aspect Ratio: 1.78:1
- Additional Scenes
- Manchester Locations Tour
- The Swedish Connection – Interview with Jonathan Sisson On G.B.H.’s First-Time/Last-Time Investors
- The Pike Rediscovered – The Hunt For The Mechanical Monster
- Manchester Premiere
- London World Premiere
- Glasgow Premiere
- Trailer
- Image Gallery
Disc Specs:
Runtime: 124 mins
English Stereo | Closed Captions
Region Free
Aspect Ratio: 1.78:1
Disc 2: TUXEDO WARRIOR
Special Features:
Disc Specs:
Runtime: 93 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.85:1
- Outtakes
- Gag Reel
- Trailer
Disc Specs:
Runtime: 93 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.85:1
Disc 3: G.B.H.
Special Features:
Disc Specs:
Runtime: 89 mins (Original Director’s Cut) / 74 mins (UK Release Version)
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
- Audio Commentary With Actor Brian Sterling-Vete And Cult Movie Historian David Flint
- Alternate Credits Sequence
- Teaser Trailer
- Trailer
- THE PIKE TV Special
- MASON'S WAR Promo
Disc Specs:
Runtime: 89 mins (Original Director’s Cut) / 74 mins (UK Release Version)
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
Disc 4: TARGET: EVE ISLAND / THE IBIZA CONNECTION
TARGET: EVE ISLAND Special Features:
Martin De Rooy And Severin Films’ Carl Daft
TARGET: EVE ISLAND Disc Specs:
Runtime: 84 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
THE IBIZA CONNECTION Special Features:
THE IBIZA CONNECTION Disc Specs:
Runtime: 93 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.78:1
- Audio Commentary With Actor Brian Sterling-Vete And Producer Martin De Rooy
- For The Love Of Cliff – Audio Commentary Outtake With Brian Sterling-Vete,
Martin De Rooy And Severin Films’ Carl Daft
- Granada Tourism Promo
- Alternate Credits Sequence
- Rushes
- Trailer 1
- Trailer 2
TARGET: EVE ISLAND Disc Specs:
Runtime: 84 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
THE IBIZA CONNECTION Special Features:
- Audio Commentary With Director Howard Arundel And Cult Movie Historian David Flint
- Actor Brett Sinclair’s Ibiza Videos
THE IBIZA CONNECTION Disc Specs:
Runtime: 93 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.78:1
Disc 5: THE AFRICAN RUN / MOON STALKER
THE AFRICAN RUN Special Features:
THE AFRICAN RUN Disc Specs:
Runtime: 94 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.85:1
MOON STALKER Special Features:
MOON STALKER Disc Specs:
Runtime: 91 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.85:1
- Scene Breakdowns – Compilation Of New Scenes With Detailed Production/Location Notes
- Alternate Credits Sequence
- David Ball Test Footage
THE AFRICAN RUN Disc Specs:
Runtime: 94 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.85:1
MOON STALKER Special Features:
- Audio Commentary With Actor Brian Sterling-Vete And Cult Movie Historian David Flint
- Alternate Credits Sequence
- Trailer
- THE BLIND SIDE OF GOD Promo
- HARRISING MOMENTS – Jerry Harris Showreel
MOON STALKER Disc Specs:
Runtime: 91 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.85:1
Disc 6: THE HITMAN / THE EYE OF SATAN
THE HITMAN Special Features:
THE HITMAN Disc Specs:
Runtime: 89 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
THE EYE OF SATAN Special Features:
THE EYE OF SATAN Disc Specs:
Runtime: 79 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.78:1
- Alternate Credits Sequence
- Trailer
THE HITMAN Disc Specs:
Runtime: 89 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
THE EYE OF SATAN Special Features:
- Deleted Scenes
- Bloopers
- Trailer 1
- Trailer 2
THE EYE OF SATAN Disc Specs:
Runtime: 79 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.78:1
Disc 7: FIRESTAR: FIRST CONTACT / TOKYO SUNRISE
FIRESTAR: FIRST CONTACT Special Features:
FIRESTAR: FIRST CONTACT Disc Specs:
Runtime: 94 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
TOKYO SUNRISE Special Features:
TOKYO SUNRISE Disc Specs:
Runtime: 21 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.78:1, 1.33:1
- Deleted Fight Scene
- Trailer
FIRESTAR: FIRST CONTACT Disc Specs:
Runtime: 94 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
TOKYO SUNRISE Special Features:
- Making-Of
- Outtakes/Bloopers
- Promo 1
- Promo 2
TOKYO SUNRISE Disc Specs:
Runtime: 21 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.78:1, 1.33:1
Disc 8: G.B.H. 2: LETHAL IMPACT
Special Features
Disc Specs:
Runtime: 99 mins (Pre-Release Version) | 110 mins (Special Edition)
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
- BAD WEEKEND – Cliff’s Final Production, An Unreleased Short Film Intended As A Half-Hour TV Pilot
Disc Specs:
Runtime: 99 mins (Pre-Release Version) | 110 mins (Special Edition)
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
Disc 9: FITNESS OVER 40 / THE ART OF NUDE MASSAGE
FITNESS OVER 40 Disc Specs:
Runtime: 55 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
THE ART OF NUDE MASSAGE Disc Specs:
Runtime: 46 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
Runtime: 55 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
THE ART OF NUDE MASSAGE Disc Specs:
Runtime: 46 mins
English Mono | Closed Captions
Region Free
Aspect Ratio: 1.33:1
Disc 10: THE PETER RENO TAPES CD
Keyart designed by Matt Needle
About Severin Films
Severin Films is the foremost independent studio dedicated to rescuing, restoring, and releasing the works of Oscar nominees and cult icons alike for Blu-ray, 4K UHD and digital platforms. Founded in 2006 by David Gregory, Carl Daft and John Cregan, the Los Angeles-based company features a library of 250+ films and television projects, as well as an international team of the industry’s most skilled and devoted genre experts. “World cinema speaks many languages,” says Severin co-founder David Gregory, “some whisper and others scream, but all deserve to be heard. From the obscure to the infamous, from the grindhouse to the arthouse, from the thought-lost to the proudly resurrected, Severin is committed to uplifting the most provocative voices in entertainment.”
- Published on
For those who don’t believe that art mimics history (or is that vice versa?), here’s a brief history lesson.
For twenty years, the Central Intelligence Agency engaged in a program dubbed MK Ultra that sought to experiment with various drugs in order to determine which of them might be used to ‘soften up’ the minds of subjects under intense scrutiny and/or questioning. Chiefly, the Agency was interested in figuring out which substances altered the mental capacities of the test subjects. While techniques other than chemicals were studied closely, what made the drug trials so controversial is that they were administered covertly, meaning that the recipients had little to no idea that they were being given significant doses of psychoactive compounds like LSD (Lysergic acid diethylamide).
Now, of course, there’s more to this story. In fact, there’s a lot more where that came from, as is typically the case when one’s dealing with the clandestine activities of organizations dedicated to espionage. The point in bringing MK Ultra up is only to underscore that there’s a predicate to where a film like Jeff Lieberman’s Blue Sunshine (1977) also starts and stops: plucking on the threads of history and building a compelling conspiracy-laden flick around it is about as good a place to begin as any, and I only offer up the above to demonstrate that artists have been and likely always will be inspired by truth when composing fiction for audiences to ingest. The only difference here is that – unlike the CIA – Lieberman let you know in advance what was waiting in store. That alone is admirable enough.
Lieberman both wrote and directed the film. It stars Zalman King, Deborah Winters, Mark Goddard, Robert Walden, Charles Siebert, Ann Cooper, Ray Young, and others. It’s the story of a man distraught over the shocking secret he uncovers – one that may or may not link directly back to his college days – and the aftereffects reverberating through society ten years later. Inspired by facts, it’s a loose cautionary tale exposing science gone awry and the trail of victims left behind in its wake.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A bizarre series of murders begins in Los Angeles, where people start going bald and then become homicidal maniacs. But could the blame rest on a particularly dangerous form of LSD called Blue Sunshine the murderers took ten years before?”
For twenty years, the Central Intelligence Agency engaged in a program dubbed MK Ultra that sought to experiment with various drugs in order to determine which of them might be used to ‘soften up’ the minds of subjects under intense scrutiny and/or questioning. Chiefly, the Agency was interested in figuring out which substances altered the mental capacities of the test subjects. While techniques other than chemicals were studied closely, what made the drug trials so controversial is that they were administered covertly, meaning that the recipients had little to no idea that they were being given significant doses of psychoactive compounds like LSD (Lysergic acid diethylamide).
Now, of course, there’s more to this story. In fact, there’s a lot more where that came from, as is typically the case when one’s dealing with the clandestine activities of organizations dedicated to espionage. The point in bringing MK Ultra up is only to underscore that there’s a predicate to where a film like Jeff Lieberman’s Blue Sunshine (1977) also starts and stops: plucking on the threads of history and building a compelling conspiracy-laden flick around it is about as good a place to begin as any, and I only offer up the above to demonstrate that artists have been and likely always will be inspired by truth when composing fiction for audiences to ingest. The only difference here is that – unlike the CIA – Lieberman let you know in advance what was waiting in store. That alone is admirable enough.
Lieberman both wrote and directed the film. It stars Zalman King, Deborah Winters, Mark Goddard, Robert Walden, Charles Siebert, Ann Cooper, Ray Young, and others. It’s the story of a man distraught over the shocking secret he uncovers – one that may or may not link directly back to his college days – and the aftereffects reverberating through society ten years later. Inspired by facts, it’s a loose cautionary tale exposing science gone awry and the trail of victims left behind in its wake.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A bizarre series of murders begins in Los Angeles, where people start going bald and then become homicidal maniacs. But could the blame rest on a particularly dangerous form of LSD called Blue Sunshine the murderers took ten years before?”
Without trying to split hairs for readers, I’m gonna divulge right up front that there really isn’t all that much in Blue Sunshine that makes it a traditional Horror film in any way whatsoever. (Yes, yes, yes: I know what you’re thinking, but dial it back while I try to explain.) I’ll agree that it definitely borrows shamelessly from Horror in that it rather cleverly assigns a few of its creative players with what I’d call ‘thrill-killer status,’ but the truth here is that those activities really only happen in order to fuel the film’s central conspiracy – that they were all victims of a particularly egregious batch of LSD called ‘Blue Sunshine’ – and I thought we were raised to never ‘blame the perpetrator’ when they weren’t entirely in control of their actions, no? Again, no insult intended, and I offer up that simply caveat as a critical observation. Make of it what you will.
Jerry Zipkin (played by the late Zalman King) gets together with a few of his ol’ college mates for a casual reunion. Only a few drinks into the reasonably raucous affair, Frannie Scott (Richard Crystal) croons out a song by request of the ol’ gang and then moves in to give one of his female admirers a big kiss. When the lady’s true paramour tries to pull the singer away, he inadvertently yanks off Frannie’s wig, causing the young man to run out of their shared cabin in embarrassment only to return a few seconds later with homicide now on his mind. As all of the men went out looking for him only moments earlier, Frannie rather easily turns three young women into fireplace kindling in no time, the benefits of raging about with somewhat superhuman strength.
Shortly, Jerry returns and discovers the bodies being consumed by flames; and then he races out after Frannie with hopes of calming his former classmate down. Eventually, the two make it to the nearby freeway where a life-and-death struggle ensues. Nearly overpowered and at the risk of suffering a dire fate, Jerry has no choice but to push his adversary into path of an oncoming semi-truck. Struck down, Frannie is presumed dead; and now the angry truckers take off on foot in pursuit of Jerry, whom they believe is a murderer. It’s this curious set-up that serves to cast Zipkin as our film’s protagonist: wrongly accused, he’s on-the-run from police while also trying to uncover just what set Frannie into a murderous frenzy, a development that will have surprising roots in their shared past.
Jerry Zipkin (played by the late Zalman King) gets together with a few of his ol’ college mates for a casual reunion. Only a few drinks into the reasonably raucous affair, Frannie Scott (Richard Crystal) croons out a song by request of the ol’ gang and then moves in to give one of his female admirers a big kiss. When the lady’s true paramour tries to pull the singer away, he inadvertently yanks off Frannie’s wig, causing the young man to run out of their shared cabin in embarrassment only to return a few seconds later with homicide now on his mind. As all of the men went out looking for him only moments earlier, Frannie rather easily turns three young women into fireplace kindling in no time, the benefits of raging about with somewhat superhuman strength.
Shortly, Jerry returns and discovers the bodies being consumed by flames; and then he races out after Frannie with hopes of calming his former classmate down. Eventually, the two make it to the nearby freeway where a life-and-death struggle ensues. Nearly overpowered and at the risk of suffering a dire fate, Jerry has no choice but to push his adversary into path of an oncoming semi-truck. Struck down, Frannie is presumed dead; and now the angry truckers take off on foot in pursuit of Jerry, whom they believe is a murderer. It’s this curious set-up that serves to cast Zipkin as our film’s protagonist: wrongly accused, he’s on-the-run from police while also trying to uncover just what set Frannie into a murderous frenzy, a development that will have surprising roots in their shared past.
Sadly, Blue Sunshine never quite overcomes the screenwriting convention of having all of these seemingly disparate events tied together because they need to be for the plot as devised. Jerry never has to travel that far – thankfully, everyone suffering the ill effects of a bad drug trip ten years later happens to be in the same big city (at least, those that we know of) – and this gives the flick the flimsiest construction necessary to detail its increasingly dark particulars. Again, this isn’t a complaint: it’s just a statement of reality. The tale works only because every character necessary just happens to handily be around: swallow that big grain of salt, and you’ll be fine with the rest of the action.
Because he’s kept in touch with those of his alma mater, Jerry has a few allies around which to explore both the developing facts as well as ‘lie low’ when the authorities are close on his heels. Doctor and surgeon David Blume (Robert Walden) is able to provide a bit of medical attention as well as provide some explanation of the science needed to make the premise work as a thriller; and the script loosely dangles the whole ‘will he lose his mind or won’t he’ in just the right measure to make him arguably one of the more interesting additions. Alicia Sweeney (Deborah Winters) gets to fill the shoes of both a potential love interest as well as a ‘Gal Friday’ who works with Jerry in peeling back the growing scheme, accidentally putting her life at risk in the process. Local politico Edward Flemming (Mark Goddard) and his campaign manager (and heavy) Wayne Mulligan (Ray Young) round out the stable of potentially at-risk addicts because – hey – who among us would suspect a pair of dubious policymakers of ever trying to cover up a background involving illicit drug use, am I right?
Surprisingly, Blue Sunshine still manages to transcend its storytelling deficiencies in a few ways. Lieberman’s camera work is particular astute, especially in the film’s set-up sequences which almost have a light Hitchcockian way of delivering a few seemingly unrelated vignettes that set the stage for a good deal of what eventually follows. Despite the fact that – as I’ve tried to make clear – too much of what transpires relies on convenience, the tale goes forward chapter-by-chapter at a good pace, never taking too long or spending too little time in any of its scenery to get one lost in the weeds. While there is one segment involving Jerry’s possibly descending into madness or demonstrating some astute skills at crime scene reconstruction that could’ve used a bit more foundation, the ambiguity of it all helps raise the stakes – is he finally losing his mind and his hair? – in a positive way. When strengths matter, there are enough here to make the effort both watchable and (occasionally) compelling, so there is something to be said for the collective craftsmanship.
Sadly, Sunshine ends with a bit of an overcast sky. Jerry never quite gets the definitive answers an authentic protagonist deserves, and there’s never any explanation for whether or not he was suffering from or would endure what ailed his classmates. There’s even a somewhat hackneyed title card played over a closing scene or two that tries to suggest a measure of closure; but the fact that our hero and a few others were somehow magically spared never quite gets the attention or reflection it deserves. I understand and appreciate that, perhaps, all of that can be chalked up to the inevitable randomness of life; and yet that seems curiously insufficient given how manic Jerry behaved in just the right way to suggest he, too, was on that path to doom and gloom, even if in some small way.
Because he’s kept in touch with those of his alma mater, Jerry has a few allies around which to explore both the developing facts as well as ‘lie low’ when the authorities are close on his heels. Doctor and surgeon David Blume (Robert Walden) is able to provide a bit of medical attention as well as provide some explanation of the science needed to make the premise work as a thriller; and the script loosely dangles the whole ‘will he lose his mind or won’t he’ in just the right measure to make him arguably one of the more interesting additions. Alicia Sweeney (Deborah Winters) gets to fill the shoes of both a potential love interest as well as a ‘Gal Friday’ who works with Jerry in peeling back the growing scheme, accidentally putting her life at risk in the process. Local politico Edward Flemming (Mark Goddard) and his campaign manager (and heavy) Wayne Mulligan (Ray Young) round out the stable of potentially at-risk addicts because – hey – who among us would suspect a pair of dubious policymakers of ever trying to cover up a background involving illicit drug use, am I right?
Surprisingly, Blue Sunshine still manages to transcend its storytelling deficiencies in a few ways. Lieberman’s camera work is particular astute, especially in the film’s set-up sequences which almost have a light Hitchcockian way of delivering a few seemingly unrelated vignettes that set the stage for a good deal of what eventually follows. Despite the fact that – as I’ve tried to make clear – too much of what transpires relies on convenience, the tale goes forward chapter-by-chapter at a good pace, never taking too long or spending too little time in any of its scenery to get one lost in the weeds. While there is one segment involving Jerry’s possibly descending into madness or demonstrating some astute skills at crime scene reconstruction that could’ve used a bit more foundation, the ambiguity of it all helps raise the stakes – is he finally losing his mind and his hair? – in a positive way. When strengths matter, there are enough here to make the effort both watchable and (occasionally) compelling, so there is something to be said for the collective craftsmanship.
Sadly, Sunshine ends with a bit of an overcast sky. Jerry never quite gets the definitive answers an authentic protagonist deserves, and there’s never any explanation for whether or not he was suffering from or would endure what ailed his classmates. There’s even a somewhat hackneyed title card played over a closing scene or two that tries to suggest a measure of closure; but the fact that our hero and a few others were somehow magically spared never quite gets the attention or reflection it deserves. I understand and appreciate that, perhaps, all of that can be chalked up to the inevitable randomness of life; and yet that seems curiously insufficient given how manic Jerry behaved in just the right way to suggest he, too, was on that path to doom and gloom, even if in some small way.
Blue Sunshine (1977) was produced by Ellanby Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Synapse Films. As for the technical specifications? While I’m no trained video expert … wow. This release looks really solid from start-to-finish. I thought the audio was a bit muddled in a few spots, but I’m inclined to think that this likely stems from flaws in the original source. Yes, there are a few sequences with noticeable grain, but it distracts in no way from the picture itself. Lastly, if you’re looking for special features? In order to be precise, I’m doing the admirable copy-and-paste from Synapse Films’ press release as there is seriously (SERIOUSLY) a lot of material here:
Special Features
Special Features
- 4K restoration of the original 35mm camera negative mastered in Dolby Vision (HDR10 compatible)
- Lossless English DTS-HD Master Audio original theatrical mono and a 5.1 surround sound mix supervised by director Jeff Lieberman
- Two audio commentaries featuring director Jeff Lieberman
- New introduction to the film by director Jeff Lieberman
- Archival 2003 interview with director Jeff Lieberman
“Lieberman on Lieberman” video interview - Channel Z “Fantasy Film Festival” interview with Mick Garris and Jeff Lieberman
- Fantasia Film Festival 4K Premiere Q&A with moderator Michael Gingold and director Jeff Lieberman
- Anti-drug “scare films”: LSD-25 (1967) and LSD: Insight or Insanity? (1968), courtesy of the American Genre Film Archive
- Jeff Lieberman’s first film The Ringer, included here in two versions: the original uncut version (from a projection print source) and the final release version (remastered in 4K by Synapse Films from the original camera negative) with optional audio commentary on the uncut version by Jeff Lieberman and moderator Howard S. Berger Theatrical trailers
- Still gallery
- Liner notes booklet by Jeff Lieberman, featuring a chapter on the making of Blue Sunshine from his book Day of the Living Me: Adventures of a Subversive Cult Filmmaker from the Golden Age
- Limited edition fold-out poster
- Limited edition remastered CD soundtrack (13 tracks)
Again, Synapse seriously does not disappoint with this massive collection of extras; and I’m just starting to make my way through all of them. I can say that after listening to about half of both commentaries from Lieberman that there isn’t a great deal of material in either – something interesting reflections, which is probably owed to the passage of time and the loss of memories more than anything else – and, yet, there’s still something of interest in each. I’m not as familiar with the storyteller’s catalogue as are others; listening to him speak does make me interested in checking out a title or two of his, so that has to count for something.
Recommended.
At best, Blue Sunshine is a cult diversion. It establishes its facts loosely and then goes about the business of highlighting the unintended aftermath of harmful drug use at the expense of any real character development (which could’ve been helpful here and there). Well assembled and (probably) well-intentioned, it still lacks a tighter narrative and better-defined faces (with clearly stated motivations) to be anything greater than a theatrical oddity exploring the right place at the right time. Far too many events happen conveniently within Lieberman’s timeframe and that had me questioning how easy a puzzle it was for Jerry Zipkin to piece it all together. Rather than end with substance, it just ends, leaving the audience with more questions than answers, and that’s rarely a good thing.
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary 4K UltraHD Blu-ray of Blue Sunshine (1977) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Recommended.
At best, Blue Sunshine is a cult diversion. It establishes its facts loosely and then goes about the business of highlighting the unintended aftermath of harmful drug use at the expense of any real character development (which could’ve been helpful here and there). Well assembled and (probably) well-intentioned, it still lacks a tighter narrative and better-defined faces (with clearly stated motivations) to be anything greater than a theatrical oddity exploring the right place at the right time. Far too many events happen conveniently within Lieberman’s timeframe and that had me questioning how easy a puzzle it was for Jerry Zipkin to piece it all together. Rather than end with substance, it just ends, leaving the audience with more questions than answers, and that’s rarely a good thing.
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary 4K UltraHD Blu-ray of Blue Sunshine (1977) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
press release
Jason Goes To Hell [Limited Edition]
After dying, coming back, taking Manhattan and dying again, Jason Voorhees is now back as a body snatcher in Jason Goes to Hell, an impossibly fun slice of campy supernatural slasher action! Jason Voorhees is finally dead! Or is he? After being blown to smithereens in a sting operation, the infamous killer's body is taken to the morgue in Youngstown, Ohio. But Jason can't be killed so easily, and his still-beating heart possesses the body of the coroner performing his autopsy. The now body-hopping Jason begins hacking and slashing his way back to his stomping ground of Crystal Lake, where his last living relatives, Diana, her daughter Jessica and her newborn baby Stephanie still reside. Only by them can he be truly killed, and only through them can he be reborn, and Jason is determined to return to full power. Can the last remaining Voorheeses survive long enough to finally send Jason to hell for good? Featuring fan favourite Kane Hodder as Jason and spectacular special effects by industry legends Howard Berger, Robert Kurtzman and Greg Nicotero of KNB EFX Group, Jason Goes to Hell is a madcap entry in one of the most lasting and entertaining franchises of all time!
Bonus Materials
Bonus Materials
- 4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS
- 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible) of both the Theatrical Cut and the Unrated Cut
- Original lossless stereo and DTS-HD 5.1 surround audio on both cuts
- Optional English subtitles for the deaf and hard of hearing on both cuts
- Reversible sleeve featuring original and newly commissioned artwork by Gary Pullin
- Double-sided foldout poster featuring original and newly commissioned artwork by Gary Pullin
- Illustrated collector’s booklet featuring new writing on the film by JA Kerswell and original production notes
- DISC ONE – THEATRICAL CUT
- Introduction to the film by director Adam Marcus
- Faces of Death, a brand new interview with special make-up effects creator Robert Kurtzman
- Undercover Angel, a brand new interview with actor Julie Michaels
- Mixing it Up, a brand new interview with composer Harry Manfredini
- The Gates of Hell, an archival interview with director Adam Marcus
- Jason vs. Terminator, director Adam Marcus on growing up with the Cunninghams
- Über-Jason, an archival interview with Kane Hodder on playing Jason
- Additional TV footage, with optional commentary by director Adam Marcus
- Theatrical trailer and TV spots
- Still, behind-the-scenes and poster galleries
- DISC TWO – UNRATED CUT
- Brand new audio commentary with film historians Michael Felsher and Steve “Uncle Creepy” Barton
- Archival audio commentary with director Adam Marcus and author Peter Bracke
- Archival audio commentary with director Adam Marcus and screenwriter Dean Lorey
About Arrow Films
Since launching in the UK in 2009, Arrow Video has grown to become one of the world’s most notable labels for physical and digital releases of genre, cult and horror films from around the globe. The label has passionately trailblazed a multi-award-winning slate of releases in deluxe, definitive editions with state-of-the-art restorations, in-depth curation of new and archival extra features, newly commissioned artwork, accompanying booklets and special packaging.
Expanding into North America in 2015, Arrow Video's best-in-class Blu-ray, UHD releases and extensive catalogue is complemented by premium digital and on-demand services with ARROW Player. Which shares the same ethos, curating the finest cult films from celebrated filmmakers including John Carpenter, David Cronenberg, Takashi Miike, Dario Argento, and many more.
Since launching in the UK in 2009, Arrow Video has grown to become one of the world’s most notable labels for physical and digital releases of genre, cult and horror films from around the globe. The label has passionately trailblazed a multi-award-winning slate of releases in deluxe, definitive editions with state-of-the-art restorations, in-depth curation of new and archival extra features, newly commissioned artwork, accompanying booklets and special packaging.
Expanding into North America in 2015, Arrow Video's best-in-class Blu-ray, UHD releases and extensive catalogue is complemented by premium digital and on-demand services with ARROW Player. Which shares the same ethos, curating the finest cult films from celebrated filmmakers including John Carpenter, David Cronenberg, Takashi Miike, Dario Argento, and many more.
- Published on
press release
The Crazies 15th Anniversary 4K SteelBook®
4K Ultra HD + Blu-ray™ + Digital Copy SteelBook®
Now in stunning 4K UHD™ and Dolby Vision® HDR, this reinvention of the George Romero classic is a must-have for horror.
SteelBook® art by Attila Szarka
Street Date: 5/13/25
SRP: $44.99
There’s nothing more terrifying than losing control. Celebrating its 15th anniversary, the pulse-pounding horror thriller The Crazies arrives on SteelBook® exclusively at Lionsgate Limited. A reinvention of George A. Romero’s classic, this gripping tale of paranoia and survival follows Sheriff Dutton (Timothy Olyphant, Justified) and his pregnant wife Judy (Radha Mitchell, London Has Fallen) as they fight to escape their small Midwestern town after a mysterious toxin turns its residents into mindless killers. With society collapsing and no one left to trust, their struggle for survival becomes a brutal test of will. Available in 4K Ultra HD + Blu-ray™ + Digital, The Crazies features exclusive SteelBook® artwork and all-new special features, making it a must-have for horror fans. The Crazies will be available on May 13, 2025, only on Lionsgate Limited for the suggested retail price of $44.99.
OFFICIAL SYNOPSIS
For its 15th anniversary, this reinvention of the George Romero classic — a terrifying story of the “American Dream” gone horribly wrong — comes to 4K for the first time. In a small Midwestern town, residents turn violent when a mysterious toxin in the water supply turns everyone exposed to it into mindless killers. Trapped in a town they no longer recognize and abandoned by the authorities, Sheriff Dutton (Timothy Olyphant, “Justified”) and his pregnant wife Judy (Radha Mitchell, London Has Fallen) struggle to survive in this nightmarish tale that continues to have a long-lasting impact on the horror genre.
CAST
Timothy Olyphant (“Justified: City Primeval”, “Justified", Hitman)
Radha Mitchell (London Has Fallen, Silent Hill, Man on Fire)
Joe Anderson (The Grey, The Ruins, Across the Universe)
Danielle Panabaker ("The Flash”, Friday the 13th, Sky High)
SPECIAL FEATURES
Lionsgate Limited Extras:
Legacy Special Features:
PROGRAM INFORMATION
Now in stunning 4K UHD™ and Dolby Vision® HDR, this reinvention of the George Romero classic is a must-have for horror.
SteelBook® art by Attila Szarka
Street Date: 5/13/25
SRP: $44.99
There’s nothing more terrifying than losing control. Celebrating its 15th anniversary, the pulse-pounding horror thriller The Crazies arrives on SteelBook® exclusively at Lionsgate Limited. A reinvention of George A. Romero’s classic, this gripping tale of paranoia and survival follows Sheriff Dutton (Timothy Olyphant, Justified) and his pregnant wife Judy (Radha Mitchell, London Has Fallen) as they fight to escape their small Midwestern town after a mysterious toxin turns its residents into mindless killers. With society collapsing and no one left to trust, their struggle for survival becomes a brutal test of will. Available in 4K Ultra HD + Blu-ray™ + Digital, The Crazies features exclusive SteelBook® artwork and all-new special features, making it a must-have for horror fans. The Crazies will be available on May 13, 2025, only on Lionsgate Limited for the suggested retail price of $44.99.
OFFICIAL SYNOPSIS
For its 15th anniversary, this reinvention of the George Romero classic — a terrifying story of the “American Dream” gone horribly wrong — comes to 4K for the first time. In a small Midwestern town, residents turn violent when a mysterious toxin in the water supply turns everyone exposed to it into mindless killers. Trapped in a town they no longer recognize and abandoned by the authorities, Sheriff Dutton (Timothy Olyphant, “Justified”) and his pregnant wife Judy (Radha Mitchell, London Has Fallen) struggle to survive in this nightmarish tale that continues to have a long-lasting impact on the horror genre.
CAST
Timothy Olyphant (“Justified: City Primeval”, “Justified", Hitman)
Radha Mitchell (London Has Fallen, Silent Hill, Man on Fire)
Joe Anderson (The Grey, The Ruins, Across the Universe)
Danielle Panabaker ("The Flash”, Friday the 13th, Sky High)
SPECIAL FEATURES
Lionsgate Limited Extras:
- 2025 Audio Commentary with Director Breck Eisner
- Establishing Shot with Breck Eisner
- Sculpting the Horror of The Crazies
- Alternate Ending
- Storyboard to Screen: Car Wash
Legacy Special Features:
- 2010 Audio Commentary with Director Breck Eisner
- Behind the Scenes with Breck Eisner
- Paranormal Pandemics
- The George A. Romero Template
- Makeup Mastermind: Rob Hall in Action
- Episodes 1 & 2 of The Crazies Motion Comic
- Visual Effects in Motion
- Behind-the-Scenes Photo Gallery
- Teaser Trailer
- Theatrical Trailers
- The Crazies Motion Comic Trailer
PROGRAM INFORMATION
- Year of Production: 2010
- Title Copyright: The Crazies © 2010 Overture Films, LLC. All Rights Reserved.
- Type: Catalog Re-Release
- Rating: R
- Genre: Horror
- Closed-Captioned: English, Spanish
- Subtitles: Spanish Subtitles, English SDH
- Run Time: 101 minutes
- 4K Audio: English Dolby Atmos, English 5.1 DTS-HD Master Audio™
- Screen Format: Widescreen (2.40:1)
About Lionsgate Limited
Welcome to Lionsgate Limited. Created for movie lovers by movie lovers, Lionsgate Limited celebrates the artistry of film with premium, limited-edition releases curated from Lionsgate’s expansive entertainment library. Our mission: to enrich your connection to your favorite films — through careful movie restoration, specially designed collectible packaging, and extra content that honors the vision of the filmmakers. Subscribe and be the first to hear about upcoming releases to add to your Lionsgate Limited collection, and visit the site often for exciting news from our community of passionate film enthusiasts.
Welcome to Lionsgate Limited. Created for movie lovers by movie lovers, Lionsgate Limited celebrates the artistry of film with premium, limited-edition releases curated from Lionsgate’s expansive entertainment library. Our mission: to enrich your connection to your favorite films — through careful movie restoration, specially designed collectible packaging, and extra content that honors the vision of the filmmakers. Subscribe and be the first to hear about upcoming releases to add to your Lionsgate Limited collection, and visit the site often for exciting news from our community of passionate film enthusiasts.