The Phantom of the Opera – Vinegar Syndrome (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1998
Director: Dario Argento
Writers: Gérard Brach, Dario Argento
Cast: Julian Sands, Asia Argento, Andrea Di Stefano, Nadia Rinaldi, Coralina Cataldi-Tassoni, István Bubik, Lucia Guzzardi, Aldo Massasso, Zoltan Barabas, Gianni Franco

Release Date: January 20th, 2026
Approximate Running Time: 103 Minutes 47 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 Dolby Vision
Rating: NR
Sound: DTS-HD 5.1 Italian, DTS-HD 5.1 English
Subtitles: English, English SDH
Region Coding: Region Free (UHD), Region A (Blu-Ray)
Retail Price: $59.98

"In late nineteenth-century Paris, strange things are happening at the Opera House. Legends abound of a mysterious phantom who, raised from infancy by rats, inhabits the subterranean caverns deep beneath the famous building, occasionally emerging above ground to wreak bloody havoc. Enchanted by the voice of the beautiful Christine Daaé, an understudy in the upcoming production of Romeo and Juliet, the phantom quickly brings the singer under his spell, setting himself on a collision course with her would-be suitor, Raoul. As the gala performance of Romeo and Juliet draws near, and Christine falls ever deeper under his influence, the phantom hatches a diabolical plan to secure his young protégé the starring role—and claim her as his, once and for all." - synopsis provided by the distributor

Video: 5/5 (4K UHD), 4.5/5 (Blu-ray)

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm original camera negative."

The Phantom of the Opera comes on a 100 GB triple layer 4K UHD.

Disc Size: 72.8 GB

Feature: 72.2 GB

The source is in excellent shape and has never looked better on home media. Flesh tones look healthy, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and there are no issues with digital noise reduction.

The Phantom of the Opera comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 29.8 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 5/5 (DTS-HD 5.1 Italian, DTS-HD 5.1 English)

This release comes with two audio options: a DTS-HD 5.1 mix in Italian and a DTS-HD 5.1 mix in English. Both audio tracks sound excellent. Dialogue always comes through clearly, everything sounds balanced, ambient sounds are well represented, and the score sounds appropriately robust. Included are removable English subtitles for the Italian language track, removable English SDH for the English language track, and an English subtitle track for text that's in Italian when watching with the English language track.

Extras:

Extras on the 4K UHD disc include an audio commentary with film historians Troy Howarth and Nathaniel Thompson.

Extras on the Blu-ray disc include alternate English-language titles (7 minutes 38 seconds, Dolby Digital stereo with text in English), an archival interview with producer Giuseppe Colombo titled Welcome to the Opera (18 minutes 8 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with production designer Antonello Geleng titled In the Phantom Cave (18 minutes 13 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival interview with director/screenwriter Dario Argento titled Behind the Red Curtain (18 minutes 7 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with camera operator Marco Pieroni titled Behind the Camera (12 minutes 28 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with editor Anna Napoli titled Like a Thunder (20 minutes 34 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with special effects artist Sergio Stivaletti titled Opera of Wounds (19 minutes 47 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actor Gianni Franco titled Acts of Fear (10 minutes 59 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Nadia Rinaldi titled Of Screams and Arias (22 minutes 32 seconds, Dolby Digital stereo Italian with removable English subtitles), and an audio commentary with Troy Howarth and Nathaniel Thompson.

Other extras include reversible cover art and a spot gloss slipcover (limited to 6,000 units).

Summary:

Dario Argento’s The Phantom of the Opera is an adaptation of Gaston Leroux’s novel of the same name. Gaston Leroux’s source novel has been adapted numerous times, notably a 1925 adaptation starring Lon Chaney and a 1943 adaptation starring Claude Rains. Although many films have remained faithful to the source novel, there have been several films that are more of a loose adaptation, like Phantom of the Mall: Eric's Revenge and The Phantom Lover. That said, Dario Argento’s The Phantom of the Opera falls somewhere in the middle of these two examples.

The Phantom of the Opera is a story that most will be familiar with even if they have never seen any adaptation or read Gaston Leroux’s novel. With that in mind, I will not be providing a synopsis for Dario Argento’s The Phantom of the Opera, a film that retains the core elements of the source material. Something that sets The Phantom of the Opera apart from Dario Argento’s films that preceded it is that, for the first time, he worked from a source that was not an idea that originated with him.

Whether through his words or watching his films, it's clear that Universal's classic monster films of the 1930s influenced Dario Argento. These classic monster films established a foundational template for horror cinema that filmmakers still draw upon today. While Dario Argento’s adaptation of The Phantom of the Opera certainly incorporates the horror elements from its source material, the most unexpected aspect is the film's pronounced romanticism.

Dario Argento’s adaptation of The Phantom of the Opera features a notable change in the phantom's appearance compared to other film versions. Whereas the majority of The Phantom of the Opera adaptations feature a disfigured protagonist, Dario Argento’s protagonist is attractive outwardly but dark inside. His character was abandoned as an infant and raised by rats, which he emulates when he expresses his rage. Julian Sands (Warlock) plays the role of the phantom and delivers a powerful performance.

Asia Argento (The Stendhal Syndrome) is cast in the role of Christine, an aspiring opera singer whom the phantom becomes infatuated with. Out of all the films she’s made with her father, this performance is her weakest, and most of the burden of the blame goes to the screenwriters, who do not give her enough to work with. That said, most of the performances are best described as serviceable.

Despite being a polished film where the set design looks exemplary and the visuals exhibit the stylish flourishes one expects from Dario Argento, The Phantom of the Opera will be a hard sell for even the most diehard Argento fan. Other areas that are lacking include a narrative that fails to build any momentum and special effects that have not aged well. An area where The Phantom of the Opera excels is Ennio Morricone’s score, which perfectly underscores the mood. The Phantom of the Opera would mark the fifth and final time Ennio Morricone worked with Dario Argento. Ultimately, Dario Argento’s The Phantom of the Opera is a film that’s never going to top anyone’s best-of list, recommended only for Dario Argento completists.

Vinegar Syndrome gives Dario Argento’s The Phantom of the Opera its best home media release to date. Recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

 

Written by Michael Den Boer

The Ghost: Limited Edition – Severin Films (4k UHD/Blu-ray/CD Combo)

Theatrical Release Date: Italy, 1963
Director: Riccardo Freda
Writers: Oreste Biancoli, Riccardo Freda
Cast: Barbara Steele, Peter Baldwin, Elio Jotta, Harriet Medin, Carol Bennet, Carlo Kechler, Umberto Raho, Reginald Price Anderson

Release Date: January 13th, 2026
Approximate Running Time: 95 Minutes 26 seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region Free
Retail Price: $59.95

"In turn-of-the-century Scotland, a young wife (Steele) conspires with her lover to murder her wealthy paralyzed husband. But when the dead spouse’s spirit returns, it will unlock a nightmare of spectral terror, sudden violence, and depraved vengeance." - synopsis provided by the distributor

Video: 5/5 (4K UHD, Blu-ray)

Here’s the information provided about this release's transfer, "newly scanned in 4K from the original camera negative."

The Ghost comes on a 66 GB dual layer 4K UHD.

Disc Size: 61.8 GB

Feature: 60.2 GB

The source looks exceptional; it is a substitutional upgrade over this film’s previous home media releases. Flesh tones look healthy, colors are nicely saturated, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look.

The Ghost comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.9 GB

Feature: 28.3 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Executioner's, Masks, Secrets: Italian Horror of the 1960s comes on a 25 GB single layer Blu-ray.

Disc Size: 23 GB

Feature: 22.8 GB

Audio: 4.5/5 (DTS-HD Mono Italian), 4.25/5 (DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. While both tracks sound clean, clear, and balanced, the Italian-language track sounds more robust. Included are removable English subtitles for the Italian-language track and removable English SDH for the English-language track.

Extras:

Extras on the 4K UHD disc include a U.S. theatrical trailer (2 minutes 3 seconds, Dolby Digital mono English, no subtitles), an Italian theatrical trailer (3 minutes 21 seconds, Dolby Digital mono Italian with removable English subtitles), an audio interview with actress Barbara Steele (43 minutes 5 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Kat Ellinger, author of Daughters of Darkness.

Extras on the Blu-ray disc include a U.S. theatrical trailer (2 minutes 3 seconds, Dolby Digital mono English, no subtitles), an Italian theatrical trailer (3 minutes 21 seconds, Dolby Digital mono Italian with removable English subtitles), a video essay by Tim Lucas, author of Mario Bava: All The Colors of The Dark, titled Give Up The Ghost (28 minutes 41 seconds, Dolby Digital stereo English, no subtitles), a video essay on Barbara Steele by Dr. Alexandra Heller-Nicholas titled Wounds of Deceit (11 minutes 22 seconds, Dolby Digital stereo English, no subtitles), an interview titled Till Death Returns with Roberto Curti, author of Italian Gothic Horror Films, 1957–1969 (22 minutes 27 seconds, Dolby Digital stereo Italian with removable English subtitles), Barbara Steele presents the 4K restoration at the Venice International Film Festival and L'Étrange Festival in Paris (16 minutes 58 seconds, Dolby Digital stereo Italian and English with removable English subtitles), an audio interview With actress Harriet Medin and Tim Lucas (10 minutes 39 seconds, Dolby Digital stereo English, no subtitles), an audio interview with actress Barbara Steele (43 minutes 5 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Kat Ellinger.

Other extras include a CD and an insert with a track listing for the 28-track CD that contains tracks from Francesco De Masi's scores for The Ghost, Rapina al quartiere Ovest, Crime Boss, and The Big Game, and a slipcover.

Summary:

Riccardo Freda directed The Ghost. He was a versatile filmmaker who worked in Italian cinema’s most popular genres of the 1950s, 60s, and 70s. He’s most remembered for his work in the peplum and the horror genre, specifically gothic horror. Notable films he directed include I Vampiri, The Horrible Dr. Hichcock, Double Face, The Iguana with the Tongue of Fire, and Tragic Ceremony.

A woman murders her husband with the help of her lover, the doctor who was taking care of her sickly husband. When mysterious things start to happen after her husband’s death, her health starts to decline. Did her husband really die or is someone trying to push her over the edge?

Although Riccardo Freda only directed three gothic horror films, The Horrible Dr. Hichcock, The Ghost, and Tragic Ceremony, his impact on this genre is undeniable. When it comes to The Horrible Dr. Hichcock and The Ghost, the two gothic horrors he made with Barbara Steele, he would deliver two of the best examples of Italian gothic horror cinema. Another thing that sets Riccardo Freda’s two collaborations with Barbara Steele apart from his contemporaries is that they were both shot in color instead of black and white.

The opening setup does an exemplary job setting the foundation and establishing a foreboding mood that builds to a fever-pitch finale. The well-crafted narrative is rich with moments of misdirection that significantly contribute to the building tension. Another notable strength of the story is its ability to keep you guessing about the outcome, and its shocking finale echoes the style of Les Diaboliques.

Barbara Steele is cast in the role of the protagonist's adulterous wife. Her character is devoid of any sympathy, and it is clear that her motivations are rooted in greed and love for her sickly husband. Besides working with Riccardo Freda, she also appeared in these notable 1960s horror films: Black Sunday, The Pit and the Pendulum and Castle of Blood. That said, the rest of the cast all deliver solid performances, and Harriet Medin (The Whip and the Body) in the role of housekeeper delivers a standout performance.

While the narrative is well-crafted, one must not overlook the role that atmosphere plays in The Ghost. When it comes to his direction and creating a foreboding mood, Riccardo Freda does not get the credit he deserves. Two examples of his direction are a scene where the wife is shaving her crippled husband. The look in her eyes and the way the camera frames the action showcase his ability to build suspense. The other scene, once again, involves the wife and a razor. This time she uses it to carve up her lover. The camera movement follows each slash; blood covers the screen with each incision she makes. Ultimately, The Ghost is another outstanding gothic horror film from Riccardo Freda that’s on par with The Horrible Dr. Hichcock.

Severin Films gives The Ghost its definitive home media release. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

Maraschino Cherry – Quality X (Blu-ray)

Theatrical Release Date: USA, 1978
Director: Radley Metzger (as "Henry Paris")
Writer: Radley Metzger (as "Jake Barnes")
Cast: Gloria Leonard, Leslie Bovee, Annette Haven, Constance Money, C.J. Laing, Jenny Baxter, Penny Cherry, Wade Nichols, Susan McBain, Eric Edwards

Release Date: January 20th, 2026
Approximate Running Time: 84 Minutes 48 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $39.98

"Set over the course of one sex-filled day at an exclusive Manhattan bordello, lusty madam Maraschino Cherry and her dedicated staff satisfy the desires of their seemingly endless stream of clients. From haggard city employees, brusque businessmen, hopeless romantics, kinky hedonists, and other assorted oddballs, they fulfill any and all fantasies over the course of a hard day’s work." - synopsis provided by the distributor

Video: 4/5

Here’s the information provided about this release's transfer, "Newly scanned & restored in 4K from its 35mm negative."

Maraschino Cherry comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.3 GB

Feature: 24.4 GB

Although this new transfer is a massive improvement over this film’s previous home media releases, it is not on par with other Henry Paris films that have been given upgrades to Blu-ray and 4K UHD. Some very minor instances of print debris and other imperfections remain, flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and the image retains an organic look.

Audio: 4/5

This release comes with one audio option, a DTS-HD mono mix in English with removable English SDH. The audio is also greatly improved, it sounds clean, clear and balanced throughout.

Extras:

Extras for this release include an archival image gallery with music from the film playing in the background (stills/advertisements/posters), three radio spots (1 minute 36 seconds, Dolby Digital mono English, no subtitles), two theatrical trailers (10 minutes 24 seconds, Dolby Digital mono English, no subtitles), never-before-seen trims & outtakes (16 minutes 29 seconds, no sound), archival video interviews with actress Gloria Leonard (33 minutes 13 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with director Radley Metzger moderated by Ashley West of The Rialto Report, reversible cover art, a spot gloss slipcover (limited to 3,000 units), and 24-page booklet with essay by Ashley West.

Summary:

Maraschino Cherry's little sister visits her one day and wants to learn the business of being an escort.

When Radley Metzger made his last adult film, Maraschino Cherry, he had all but run out of ideas and inspiration. It is like he saw the writing on the wall, like he had four years earlier when he transitioned from softcore into hardcore cinema. The industry was on the verge of a major change; instead of shooting on film, things would shift to video, making films cheaper and more accessible for anyone who wanted to make an adult film.

Outtakes from other Henry Paris films likely contribute to Maraschino Cherry's disjointed feel. The scenes with Constance Money are outtakes originally shot for The Opening of Misty Beethoven. Editing holds together Maraschino Cherry and makes it better than it should be, despite its shortcomings. This is especially notable in how effectively the editing blends newly shot footage with outtakes.

When it comes to the cast, it's one area where Maraschino Cherry is not lacking. It is a superlative cast of who’s who of 1970s adult cinema: Leslie Bovee, Annette Haven, Constance Money, C.J. Laing, Jenny Baxter, Penny Cherry, Wade Nichols, Susan McBain, and Eric Edwards. The standout performance is Gloria Leonard’s portrayal of the protagonist.

The Henry Paris films are known for their offbeat humor and witty dialog, and Maraschino Cherry is overflowing with amusing set pieces. Notable examples are a man who cums every time he sneezes and a woman who gets whipped and used as a human clock. The most memorable moment is an S&M scene with C.J. Laing.

When I first saw Maraschino Cherry 19 years ago, I viewed it via a previous DVD release, which was missing about 11 minutes of footage. This new edition reinstates all missing footage, and it was like seeing Maraschino Cherry for the first time. Ultimately, though Maraschino Cherry does not reach the artistic heights of the other Henry Paris films, the result is a film that is still better than most adult films.

Quality X gives Maraschino Cherry its best home media releases to date. Highly recommended.

Written by Michael Den Boer

Warning from Space – Arrow Video (Blu-ray)

Theatrical Release Date: Japan, 1956
Director: Kôji Shima
Writers: Gentaro Nakajima, Hideo Oguni
Cast: Keizô Kawasaki, Toyomi Karita, Bin Yagisawa, Shôzô Nanbu, Bontarô Miake, Mieko Nagai, Kiyoko Hirai, Isao Yamagata

Release Date: October 12th, 2020 (UK), October 13th, 2020 (USA)
Approximate Running Times: 86 Minutes 40 Seconds (Japanese version), 88 Minutes 2 Seconds (US version)
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: PG (UK), NR (USA)
Sound: LPCM Mono Japanese (Japanese version), LPCM Mono English (US version)
Subtitles: English (Japanese version), English SDH (US version)
Region Coding: Region A,B
Retail Price: £24.99 (UK), $39.95 (USA)

“As Japan is rocked by mysterious sightings of UFOs over Tokyo and large one-eyed aliens attempting contact, scientists collaborate to investigate the unexpected rise in extraterrestrial activity. Unbeknownst to them, one of the aliens has already assumed human form and is about to deliver a very important message that could be humanity’s last hope for survival.” – Synopsis provided by the Distributor

Video: 3.5/5 (Both Versions)

Here’s the information provided about this release's transfers: “The original Japanese version of Warning from Space is presented in its original aspect ratio of 1.37:1 with its original mono soundtrack. The high-definition master was supplied by Kadokawa Pictures. Additional quality control and optimization took place at R3store Studios and Bad Princess Productions. Due to the condition of the film material, some photochemical issues remain, such as occasional density fluctuation and flicker.

The dubbed American version was reconstructed by Arrow Films using the HD master of the Japanese version as the source for the majority of the video. An archive SD master of the American version was used as a cutting guide. The English dubbed audio was restored and conformed from the original optical track by Deluxe. Selected 35mm internegative film elements, including English language opening credits and specially shot inserts of English language newspapers, were scanned at EFILM and restored by R3store Studios. The original optical soundtrack and selected 35mm elements were accessed through the kind courtesy of Metro Goldwyn Mayer, in association with Kadokawa Pictures.

Additional picture grading, restoration, and audio remastering work supervised by James White and James Flower, Arrow Films.”

Warning from Space comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.8 GB

Feature: 22.5 GB (Japanese version), 20.7 (US version)

The information provided about the transfers perfectly details the limitations of the source. Although the sources are not optimal, the results are easily the best Warning from Space has ever looked in all of its home media incarnations. While there are some density-related issues, the image generally looks crisp, the colors look very good, there are no issues with compression, and the grain remains intact, albeit it looks thicker in some scenes. The source for the English-language version is comparable.

Audio: 3.5/5 (LPCM Mono Japanese, LPCM Mono English)

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. Outside of some minor distortion-related issues, this audio track sounds very good; dialogue comes through clearly and everything sounds balanced. Although this track is limited range-wise, ambient sounds are well-represented. The English-language track is comparable.

Extras:

Extras for this release include an image gallery (48 images—stills/posters), a teaser trailer (2 minutes 28 seconds, Dolby Digital mono Japanese with removable English subtitles), a theatrical trailer (3 minutes 5 seconds, Dolby Digital mono Japanese with removable English subtitles), a scene-select audio commentary with Stuart Galbraith IV, author of Monsters Are Attacking Tokyo!, the US release version of Warning from Space, including a newly restored English dub track (88 minutes 2 seconds, 1.37:1 aspect ratio, LPCM mono English with removable English SDH), reversible cover art, and a 32-page booklet (limited to the first pressing) with cast & crew information, an essay titled Seeing and Believing written by Nick West, an essay titled Words of Warning written by David Cairns and information about the transfers.

Summary:

An alien being warns humanity about an approaching meteor that is on a collision course with Earth, which will result in the planet's destruction upon impact.

The most intriguing debate surrounding extraterrestrials is not about their existence. It centers on whether they would arrive in peace or with destructive intentions. That said, there are many sci-fi films with hostile aliens that come to Earth with the intention to destroy. Warning from Space takes an opposite approach, with the aliens taking on the role of saviors of humankind.

Although there had been sci-fi films in Japan prior to Warning from Space, particularly Godzilla (Gojira), Japanese sci-fi cinema was still in its infancy in the 1950s. The primitive special effects in Japanese cinema clearly highlight this point. In fact, these shortcomings in special effects are ultimately what have allowed these films to endure over time.

Although Warning from Space includes all the elements that have come to define 1950s sci-fi cinema, it also features notably dated special effects that now appear campy. One has to wonder what viewers in the 1950s thought when they saw a starfish-shaped alien that is clearly a person in a costume. Nonetheless, the film is a unique creation, unlike anything that came before or after it.

The thing that immediately grabs you while watching Warning from Space is that there’s no protagonist. The well-constructed narrative features several characters that are equally important to the story at hand. Fortunately, not focusing on one character works in Warning from Space’s favor. Ultimately, Warning from Space is the type of film that you are either going to dislike or be enthralled by.

Arrow Video gives Warning from Space its best home media release to date. Highly recommended.

 

Written by Michael Den Boer

Luther the Geek: Tromatic Special Edition – Troma Films (Blu-ray)

Theatrical Release Date: USA, 1989
Director: Carlton J. Albright
Writer: Carlton J. Albright
Cast: Edward Terry, Joan Roth, Stacy Haiduk, Tom Mills, J. Jerome Clark

Release Date: January 20th, 2026
Approximate Running Time: 80 Minutes 19 Seconds
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: Dolby Digital Mono English
Subtitles: English SDH
Region Coding: Region Free
Retail Price: $19.95

"A young country boy is plunged into the depths of homicidal madness after witnessing the strange exploits of a carnival "geek," a caged drunk so desperate for whisky that he bites the heads off live chickens in front of a freak show audience. Thirty years later, Luther is all grown up and out on parole after spending his childhood behind bars for a series of grisly murders. Armed with only a pair of razor-sharp metal dentures and only able to communicate through chicken clucks, Luther restarts his bloody rampage as he terrorizes the citizens of a small town and takes a young mother and her family hostage in their isolated farmhouse. " - synopsis provided by the distributor

Video: 4.25/5

Luther the Geek comes on a 25 GB single layer Blu-ray.

Disc Size: 31.9 GB

Feature: 17.9 GB

It appears that Troma Films is using the same 2K master that Vinegar Syndrome used for their 2016 Blu-ray/DVD combo. Here’s the information about that transfer: "Newly scanned and restored in 2k from 35mm camera negative." The source is in excellent shape; the flesh tones look healthy, the colors are nicely saturated, the image clarity and black levels are strong, there are no issues with compression, and the image retains an organic look.

Audio: 3.5/5

This release comes with one audio option, a Dolby Digital mono mix in English, and removable English SDH. The audio sounds clean, clear, balanced, and robust when it should.

Extras:

Extras for this release include a theatrical trailer (2 minutes 26 seconds, Dolby Digital mono English, no subtitles), the original DVD intro featuring Lloyd Kaufman (5 minutes 7 seconds, Dolby Digital stereo English, no subtitles), an archival introduction with director Carlton J. Albright (38 seconds, Dolby Digital stereo English, no subtitles), an archival interview with Carlton J. Albright (5 minutes 12 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor William Albright (2 minutes 40 seconds, Dolby Digital stereo English, no subtitles), an extras titled A Conversation With Carlton (6 minutes 35 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Jerry Clarke titled Fowl Play (10 minutes 17 seconds, Dolby Digital stereo English, no subtitles), an archival audio commentary with Carlton J. Albright, and Fowl Takes: Fight Between Luther and the Police Officer (8 minutes 50 seconds, Dolby Digital stereo English, no subtitles), The Old Woman Getting Attacked by Luther (2 minutes 38 seconds, Dolby Digital stereo English, no subtitles), Luther Getting Shot (1 minute 11 seconds, Dolby Digital stereo English, no subtitles), and The Shower Scene  (7 minutes 30 seconds, Dolby Digital stereo English, no subtitles).  

Other extras include Troma’s Freak Show: The Archery Freak (1 minute 49 seconds, Dolby Digital stereo English, no subtitles), The Man Who Walks on Blades (1 minute 11 seconds, Dolby Digital stereo English, no subtitles), The Sword Swallower (52 seconds, Dolby Digital stereo English, no subtitles), and Tim the Torture King (1 minute 41 seconds, Dolby Digital stereo English, no subtitles), INNARDS! music video (1 minute 50 seconds, Dolby Digital stereo English, no subtitles), Radiation March (54 seconds, Dolby Digital stereo English, no subtitles), and trailers for Shakespeare's Shitstorm, Eating Miss Campbell, Curse of the Weredeer, Sweet Meats, Killy Dolly Kill, The Toxic Avenger, Tromeo & Juliet, Sgt. Kabukiman N.Y.P.D., Class of Nuke 'Em High, and The Children.

Summary:

A psychopathic killer is paroled after spending 25 years in prison, and immediately upon his release he reverts to his homicidal instincts.

Although Troma Films has a distinct brand of cinema recognizable instantly, they actually acquired a large number of films after other filmmakers completed them. While these pickup films have Troma’s core elements, an abundance of gore, and moments that gross you out, the result are films that ultimately lack the Troma Films vibe. Case in point, Luther the Geek, a horror film that never falls into the subversive humor that’s synonymous with Troma Films.

The opening setup does an excellent job establishing who Luther is and why it is not a good idea to let him back into society. A pre-credits sequence set in the past perfectly illustrates why he became the monster he’s become. That said, beyond this moment, no more time is spent fleshing out any of the other characters, and the focus shifts to Luther’s acts of violence.

The most memorable performance is Edward Terry’s portrayal of Luther, a character who speaks by squawking like a chicken and in place of his teeth, he wears razor-sharp dentures. What Luther lacks in words he more than makes up for with his physical presence. When it comes to the rest of the performances, they are merely serviceable.

The narrative is well constructed, and it is filled with tense moments that do an exemplary job building upon them. The focal point of the narrative is its gory moments of carnage, which all hold up extremely well. While exposition takes a backseat to the carnage, the narrative does manage to inject a well-placed moment of T&A. The most surprising aspect of Luther the Geek is Vern Carlson’s score, which does a phenomenal job heightening the mood. Ultimately, Luther the Geek is a well-crafted horror film that often exceeds the sum of its parts.

Luther the Geek gets a solid release from Troma Films that comes with a strong audio/video presentation and informative extras. Recommended.

 

Written by Michael Den Boer