Nora Green (Ursula Andress) is a flight attendant who is asked to deliver a letter to a circus led by Silvera (Woody Strode) when she lands in Naples. This gets her in the middle of a gang war. She’s beaten up and thrown to what should be her doom, but she somehow survives. Working with a former circus acrobat, Manuel (Marc Porel), she puts multiple bad guys — there’s Silvera, as well as Don Calo (Aldo Giuffrè) and the mysterious Americano — against one another and looks gorgeous doing it. Luckily, they find another partner in Rosy (Isabella Biagini), who has been the lover of nearly all these gangsters.
Known in Italy as Colpo in canna, this is a fascinating departure for director Fernando Di Leo. While he is the undisputed master of the gritty, nihilistic Poliziotteschi genre — he made Caliber 9, The Italian Connection and Blood and Diamonds and wrote one of my favorite parodies of the genre, Live Like a Cop, Die Like a Man — this film sees him blending his signature violence with a lighter, almost comic-book tone that leans heavily on the charisma of its lead.
While Di Leo’s “Milieu Trilogy” (Caliber 9, The Italian Connection, and The Boss) is defined by cold-blooded betrayal and urban decay, Loaded Guns feels more like a colorful caper. Di Leo pivots Nora into a femme fatale superwoman archetype. Unlike the doomed protagonists of his other films, Nora is proactive and resilient; she isn’t just a victim of the gang war. She becomes its architect, deliberately whispering in the ears of rival bosses to ensure they wipe each other out.
This ends with a fun brawl that involves the entire cast, including Andress, who did her own stunts. She’s beyond ravishing in this, reminding you that she was not just a Bond girl, but the first of them all. She plays Nora with a wink to the camera, balancing the high-fashion glamour of a flight attendant with the grit of a woman who can take a beating and come back swinging.
This Saturday on the Groovy Doom Facebook and YouTube channels at 8 PM EDT, join us for two bizarre screamers from the late 60s, Fear Chamber (AKA Torture Zone) and The Embalmer (AKA The Monster of Venice). They may have been lurking on the outskirts of your awareness, waiting for the right time to pounce on you – well, that time is NOW! Be there!
Want to know what we’ve shown before? Check out this list.
April 1: Fool Me! — Share a foolish film for the holiday.
In the ninth and final film in the Ernest series, this time, we find our hero, Ernest P. Worrell (Jim Varney), wanting to drive a big rig and somehow enlisting in the Army reserves. It’s a big leap from being the golf ball collector to being part of a UN force in the fictional Middle Eastern country of Karifistan, a place in danger of being invaded by Islamic madman Tufuti of Arisia (Ivan Lucas).
Yes, even when I try to escape the news, the war in the Middle East comes back all over again, and now, Ernest is battling infidels.
Ernest has already engaged United Nations peacekeeping commander Pierre Gullet (David Muller), so when things go bad — when Ernest gets into the shit, like they said in ‘Nam — our hero must break into a prison camp called Sector 32 and finally drive that big truck, this one with a Pluton missile. Also: Gullet is the bad guy, selling out the world to a bad guy who seems just like Dr. Klaw on Inspector Gadget.
Varney still did commercials as Ernest P. Worrell up until 1999, but he was suffering from cancer while making this. As for creator/director/writer John R. Cherry III, he had planned for Varney to star in a non-Ernest comedy film, but Varney had gotten so sick while shooting the movie that Cherry couldn’t bring himself to finish it. When Varney died two years later, he retired. Also, my Vietnam joke a paragraph or so ago? Yeah, Cherry served in Vietnam and used Ernest Productions to create a new life for himself. He felt this film was his most personal, and now I feel like a jerk for writing that.
This film and the previous movie, Ernest Goes to Africa (1997), were shot back-to-back in Cape Town and Johannesburg, South Africa. It was called Stormin’ Ernest then, and that title shows up in the credits.
This is… look, Ernest turns out to be the long-awaited messiah foretold in a Middle Eastern prophecy. I don’t know how this happened or was filmed, but there you go.
In the rigid, Catholic-guilt-soaked landscape of late 60s Italy, a widow wasn’t supposed to do much besides wear black, weep over a portrait of her departed husband, and perhaps consult a priest about her loneliness. But Mimi (the ethereal, wide-eyed Catherine Spaak) isn’t interested in the script society wrote for her. When her husband, Franco, kicks the bucket, he leaves behind more than just a grieving widow; he leaves a secret high-tech bachelor pad equipped with a little black book, instead of sharing his fantasies with her, that he kept a lair where he could cheat on her.
Instead of burning the apartment down in a fit of rage, Mimi decides to use it as a laboratory. If Franco spent his life grading women on a scale of imagination, experience, talent and cooperation, why shouldn’t she do the same to the men of Italy?
Now, in the place where her husband sinned while striving to keep her pure, everything changes.
Directed by Pasquale Festa Campanile, best known for his commedia all’italiana like Il merlo maschio, When Women Had Tailsand When Women Lost Their Tails, as well as the harrowing Hitch-Hike, this is about a woman going from an affection-negative marriage to finding love — or lust — everywhere.
Luckily, she finds the perfect partner in Dr. Carlo De Marchi (Jean-Louis Trintignant), a man who can match her kink for kink, but more importantly, wants to connect with her outside of the bedroom. Other conquests include Philippe Leroy as a tennis instructor who can’t get aroused when she’s the one who comes on to him; Italian Western tough guy Luigi Pistilli; Pistilli’s The Great Silence co-star Frank Wolff playing a dentist; Renzo Montagnani, who was Maluc in Campanile’s caveman nudie cuties and the man who would marry Black Emanuelle for real, Gabriele Tinti, playing a man who thinks Mimi is a prostitute. The biggest problem is that she instantly sleeps with her husband’s business partner, Sandro (Gigi Proietti), who claims her as his property and even refers to her as a whore, as mentioned above.
I love this movie because somehow, it came out in 1968 Italy and yet represented a step forward — not always, I get that there are still issues in this, but what do you expect from a male-made Italian sex comedy? — in the way Italian films, much less Italians, saw a woman owning her sexuality.
On Movie-Censorship.com, I found a line about this movie that I love: “Without drifting into the vulgar, she experiences various sexual styles until she discovers her favorite fetish in piggyback.” That’s why in Germany, this was called Huckepack (other amazing titles include The Aristotle Perversion; Sekso Manyak or Kadının İntikamı or Garip Duygular (Good Sex or The Woman’s Revenge orStrange Feelings in Turkish); Änka i trosor (Widow In Panties in Swedish); Una viuda desenfrenada (An Unbridled Widow in Russian, which is a nice play on the position and conceit of this film) or the best of all these titles, The Era of Female Dominence.
In its native Italy, this flick is La Matriarca. Think about that word. The Matriarch. It drips with the heavy, incense-laden weight of the Italian family unit. It suggests a woman taking the throne, perhaps with a rolling pin in one hand and a rosary in the other. But then, it hits the States. Audubon Films, owned by Radley Metzger, knew they had a movie with Spaak nude, a blonde Italian sex goddess with eyes that could melt a Cinecittà camera lens, so instead of making a statement, they went with The Libertine.
To the Italian audience, she’s a woman reclaiming her power within the structure of her life; to the US grindhouse and art-house crowd, she’s just another bad girl on a sexual odyssey. Italy gives us the status, and America gives us the sin. Actually, Italy gives us a lot of sin, but I digress.
Audubon Films also gave us way more nudity, mostly more of Fabienne Dali from Kill, Baby… Kill!
I don’t like that Dr. Carlo becomes such a jerk at the end of the movie, because I would much rather he came to Mimi on her terms and wasn’t so rude. There was no need to destroy the secret sex apartment, which is incredible and could only exist in Italian movies. That pad is a masterpiece of 60s Italian production design, a space where the rules of the outside world don’t apply.
Because this film acts as a massive clip show, it required a small army of producers to clear the rights and wrangle the reels. Here is the expanded roster of the players behind the curtain and the madness they put on screen. The credits for Beyond Belief read like a “Who’s Who” of independent hustle:
Alan Baker: Wearing two hats as both producer and director, Baker had the unenviable task of editing these disparate paranormal threads into a cohesive (and creepy) 90-minute experience.
Hal Lipman: Known almost exclusively for NFL documentaries, Lipman is the true wildcard here. Seeing his name next to automatic writing and alien abductions is the cinematic equivalent of a linebacker doing a tarot reading.
Malcolm Pierce Rosenberg and David S. Wiggins: One and done producers.
Charles E. Sellier Jr.: Before the internet told you what to watch, Sellier was out there four-walling. For the uninitiated: he’d rent out the whole theater, keep 100% of the ticket sales and bypass the studio middleman. According to his IMDb bio, he had a 52% success rate in the domestic market. Compare that to the big Hollywood studios, which were lucky to break even on one out of every seven movies. That’s because Sellier didn’t guess; he tested. He marketed movies like they were bars of soap, pre-testing everything to make sure the audience was already hooked before the first frame even rolled. Even Orson Welles told the guy, “Young man, you are light-years ahead of the rest of the industry.” And he didn’t just stop at theaters. He took his “what does the audience actually want?” data to NBC and made The Life and Times of Grizzly Adams. In 1981, Variety listed the top independent champs, and Sellier’s name was all over it with movies like In Search of Noah’s Ark, The Boogens and Hangar 18. Let me pile on some more facts: Sellier wasn’t just a producer; he was a best-selling author. He spent 22 weeks on The New York Times Best Sellers list with The Lincoln Conspiracy. Whether he was investigating the Bible or hunting for Bigfoot, the guy knew how to tell stories people needed to see through his Sunn Classics company.
You can tell this isn’t a Sunn movie because it’s hosted by Richard Mathews, not Brad Crandall. But you do get to learn about telepathy, hypnotic regression and past lives (that would be the Death Is Not the End footage), psychokinesis, ghosts (always ghosts), UFOs and alien abductions, automatic writing, and so much more.
The film kicks off with the legendary Cleve Backster, a polygraph expert who claimed that plants and even yogurt have feelings. You get to see distressed yogurt reacting to remote stimuli under an EEG. From there, it jumps to Sister M. Justa Smith, a nun and biologist, proving that faith healers can actually repair damaged enzymes in a lab setting.
One of the most wince-inducing segments features Jack Schwarz, a man who claimed total control over his involuntary systems. He pushes a 5-inch sailmaker’s needle through his bicep on camera, pulls it out, and then, through sheer non-attachment, stops the bleeding instantly.
Then, a group of researchers in Toronto creates a ghost. They invented a fictional 17th-century aristocrat named Philip, gave him a fake backstory, and held a seance. To their shock, the fictional Philip started rapping on tables and sliding furniture across the room. Is this any stranger than the story of Matthew Manning, a British teenager whose home was plagued by teleporting objects and automatic writing? You’ll be amazed to see the walls of his room covered in hundreds of signatures from spirits, including one from a man named Robert Webb, who supposedly lived in the house in 1733.
This wouldn’t be a 70s weirdness documentary without aliens. Get ready for the harrowing testimony of Charles Hickson, the Mississippi shipyard worker who claims he was kidnapped by creatures with lobster-claw hands in 1973. This is bolstered by interviews with nuclear physicist Stanton Friedman and astronaut James McDivitt, who recounts his own unidentified sighting during the Gemini 4 mission.
Beyond Belief is a time capsule of an era where science and the supernatural were having a very public, very weird first date. They broke up soon after.
Visual Vengeance has three releases in July that seriously are the most exciting that they’ve ever put out: A Chang Cheh burst of strange, a movie I never thought would be released and a movie that is the defintion of SOV. I couldn’t be more excited!
The Nine Demons: After striking a Faustian deal with the devil, fighter Zou Qi gains the power to summon nine demon spirits to do his bidding. Armed with new supernatural abilities and bound to a chain of skulls that unleashes the flesh-hungry minions, he sets out to settle a bloody score between rival families and save his childhood friend. But he quickly finds himself losing control as the demons consume everything and everyone around him. He must confront the true cost of the wicked power he’s unleashed before it devours him completely in this hybrid horror/ martial arts wuxia classic.
Directed by Shaw Brothers visionary and Godfather of Hong Kong Cinema Chang Cheh (Five Deadly Venoms, The One-Armed Swordsman, Invincible Shaolin), The Nine Demons sees him reunited with members of the legendary Venom Mob in one of the weirdest and wildest late-era offshoots of that iconic collaboration. Though not a Shaw Brothers production, it carries over the Venoms’ signature fight choreography into a surreal fantasy world packed with flying skull demons, vampiric children, and chaotic low-budget and bloody effects. The result is a feverish, anything-goes blend of old school martial arts heroics and occult horror that stands as a truly unhinged and unforgettable cult artifact of the classic martial arts era.
The Visual Vengeance release of The Nine Demons has a new 2K transfer from original film elements supervised by film archivist Toby Russell, commentary with martial arts film historians Justin Decloux and Dylan Cheung, video essays on The Discovery of James Wu Kuo-Ren and The Late Period Chang Che, an intervierw with actor Yu Tai-Ping, an episode of the Unsung Horrors podcast, a complete old school dirty VHS version, an image gallery, a trailer, a folded mini-poster featuring original theatrical art, a reversible sleeve featuring original alternate art, “Stick Your Own” VHS sticker set, Enter: The Venom Mob liner notes booklet by C.J. Lines, a limited edition O-card featuring art by Uncle Frank, trailers and more! Get it from MVD and Diabolik DVD.
Laurin: Laurin is a quiet and precocious adolescent girl living in rural 1901 Germany. She voyeuristically observes the behavior of the self-absorbed grownups around her, all of them seemingly oblivious to the fact that this strange little girl is growing up alone. While her father is away at sea, her mother’s violent death leaves Laurin effectively orphaned and unsupervised. Now, a murderer has begun targeting Laurin’s classmates, and Laurin has begun having terrifying hallucinations of the children. The grownups are desperate to catch the killer, but they’re woefully ignorant of the dark, secret world right under their noses. An evil has surfaced in their seemingly idyllic village, deeply rooted in childhood traumas and long-buried secrets…and no child is safe.
Writer/director Robert Sigl’s ambitious and powerful debut shocked audiences on its initial release, and never failed to spark controversy across Europe. For the film’s 35th anniversary, Visual Vengeance proudly presents Laurin in its first-ever North American release – and Sigl’s moody, atmospheric Gothic thriller has lost none of its impact in the intervening years. This director-approved special edition of the critically acclaimed film is loaded with extras, including archival materials from the director’s private vaults as well as new bonus features created exclusively for this release.
The Visual Vengeance release of Laurin has a director-approved 2K HD transfer from the original 35mm film elements, complete and uncut, in both English- and German-language versions; feature-length audio commentary by film historian Troy Howarth, author of Innocence Lost and Robert Sigl and the Curse of Laurin; updated subtitle translations for the German version assisted by Robert Sigl; the original VHS rough cut of Laurin from Sigl’s private collection, featuring set-recorded audio allowing viewers to hear the actors’ real voices prior to overdubbing, a new interview with Sigl; two shorts, The Christmas Tree and Coronoia 21: It Comes with the Snow; The Making of Laurin archival documentary; interviews with Dóra Szinetár, Barnabás Tóth, cinematographer Nyika Jancsó and film historian Jonathan Rigby; Robert Sigl Bavarian Film Awards Presentation; 8 photo galleries featuring never-before-seen images from Robert Sigl’s personal archives; a collectible folded mini-poster; a blu-ray sleeve featuring original home video art; a 6-page liner notes essay by Tony Strauss of Weng’s Chop magazine; a limited edition mini-postcard set reproduced from German promotional materials; a “Stick Your Own” VHS sticker set; a limited edition O-card by Justin Coons and a trailer. This will be available from MVD and Diabolik DVD.
Scream Dream: When heavy metal front woman Michelle Shocked is fired from her band for bad press related to Satanic rumors, she proves everyone right by transforming into a bloodthirsty demon who embarks on a spree of killing and possession.
Donald Farmer’s Scream Dream is both the perfect example of a regional Shot-On-Video film, and one of the most insane heavy metal horror movies of all time. Made during the height of 1980s Satanic Panic’in the USA, Scream Dream is overflowing with rubber monster action, gore-drenched murders, unisex teased hair and more bar band metal music than you can shake a studded wristband at. Available for the first time ever on Blu-ray with brand new bonus features with the original creators.
Extras on the Visual Vengeance release include commentary with producer/director Donald Farmer, a Heavy Metal Horror Primer Video Essay with Justin Decloux and Adam “Riot” Thorn; interviews with Nick Riggins, Jesse Raye and Rick Gonzales; behind the scenes image gallery; excerpts from a Donald Farmer Q&A; trailers; a reversible sleeve featuring original VHS art; a folded mini-poster; “Stick Your Own” VHS sticker set; a limited edition O-Card and a limited edition Scream Dream guitar pick. You can get this from MVD and Diabolik DVD.
Date With a Vampire (2001): If you spent any time wandering the aisles of a mom-and-pop video store, you know the vibe of SOV (shot-on-video) movies, produced during a time when digital cameras were making everyone with a tripod think they were the next Jean Rollina, and many of them are!
Date with a Vampire mixes softcore erotica with horror. Directed by Jeffrey Arsenault, written by Kevin J. Lindenmuth and featuring an appearance by cult East Coast horror actor Joe Zaso, this is Violet (Lori Thomas), a vampire who brings men home for both pleasure and someone to drink.
We follow Violet (Lori Thomas), a vampire who operates with a very specific business model: bring guys home, give them a little hospitality and then turn them into a liquid lunch. It’s a simple life, really.
Enter Chuck (Robin Macklin). Violet gives him a love bite so potent it triggers a psychotropic hallucination involving a sapphic encounter with Rebecca (Cynthia Polakovich). Poor Rebecca doesn’t last long, though. She ends up as a snack for a basement-dwelling creature played by East Coast indie legend Joe Zaso (5 Dead on the Crimson Canvas).
Somehow, this film’s hour-long runtime still seems much longer. Perhaps that could be the fault of a movie all in one or two rooms, with long dialogue and multiple extended softcore scenes. That said, I would have totally rented this in 2001 if my local store had a better selection than what we got. And I applaud the lo-fi feel of this!
Blood Craving (2002): Director and writer Jeffrey Arsenault kind of owned the SOV-era erotic vampire shelf, if there was one in your video store, if not through sheer force of will than through how many of these movies he made: Crimson Nights. Crimson Kisses, Crimson Desires, Vampire Playmates 2, Date With a Vampire and this film.
Originally a sequel to his movie Night Owl, this has a short run time. The most jarring and, frankly, delightful part of the experience is that a massive chunk of that runtime is dedicated to an interview with the legendary Caroline Munro. Yes, that Caroline Munro, the Bond girl and Hammer Horror icon. Finding her in the middle of a grainy, ultra-low-budget SOV vampire flick is like finding a vintage Bordeaux inside a juice box. Consider me shocked, pleased and slightly confused as to how she ended up here, but I’m certainly not complaining.
Inspired by Joe D’Amato’s Emanuelle and Françoise, this stars Tiffany Helland as Jillian, who is really great in it. As I said at the top of this, some filmmakers in this era may have aspired to Jean Rollin-style movies. This one gets close, and with a bit more story, it could overtake the lead film in the Visual Vengeance set, Date With a Vampire.
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This Visual Veneance release features an SD master from original tape elements, commentary with director Jeffrey Arsenault; interviews with Arsenault, Kevin J. Lindenmuth, Cynthia Polakovich and Joe Zaso; location videos; an image gallery; an original trailer; commentary and interview on Blood Craving with Jeffrey Arsenault; an After Midnight Entertainment: trailer reel; Visual Vengeance trailers; a reversible sleeve featuring new Blood Craving art; a folded mini-poster and a limited edition O-Card by Rick Melton. Get it from MVD.
I want to meet Damon Packard, but I’d also be a little freaked out about it. The Early ‘70s Horror Trailer is so inside my brain and filled with the imagery I love most about, well, early 70s horror, without anything like a plot to get in the way.
Why is everyone running? Why is there so much blood? Who drowned that girl? Make your own movie inside your head with this, as these are, but moments in a reality we will never experience except in these split seconds. The layered, distorted audio that sounds like a cassette tape melting in a hot car, something else we may never hear again. Packard doesn’t make a movie influenced by the past here. Instead, he captures the way we remember old movies in a fragmented, terrifying and disconnected-from-reality manner.
I hope no one ever remakes Let’s Scare Jessica to Death, but if someone does, let’s kill them and have Packard be the director instead.
It’s year five of the April Movie Thon, your chance to write for B&S About Movies.
All April long, there will be thirty themes as writing prompts. If you’d like to be part of April Movie Thon 3, you can just send us an article for that day to bandsaboutmovies@gmail.com or post it on your site and share it out with the hashtag #AprilMovieThon
This year, I plan on doing one long review for each day and really exploring each movie.
Here are the themes:
April 1: Fool Me! — Share a foolish film for the holiday.
April 2: Get Me Another — A sequel or a movie way too similar to another film.
April 3: American Circus Day — Write about a big top movie.
April 4: World Rat Day — Celebrate this holiday by writing about a movie with a rat in it.
April 5: Easter Sunday — Watch something religious.
April 6: Independent-International: Write about a movie from Sam Sherman. Here’s a list.
April 7: Jackie Day — Celebrate Jackie Chan’s birthday!
April 8: Zoo Lover’s Day — You know what that means. Animal attack films!
April 9: Do You Like Hitchcock? — Write about one of his movies.
April 10: Seagal vs. Von Sydow — One is a laughable martial artist. The other is a beloved acting legend. You choose whose movie you watch, it’s both of their birthdays.
April 11:Heavy Metal Movies — Pick a movie from Mike McPadden’s great book. RIP. List here.
April 12: 412 Day — A movie about Pittsburgh (if you’re not from here that’s our area code). Or maybe one made here. Heck, just write about Striking Distance if you want.
April 13: (Evil) Plant Appreciation Day — It ain’t easy being green. Pay tribute to all the plants with a movie starring one of them.
April 14: Viva Italian Horror — Pick an Italian horror movie and get gross.
April 15: TV to Movies — Let’s decry the lack of originality in Hollywood. But first, let’s write about a movie that started as a TV show.
April 16: Dead Fad — Find a fad, look for a movie about it and share.
April 17: Fake Bat Appreciation Day —Watch a movie with a fake bat in it.
April 18: King Yourself! — Pick a movie released by Crown International Pictures. Here’s a list!
April 19: What Happened to Jayne — A movie starring Jayne Mansfield.
April 20: Regional Horror — A regional horror movie. Here’s a list if you need an idea.
April 21: Gone Legitimate — A movie featuring an adult film actor in a mainstream role.
April 22: Earth Day Ends Here — Instead of celebrating a holiday created by a murderer, share an end of the world disaster movie with us. You can also take care of the planet while you’re writing.
April 23: Off Field On Screen— Draft a film that has a sports figure as its star. Bonus points if it’s not a biography of themselves!
April 24: Puke! — Pick a movie that had a barf bag given away during its theatrical run! Here’s a list.
April 25: Bava Forever — Bava died on this day 43 years ago. Let’s watch his movies.
April 26: Sunn Classics— Four wall your TV set and watch a Sunn Classics movie. List here.
April 27: Kayfabe Cinema — A movie with a pro wrestler in it.
April 28: Nightmare USA — Celebrate Stephen Thrower’s book by picking a movie from it. Here’s all of them in a list.
April 29: Europsy — Watch a Xerox of Bond, James Bond.
April 30: Visual Vengeance Day — Write about a movie released by Visual Vengeance. Here’s a list to help you find a movie.
Released months before lead Hiroko Yakushimaru’s Sailor Suit and Machine Gun, Nobuhiko Obayashi’s first groundbreaking teenage idol picture is a dazzling mix of special effects and blue-screen artifice, much like the film most know him for, House. Yuka (Yakushimaru) is a schoolgirl who discovers that she has psychic powers, just in time for the freethinkers of her school to come under attack by fascist mind-controlled Venusian kids led by the icy, telepathic Michiru. They enforce a New Order under the guise of academic excellence and discipline that may be the start of the planet going all bodysnatchers.
It should come as no surprise, given who made this, that this movie goes all candy-coated, what with animation and art intruding into our reality whenever they want to. This was adapted from a novel by Taku Myamura, and it has no problems putting its emotions and politics right in the open. But this isn’t an art film; it’s a crowd-pleaser starring a woman who would become one of Japan’s biggest idols quite shortly.
The film is aggressive in its use of blue-screen composites that don’t strive for realism. Instead, they create a paper doll aesthetic where Hiroko Yakushimaru feels like she’s drifting through a living manga. Expect synthesized skies, hand-drawn lightning crackling over school hallways and dream sequences that bleed into the real world without warning. It’s a film where the background is just as likely to start moving as the actors.
Speaking of the house, in Koji’s home, check out the framed photograph of Yôko Minamida, the actress who played the aunt.
The Cult Epics Blu-ray of this film has a 2K transfer and restoration, and extras like audio commentary by film critic Max Robinson, a visual essay by Phillip Jeffries, an Obayashi poster gallery, trailers, a new slipcase art design by Sam Smith, a reversible sleeve with original Japanese poster art and a repro 24-page Japanese booklet. You can get it from MVD.
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