Some Quality Renovations On The Carpenter

The Carpenter is a wild, direct-to-video supernatural slasher from 1987.  A young couple moves into a new home, and as they're having the house renovated, we start to learn things aren't as idyllic as they seem.  The husband's a sleazy cheat, the wife has a history of serious mental illness, and even the contractors are slackers and crooks.  All but one of them, anyway, as one carpenter is always working late and doing the work of a whole crew on his own.  Soon he's not just doing all the repairs, he's solving all the wife's troubles, including murdering whoever needs murdering.

Update 10/3/20 - 3/28/25: For a while there, I thought this one might never receive a proper special edition, but in retrospect I shouldn't have worried.  It's an 80s slasher; somebody was going to bring it back.  Turns out it was Vinegar Syndrome, so expectations are high.

But something's too good, or too evil, to be true about this carpenter.  Is he a madman obsessed with the young couple, a ghost determined to finish the house he could never complete in life, or all a part of the wife's mind?  It's very rough around the edges, but the script at its core is clever enough to keep even jaded horror vets on the hook.  It's tongue-in-cheek at times, with all the cheerfully over-the-top handyman-themed kills you'd expect, but the humor is never at the expense of the characters or the story.  This isn't a horror comedy so much as a legit dramatic horror with some wit, striking a tone very similar to The Stepfather, and almost as successfully.  And character actor Wings Hauser is at his best as the titular laborer out of his time and his mind.  Admittedly, this film puts a lot of weight on his shoulders, but he carries it well, delivering demented speeches over his coworkers' wriggling bodies.

When this finally came out on DVD in 2011, I was amped.  The only bummer was that Scorpion only came up with an essentially barebones DVD-only release.  Apparently elements didn't exist for a blu, and the bets they could do was a composite cut.  See, when this was released on VHS, there were two versions: R and Unrated.  Whatever elements Scorpion had for their transfer was the R rated cut, so they had to cut in the unrated footage, i.e. all the best bits, from a tape.  So yes, it was the full unrated version, but SD is all we got.  ...Until 2025, that is.  Vinegar Syndrome apparently felt the materials warranted an upgrade, and so we get an all new 2k scan on BD from "the best existing film elements," a 35mm release print.  And yes, this one's a composite cut, too.  So don't expect immaculate PQ, but if anyone can make this movie look prettier in HD, it's Vinegar Syndrome.

1) 2011 US Scorpion DVD; 2) 2025 US Vinegar Syndrome BD.

As you can see, the film is presented as it was originally shot, in widescreen (1.78:1 on the DVD, 1.85:1 on the BD), as opposed to the old 1:33 VHS tapes.  It's obvious this was shot on film, not tape, so it looks markedly better than it ever has before.  That said, Scorpion's disc retains some evident print damage, from little specks to vertical lines running through the shot and even green chemical burns.  Most of it's pretty clean, but the when it's there, the damage is hard to miss.  Happiily, however, VS has cleaned all of that up.  The image is definitely sharper and clearer now in HD, with very natural looking grain captured in 2k, and the colors look decidedly more natural.  Even in the SD composite footage. 

Looking above here, the second shot is the main footage, while the first is from the unrated inserts.  There's a bunch, and you can clearly see it's from a weaker, noisier source, but it's far from unwatchable.  If you got through Scream Factory's Silent Night, Deadly Night or Arrow's Hellraiser 3 without falling on the floor, you'll be fine here.  There is a noticeable shift in quality even in motion, but VS's additional color correction (and grain filter added to the SD stuff?) blend it together quite satisfactorily.  We lose some fine detail, but they've done a first class job with it, and fans should be more than satisfied.

In terms of audio, we just get the original mono track, but that's all I'd ask for anyway.  Even on the DVD, it's a pretty clear track, with any weaknesses seeming to stem from how it was originally filmed.  You can hear the shift in quality when the scene shifts from the R to unrated footage; it sounds more echo-y and thin.  But it's still pretty clean and hiss-free.  VS bumps it up to DTS-HD, and there's an appreciable improvement on the insert stuff.  They must've done some intense remastering, because you no longer have that distinct shift between the cleaner and composite audio.  They've also included optional English subtitles, which the Scorpion lacked.

There are no extras on the DVD, really, apart from the Katarina's Nightmare Theater wrap-arounds.  She doesn't have much to say even by Katarina's usual standards... her credits sequences last longer than the segments themselves, which are mostly just an excuse for her to pose holding a power drill.  The only other things on this disc are bonus trailers, not even a trailer for The Carpenter... although it's possible none were ever created, apart from those thirty-second "coming soon to home video" ads.  Anyway, this release does at least come with reversible artwork.  It's the same imagery on both sides, but allows you to hide the garish Katrina banners.

The BD, on the other hand, is well stocked.  There are two audio commentaries, including a top notch one by the director and the screenwriter, and then a more casual, but enthusiastic, by two flippant podcast guys.  Then there's a great half hour+ retrospective with the stars and main cast members.  A few moments repeat what we'd already heard in the commentary, but it's still a must-watch for any fan.  There's an additional Hauser interview, too, which is essentially bonus footage from the doc, because he was in that, too, in the same hat and the same chair.  But you can never have too much Wings Hauser on a Carpenter release.  This new release comes in reversible cover art (though, honestly, I'm not a fan of either... I wish they'd stuck to the old photo image), and if you got the limited edition direct from VS's website, a slipcover.  We do lose the Katrina wrap-arounds, though.

This was a real must-have DVD for me, and just as crucial a double-dip to blu.  As I wrote in 2020, "[s]core an interview with Hauser and the director, and I think you'd have a high demand title."  Yeah, this film's low budget and won't bowl you over with production values, but it's a neat little film that still manages to amuse after all these years.  For 80s slasher fans, this is a staple.  And even if you're not particularly hung-up on the subgenre, this has a broader appeal as well.

R.I.P. Wings.

M.I.A. Tomorrow Man

It's the anti-Warlock!  Rather than a powerful being from the past visiting present day Los Angeles to destroy humanity, Julian Sands is a powerful being from the future visiting present day Los Angeles to save humanity.  He teams up with a local scientist, played by none other than Giancarlo Esposito, to stop a deadly rocket launch.  That's the story from the nearly forgotten TV movie Tomorrow Man, written by the creator of Sledgehammer! and directed by Chris D'Elia's dad.  ...And we don't need to hold him accountable for his son's behavior after he became an adult, right?  Yeah, let's just try to forget about that dude and keep it moving.

Not to be confused with Corbin Bernsen's 2003 The Tomorrow Man, or Johnathan Lithgow's 2019 The Tomorrow Man, this 1995 Tomorrow Man has a weird tone.  It's got terrible CGI graphics straight out of a 3DO CD-Rom, and generally plays the story straight - a sci-fi thriller about a man on the run from menacing government agent Craig Wasson (Body Double, A Nightmare On Elm St 3) with dramatic score and photography - except characters will occasionally drop wacky, sitcom-style one liners.  Someone falls screaming to their death from a helicopter, then the next lines of dialogue are "you're not gonna leave me like this?" "Well, what'd ya expect, dinner and a movie?"  The plot consists of some seriously cliche material you've seen hundreds of times before (think The Hidden meets Amanda and the Alien), but I gotta say: I had a good time.  I'd buy a special edition of this.

I guess this was a pilot that never got picked up for series, which is maybe a shame or maybe just as well.  I enjoyed this as a one-off, but I don't think we'd need to see weekly episodes of this pair snarking around various small towns and government agencies.  This works as an endearing, low budget film, not a series.  Sands manages to pull a lot of humor and charm out of a pretty thin character, but it already starts to drag in the second half.  It never got to the point where I was bored, but I can only imagine how twenty-one more variations of the same story would be serious overkill.

But being a pilot, unfortunately, means this has never been released on DVD and is generally fairly M.I.A.  Fox did release it on VHS in other parts of the world, however (sometimes under the alternate title Future), and it's easily found online.  It's framed at 4:3, which is surely its OAR TV ratio, but was probably shot on film.  If so, it would surely benefit greatly from an HD restoration.  And even if it was shot on video, it could certainly still look a lot better than it currently does on Youtube[bottom shot above].  That plus a commentary from D'Elia or Alan Spencer would make for a nice little treat from a label like MVD, Kino or even Vinegar Syndrome.  Let's make it happen!

Harlequin a.k.a. Dark Forces

Harlequin's a pretty puzzling little film, though you'll feel on more familiar footing if you're versed in the history of Rasputin.  David Hemmings (Deep Red) plays a rising political star who seems to have it all: wealth, influence, a beautiful and devoted family.  But all that fortune is overshadowed by the fact that his young and only son is dying of leukemia, and no doctor can save him.  Enter Robert Powell (Mahler, Tommy), a mysterious man who claims to be a magician able to cure the boy.  He's swiftly welcomed into their home, but it could be a dangerous problem if this powerful figure's motivations prove to be less than purely altruistic.

Update 10/5/18 - 3/19/25: 88 won the blu-ray duel, but Indicator has swooped in to snatch its victory by taking Harlequin to the next level: 4k.   Let's see what their fancy new edition has done for this distinctively quirky piece.

I'd hesitate to even file it under horror, though it's certainly horror adjacent, at least at times.  Harlequin's as much a drama or even a bizarre political thriller as it is anything else.  There's some tension at the end, but I wouldn't say this film is ever trying to scare you.  It's probably easiest to just call it Ozploitation.  It's another 80s import penned by screenwriter Everett De Roche, the man behind of the biggest and best Ozploitation titles like Patrick, Long Weekend, Razorback one of my favorites: Fortress, but it's not almost not even fair to the "exploitation" half of the "Ozploitation" label.  I mean, it has its moments of brief nudity and a more than satisfying amount of unnatural spectacle.  It's certainly fun and weird, but its meter leans more towards Classy than Trashy.  It's smartly assembled and very well acted; you could almost pass it off as a classic Dennis Potter teleplay for the BBC except maybe for what happens to the maid.  If you can imagine a combination of The Visitor and Brimstone and Treacle, you've pretty much arrived at this movie.

In the special features they talk about how they originally wanted David Bowie for the lead role, which makes perfect sense... but they might've actually been better off with Powell.  Well at least in terms of artistic product, maybe not box office.  And speaking of performances, he might've had these types of roles on speed dial by now, but Oscar winner Broderick Crawford (All the King's Men, The Private Files of J. Edgar Hoover) is still pretty unforgettable as the political heavy who'd grown used to pulling everyone's strings.  Even the kid is pretty good.  I just saw A Simple Favor yesterday, and boy, was that a rough reminder of how child performances can be a serious sand trap even for the major Hollywood players.  This isn't one for the gore hounds, but if you get this movie and don't dig it, try showing it to your parents.

This film's seen a couple of interesting releases, all sorts of half special editions.  Image first put it out on DVD here in the US, with a nice widescreen transfer and audio commentary in 2004.  And naturally Umbrella/ Shock put it out in Australia shortly after.  Then Synapse re-released it as a special edition in 2008, albeit with no new features or anything.  Scorpion Releasing finally gave it its HD debut in 2013 with their limited edition blu-ray, which still basically just had the commentary and little else to demarcate it a special edition.  But then 88 Films jumped into the fray with their limited and more genuinely special edition blu.  And now Indicator/ Powerhouse has entered the picture, restoring the film in 4k with even more features on their limited BD (4000 units) and UHD (6000 units) editions.

1) 2013 US Scorpion BD; 2) 2018 UK 88 Films BD; 3) 2025 UK Indicator UHD.

Well, 88 may've made a fancier edition than Scorpion, but they didn't come up with a new transfer.  Not that I was too disappointed since I wasn't exactly counting on one - if they'd paid for a new scan, they'd've been spelling it out in the marketing.  No, I was expecting something pretty close, and this is nothing if not close to the Scorpion blu.  I was able to match very slow-moving frame grabs by spotting identical flecks; they're virtually identical.  And the original transfer wasn't exactly showroom floor material in the first place.  But I'm not sure that's so much anything the labels are doing wrong so much as just the source material being a little dodgy.  Like, look at how smeary the letters are on the title card, with the whites of the small print bleed into each other.  Sure, it's better on the UHD, but it's not exactly crisp.

1) 2013 US Scorpion BD; 2) 2018 UK 88 Films BD; 3) 2025 UK Indicator UHD.

Which is probably why, in their booklet, Indicator promises, "[n]o grain management, edge enhancement or sharpening tools were employed to artificially alter the image in any way" (appreciated!  Thank you, Indicator).  There's a softness to the photography throughout, which is clearly intrinsic to the film, and I reckon that's just the way the filmmakers made that optical title card.  Scorpion's packaging describes the transfer as "Brand New 16 x 9 (2.35:1) Widescreen Master in HD from Original Vault Elements," which leaves things a bit vague. 88 got a bit bolder, touting "Restored HD master from the Original Negatives."  And now Indicator clarifies theirs as a "[b[rand new 4k restoration from the original negative."  Anyway, it looks like old 35mm film.  Grain is evident, and light damage is persistent (less so on the new Indicator) but never to the point of distraction.  Colors look a little faded.  And that brings us to the only real distinction between the two blus.  88's is a shade darker, which I prefer, because again, the film looks faded.  It's a minor distinction you'd never notice outside of a direct comparison like this, and certainly not a reason to double-dip, but the slim edge went to 88.

"Went" because the new UHD, of course, trounces them both.  The most distinct improvement is the boldness of the colors.  The new HDR looks fantastic, but I'm sure even their 1080p blu-ray puts the older discs weathered look to shame.  A blue sky and blue sea instead of all white behind those credits?  Imagine!  It's bolder, far more vivid and pulls in more detail from the highlights and shadows that were blasted out in the previous editions.  Look how much more you can see in Hemmings' lamp in that second set of shots, for example.  The resolution isn't as much of a boon, because, as I already mentioned, the film has an inherently soft look; but the contrast and broader gamut make the image considerably more life-like and less aged.  And the composition has been tweaked, too.   While the aspect ratio is still 2.35:1, the framing has been adjusted, so we see a little more to the left of Godzilla in the first set of shots, and the top edge isn't clipping Hemmings' hair in the second.

Audio-wise, all three discs seem to have the same mix, the original mono track, in DTS-HD on Scorpion, LPCM on 88 and back to DTS-HD for Indicator.  But here's where 88 took a bigger step forward: they included English subtitles where Image, Synapse and Scorpion had none.  Thankfully, Indicator has them now, too.

For many, the bigger competition may be taking place in the special features department, anyway.  So let's start with Scorpion.  Their main feature is the same audio commentary that's been around since the Image days with director Simon Wincer and producer Anthony I. Ginnane.  It's quite good, though.  They're very involved and have a lot to say.  The other bits are mainly hold-overs from the DVDs, too.  There's an isolated musical score track, and the original theatrical trailer under the alternate title, Dark Forces.  Scorpion adds one thing, though, a Katrina featurette where she gives her usual overview on the film details, and even dresses up in a harlequin costume for some, uh, interpretive dance?  There's also a couple bonus trailers and some cool interior artwork showcasing Harlequin's many colorful posters.

Now, I wasn't expecting 88 to mess with the Katrina skit, but I'm a little surprised they dropped the isolated music track, since that's also been a staple of all the past DVD releases.  They got the important thing, though: the commentary.  And even more importantly, they got a bunch more that no previous release has ever had.  They have a new, on-camera interview with everyone's favorite critic Kim Newman, who mostly gives a general overview of Ozploitation in general, but does touch on Harlequin specifically as well.  And there's a brief, vintage television interview with Hemmings and Powell, which is rather silly.  The host keeps talking about how she's so taken with the two of them and doesn't ask them much about the film except how it must be hard to shoot a film out of sequence.  But I'm glad 88 uncovered it; it's fun.

Most significantly, however, is a roughly hour long collection of on-camera interviews with Wincer, Ginnane, De Roche and actor Gus Mercurio.  Now, the interviews start with a bit of disclaimer that, "[t]he following interviews were conducted by director Mark Hartley for his documentary NOT QUITE HOLLYWOOD (2008)."  It's been a long time since I've watched that film, but to be clear, while these interviews were surely for that doc as described, I'm fairly certain these are not just clips lifted from that film (or its many DVD special features).  These are in-depth interviews all about Harlequin, not just Australian horror in general, and really just what a Harlequin special edition calls for.  They're very forthcoming about everything from the commercial aspects of making this film for an international market to working around some of the cast members' alcoholism.  Also, instead of the Dark Forces trailer, they have a Harlequin-titled trailer.  88's blu comes with reversible artwork, the other side matching Scorpion's.  And limited initial pressings also include an 8-page full color booklet with notes by Calum Waddell and some cool poster art, plus an attractive slipcover.

And now Indicator?  They carry over everything from the 88 disc, and happily, the isolated score is back.  Better still, they've come up with even more new extras.  There's a short on-camera interview with the screenwriter from 2007 taken from a local Australian television station.  And there are audio-only interviews with the director, associate producer and production designer.  These suckers are long (the director's is feature length!), so buckle in, but the latter two have never been interviewed for this film on disc before, so they're very welcome additions.  And there's a new expert interview (in addition to Newman's) by Australian film historian Stephen Morgan.  We also get three trailers, three galleries, and at least for these initial limited runs, an impressive 80-page booklet.  It's all housed in a tough side-loading box, and yes, the little J-card passes Grindhouse Mike's "does it fit in the box," albeit not ideally (it sticks out past the book and disc case ever so slightly).

Just back from The Phantom Zone, apparently.

As a genuine fan of this film, I've been only to o happy to triple-dip for the 4k upgrade and new special features.  The jump from Scorpion to 88 was a real "for enthusiasts only" move, but I can recommend the jump from either of those to the Indicator more broadly.  And yeah, if you're purchasing this film for the first time, this is the easily definitive and obvious choice.  I'm a little surprised this film got such high-end treatment, but it seems like the Australian film market takes good care of its cult titles.

Whither Amadeus? Hither Amadeus!

There have been rumors of a 4k Ultra HD release of Amadeus for several years now.  It's been said to be coming from Warner Bros and Criterion at different times.  I even fell for one of those shady Twitter accounts that announced it as if they had real insider information, before I found they were just posting best guesses are scoops for clicks.  I still feel a little bad for perpetuating it by posting the artwork they created on a forum and sharing a link to the fake news.  I guess you could say that this post is my penance for that.  What can I say?  I was naive!  But that naughty account has since vanished, and we're just left with the false hope.  As far as I know, there's no further reason to expect an Amadeus 4k outside of the "it's always possible" realm.  I mean, it is a high-profile Academy Award winning "Best Picture," and there have been rumors of a restoration possibly being "in the works."  But nothing's been legitimately announced.

Update and Error Correction 6/8/23 - 7/3/23: First of all, a huge thanks to Kevin and Chris in the comments for helping me set this screw-up straight.  Your instincts were completely correct!  To be clear, the 2009 DVD is the theatrical cut, not the director's cut (which is a good thing, because it means fans can still access the TC without tracking out the long OOP disc from the 90s).  And the good news for everyone is that, in the business of sorting my mistake out, I got my hands on a 1997 DVD, so we've wound up with more thorough coverage as a bonus.

Update 2/26/25: The rumors have finally proven true!  Or more accurately, perhaps, enough time has passed that the initially false rumors eventually stumbled into the facts bearing themselves out.  Whatever, same difference!  We now have Amadeus restored in 4k on UHD.  Just one cut, but what did you expect?  An edition with no compromises?

You might expect a three-hour drama about an 18th century composer to be a pretty dry, homework-like affair.  But oh no, 1984's Amadeus is a vibrant, exciting picture.  The conflict between F. Murray Abraham and Tom Hulce runs deep.  Think There Will Be Blood, but resonating on an even more profound level.  Milos Forman adapts the original stage play with a lavish production, clearly expenses were not spared.  Hulce gives a wild performance, but surrounded by first class players like Jeffrey Jones, Abraham and The Funhouse's Elizabeth Berridge, it all works magically.  In either cut.

A controversial moment from the "Director's Cut."

Yes, I have to confess, I feel a little ambivalent on the director's cut issue.  I don't feel the longer cut hurts the pacing any - what's an extra twenty minutes when you're already pushing three hours?  You either have the attention span or you don't.  And some of the added material is pretty good, like the bit with the dogs.  It's all well done.  On one hand, I don't really disagree with critics who say it demonizes Salieri too much, with the nudity and all making him excessively lecherous.  On the other hand, that's a key moment from the play, so who are any of us to say it doesn't belong?  In the commentary, Forman says he only cut the stuff for time because Warner Bros wouldn't release a three hour film, not because he disagreed with the characterization.  So, eh... 🤷

Anyway, the movie's strengths are still at play in either version.  Idealistically, I always think studios should err on the side of providing all the options, though, so any future release really ought to include both cuts, satisfying the filmmakers and their adherents, as well as the purists looking for the original theatrical experience.

But instead it continues to be a binary issue.  Warner Bros' original 1997 DVD, now long out of print and very hard to find, was an anamorphic, widescreen but barebones presentation of the theatrical cut as a 2-sided flipper disc (you have to take the disc out and turn it over to watch the second half of the film).  That was followed by the Two-Disc Special Edition in 2002, where they switched to the director's cut.  The two-disc version is a dual-layered disc, so the whole (longer) film plays without flipping or switching discs.  It's also a special edition, with an hour-long documentary on the second disc.  In 2003, there was a limited edition 3-disc set, but it's basically just the same 2-disc set in special packaging.  That third disc is a soundtrack CD.  Then, in 2009, they re-released the old flipper disc in an amary case - meaning back to the theatrical cut and no extras.  Also in 2009, however, WB released their blu-ray edition, which brought back the extras for their HD presentation.  There was a standard edition and a mediabook which also included that soundtrack CD.  But both are the director's cut only.  And finally, in 2025, the pendulum has swung all the way back to the other side.  Amadeus has been restored in 4k on a new UHD release from Warner Bros, but it's only the theatrical cut.

1) 1997 WB DVD; 2) 2002 WB DVD; 3) 2009 WB DVD;
4) 2009 WB BD; 5) 2025 WB UHD.

1) 2002 WB DVD; 2) 2009 WB BD.
(This shot doesn't appear on the '97 or '09 theatrical cut DVDs.)

(This shot doesn't appear on the 2025 theatrical cut UHD either.)

The original (and 2009 reissue, which is the same disc), is framed at 2.29:1, which is tweaked to 2.30:1 on the 2002 disc.  But if you look at what's actually in frame, the difference is far greater than a mere .01 in geometry.  It's zoomed in, effectively cutting off parts of the image along the sides and bottom.  Then the BD widens out it out further to 2.41:1.  It doesn't reveal more; the DVDs are just slightly vertically stretched, which the BD corrects.  The flipper DVDs are also, you won't help but notice, considerably more overcast with a warm hue, giving them a much yellower look in the shots above.  The 2002 DVD and BD are clearly using the same root master, with the same corrected colors, but the boost to HD on the blu makes a nice difference, giving a clearer cleaner image with distinctly sharper detail.  With less compression, the colors manage to appear more nuanced and naturalistic, too (look at the flesh tones in the second set of pics, for instance).  That said, even on the BD, grain is light; but this was shot on 70mm, so it should be substantially finer.

Now, the UHD is a smidgen taller again, measuring in at 2.39:1, which it achieves by revealing slivers more picture along the top and bottom.  The increased resolution is nice, too.  Look at the delightfully bored girl on the lower left corner of the first set of shots.  Even on the blu, her jewelry is largely reduced to pure white pixels, which are far more nuanced and polished in the UHD.  Her bow even suggests some subtle edge enhancement on the BD, which is replaced by pure naturalism on the UHD, where we can also see deeper hints at the pattern on the surrounding fabric.  Color-wise, besides finding more depths in the highlights like the aforementioned jewelry, the UHD returns to the warmer and yellower tone of the older DVDs.  But there it's more of a wash, whereas here, differing colors are still allowed to stand out, untarnished.  That is to say, for example, the rose in the second girl's hair is bright red when it had previously been faded, and the next girl's dress pure blue, where the yellow hue on the previous DVDs managed to make it lean greenish.  Those gold columns really shine like gold now, where they never did before.  And yet we can still see areas (i.e. the sheet music) of true white.

Audio-wise, they all give us a 5.1 mix with optional English subtitles, in TrueHD on the blu.  The 2002 DVD also had a stereo mix, though, which the blu-ray again drops.  But this is a music film that famously played in theaters with a six-track mix, so the 5.1 is the one we want.  The UHD gives it to us in DTS-HD, and the back of the case actually says 5.0, but when I examine the audio on my PC, it's still split into six channels.  Honestly, it doesn't sound hugely different from what's come before it.

As far as foreign language options, the DVDs also had a French 5.1 dub and French and Spanish subs.  The blu has a French, Spanish, German and Italian dub (all 5.1) and subtitles in fifteen additional languages.  The UHD goes back to just the French and Spanish dubs, and the back of the case suggests they're in DTS-HD, but upon inspection, they're actually lossy.  And they've cut down the massive list of subtitle options to just English, French and Spanish.

Now, the 2-disc DVD and the BD have the same extras, while the 1997 and 2009 DVDs have nothing but the trailer, plus a music-only track that actually isn't on the other discs.  The 2002 DVD and the BD have the trailer, but more importantly they have an audio commentary by Forman and writer Peter Shaffer.  It's a good discussion that answers a lot of questions and does a good job filling the entire running time.  Then there's an hour-long 'making of' documentary that talks to Forman, Shaffer, the producer, Hulce, Abraham, Berridge, Jones, Vincent Schiavelli, the music director, the AD, the production designer and choreographer.  It covers some identical ground as the commentary, but otherwise it's excellent and absolutely enough.  I'm not saying I wouldn't appreciate more good extras on another release, but honestly, we've got what we really need.

And the new UHD?  Well, if you didn't mind the loss of the director's cut (seriously, two discs with 1 cut on each disc doesn't sound that unreasonable), here's where you'll be disappointed.  That Forman/ Shaffer commentary was on the director's cut, and since that's gone, so is the commentary - what a loss!  The trailer's gone missing, too.  They couldn't at least have stuck the old 2009 disc in the package as a supplement?  Maybe they're intentionally holding back for a 50th anniversary release?  At least the documentary is still here, and we do get something new: a 23 minute retrospective, where most of the stars and crew from the documentary return to reminisce about the film via webcam.  It's a step down from the first one, and often redundant, but it's fun, and nice we got something fresh.  Oh, and the new release also comes in a slipcover.

So, bottom line?  A big "yes!" to this new disc, but with a strong emphasis on the caveat to hang onto your BDs, which I'd originally described as a "decent placeholder for now."  It turns out it's going to hold onto it's relevancy in our collections for a long time to come.  But never the less, the next time you watch Amadeus, it should be on this new 4k.

Let's Talk Scream of Stone

I've been getting caught up in new releases lately, and while I certainly intend to always cover them (and am planning another one for my very next post), I don't want to lose sight of the lesser known, but no less essential discs included in my mission statement.  And one title I've had on my list to address here is Werner Herzog's 1991 drama Scream of Stone.

Frankly, it's a very trite sports movie about two rival mountain climbers competing over a girl, but it stars Donald Sutherland and Mathilda May, the world's most gorgeous nude space vampire from Lifeforce.  Herzog regular Brad Dourif also appears in a supporting role, where he gets to play a hardcore eccentric.  And you might notice the poster says it's "based on an idea by" Reinhold Messner.  That's a mountaineer who'd worked on the 1985 documentary The Dark Glow Of the Mountains with Herzog, and who would go on to write a book called Scream of Stone in 2020 (about the same mountain, but it's not this story).  Anyway, Dark Glow is easily the superior film.  This, on the other hand, seems to mostly exist as an excuse for Herzog to travel to South America and capture stunning mountaineering footage in exotic and challenging locales.  So it's kind of a dud overall, but aspects of Scream of Stone will always hold up as genuinely impressive and worth seeing.  Besides, what kind of film fan isn't a Herzog completist in 2025?

Scream of Stone debuted on disc in 2004, from the UK label Cinema Club (the same ones who released Return Of the Living Dead 3 uncut when everybody else put out the R-rated version).  Unfortunately, even for its time, it left a lot to be desired: non-anamorphic, PAL, single-layered and looks like it was struck from a video tape master.  There have been a couple subsequent DVDs released around the world: one from the Netherlands, another in Australia (from a company called Payless, which should tell you something), a third in Italy and a fourth in Korea.  I don't have any of them to compare, but they're all marked as 4:3 on the back of their cases, so I think it's safe to assume they're roughly equivalent.

2004 Cinema Club DVD.

Again, Cinema Club's DVD is non-anamorphic, and it's window-boxed to a weird 1.50:1 AR.  It looks like a tape rip, bit it still sports film damage as well.  I guess this was mastered from a tape of a worn film print.  It's plagued with all sorts of ugly haloing and fuzziness.  But hey, surprisingly, the picture isn;t interlaced!  So that's one thing.  The audio track is a rather hissy English 5.1 mix, which surely can't be right for a low budget, German flick from 1991.  There are no subtitle options except for a few burnt in ones when a local native is approached for a quick scene.  And naturally, there are no extras, not even a trailer.  The fact that these DVDs is all we've got is made all the more frustrating because we know an higher definition master exists from 1.66:1 clips shown in Herzog's 2019 documentary, Nomad: In the Footsteps Of Bruce Chatwin.  Here's a quick comparison:

2004 Cinema Club DVD top; 2020 Music Box BD of Nomad bottom.

Ready to be even more frustrated?  There is a better version out there!  It's still a DVD, but it's dual-layered in 1.85:1 and is actually a nice little special edition, with a commentary by Herzog, The Dark Glow Of the Mountains as a special feature, storyboards, photos and yes, the trailer.  Some pressings even come in a slip cover.  Art Haus released it in 2005.  But it's not English friendly!  Yes, this movie is in English - the English audio here matches the actors' lip movements - but apparently the AH DVD is a German dub with no subtitle options.  Womp, womp.  So this Cinema Club is still the best we can get unless we're fluent in German.

Look, I know this isn't Herzog's best work, but this movie is just sitting here waiting for Shout Factory or somebody to give it a proper blu-ray release.  The master already exists, an audio commentary by Herzog is just sitting there waiting to be licensed (and they've ported over other Art Haus commentaries in the past).  Come on, guys.  There's gotta be enough die-hard Herzogians out there to support at least a small run!