1932’s The Old Dark House is arguably director James Whale’s greatest cinematic feat, a macabre queer comedy disguised as a horror, delightfully acted (by lots of Brits abroad), and fused together with Whale’s stylistic, sardonic humour, well-knit scenario witty and insightful screenplay, and moody camerawork, lighting and production design. It is, quite possibly, the best British horror ever made – in Hollywood.
Taking its queues from JB Priestley’s 1927 novel, Benighted, and the ‘Old House’ chillers of stage and screen, Whale’s storm-driven adaptation finds five weary travellers becoming stranded at the ominous Welsh mansion of the reclusive and very strange Femm family, who are all quite possibly all insane. What follows is a wicked parody of the British class system, and one that features a performance from Ernest Thesiger that outshines even his iconic turn as Dr Pretorius in Whale’s The Bride of Frankenstein a couple of years later.
Thesiger plays Horace Femm, a sniffy little man, who is probably wanted by the police (for crimes we can only imagine) and has seething contempt for everything and everyone. He owns the house along with his pious half-deaf sister Eva (beautifully played by Eva Moore), and their scenes together provide the film with its most memorable moments and best lines: like ‘Have a potato’ and ‘How reassuring’.
Gloria Stuart and Raymond Massey play married socialite couple Margaret and Philip, while Melvyn Douglas is their playboy friend Roger. When a landslide forces them off the road, they seek shelter with the Femms; and are soon joined by Charles Laughton (making his screen debut and speaking his in native Yorkshire tongue) and Lilian Bond, who play the self-made businessman Sir William Porterhouse and chorus girl Gladys. But with no beds on offer, they are all forced to spend the evening huddle together around a fireplace after a frugal meal of roast, gravy and – yes- potatoes…
But it’s not long before the Femms skeletons starting coming out of the closet as the lights go out and the group are soon menaced by Boris Karloff’s mute butler Morgan, who hits the bottle and goes on a drunken rampage, which results in the release of Femm’s pyromaniac brother Saul (Brember Wills) from his locked attic room…
Whale’s shows off his perverse sense of humour through the stylistic, expressionistic camerawork (by Arthur Edeson, who also shot Frankenstein) in some very memorable scenes: like when Horace announces, ‘My sister was on the point of arranging these flowers’, then summarily throws them into the fireplace. Another is when Morgan makes his menacing entrance, and a particularly surreal funhouse mirror shot of Margaret and Rebecca, their features distorted in a vanity mirror. Then there’s the terrific trick shot of Morgan coming down the stairs only to reveal the hand on the banister is not his…
Packed to the rafters with morbid mirth and a sly wink at class and society, this is one of the most entertaining horror films of the 1930’s. The Masters of Cinema Series special dual format edition of James’s Whales’ queer comedy horror features a stunning 1080p presentation from the Cohen Media Group 4K restoration (with a progressive encode on the DVD), uncompressed LPCM audio (on the Blu-ray) and optional English subtitles; and includes a collector’s booklet featuring a new essay by Philip Kemp, archival material and previously unseen imagery and ephemera; and Limited Edition O-Card (first run only) featuring artwork by Graham Humphreys, created especially for the 2018 UK theatrical release. The special extras (below), however, are the icing on the cake, making this a must-have for any classic film collection…
• Meet the Femms This video essay by critic and filmmaker David Cairns is exceptionally executed, with loads of informative back stories on the production, cast and crew, super behind the scenes photos, incuding Whales’ own set designs, and I really enjoyed hearing actors Steven McNicoll and Angela Hardie voicing the various characters in Priestley’s novel, Benighted, as well as the author himself and Laughton’s wife Elsa Lanchester.
• Daughter of Frankenstein Sara Karloff talks candidly about her father and his work on this production, and has a great story about how Boris and Charles Laughton did not see eye-to-eye.
• Curtis Harrington Saves The Old Dark House This archival interview has the late-director (who became a close friend of Whale’s) recalling his efforts in rescing the film from oblivion back in 1968. Please, someone, give this man a posthumous medal for doing this!
• Commentary by Kim Newman and Stephen Jones This is a great listen, with some interesting bits of trivia like that fact that Karloff was dubbed, and Kim makes a very interesting link between the film’s structure (and its class-based ensemble) to disaster movies. This was made prior to Gloria Stuart’s death (aged 100) in 2010, as the duo talk about her in the present tense, and their comments are all based on viewing an inter-negative print.
• Commentary by Gloria Stuart This is absolutely riveting. Stuart is a joy to listen to and she provides huge amounts of personal insight (the film was a real high point in her acting career): admiring Whales’ sardonic humour, the uncomfortable shooting for the actors, her regrets at being a young 22 upstart making her second film who was unaware of Eva Moore’s pedigree (a suffragette, one of Edward VI’s favourites and the mother of Laurence Olivier’s first wife, Jill Esmond), and shedding light on some truths about why Karloff and Whale weren’t on friendly terms during the shoot.
• Commentary by James Whale biographer James Curtis This has lots of great insight into the film’s production, and I certainly learnt a few things. Did you know that Karloff’s mute butler Morgan became the model for the butler Charles Addams’ New Yorker cartoons? These were subsequently published as Drawn and Quartered, with a Foreward by Karloff and thus effectively the character became Lurch in The Addams Family. Curtis also examines the similarities and differences between Priestley’s novel and Whale’s screenplay – which makes for an interesting analysis.
Here’s the specially commissioned poster artwork by Graham Humphreys, aka Britain’s Quadfather, to accompany the new 4k restoration release of James Whale’s chilling 1932 classic The Old Dark House, which will get a nationwide cinema release in the UK & Ireland.
This atmospheric thriller, which adapts novel Benighted into a nerve-jangling tale that became the template for all spooky-house chillers to come, features an unforgettable post-Frankenstein horror role for Boris Karloff, as the hulking, disfigured butler Morgan. Also starring in early-career roles are Melvin Douglas, Charles Laughton, Raymond Massey and Gloria Stuart.
The Old Dark House lands in selected cinemas in the UK & Ireland on 27 April ahead of its dual format release on 21 May as part of Eureka!’s Masters of Cinema Series.
In the meantime, enjoy the brand-new trailer.
While I already have Arrow’s previous Blu-ray of Dario Argento’s 1971 giallo Cat o’Nine Tales (aka il gatto nove code), I couldn’t resist upgrading to this 4K restoration, which also includes newly translated English subtitles for the Italian soundtrack. Now all I need is a 4k smart TV and Blu-ray player to see it properly. But having looked at it on my current HD system, it looks and sounds terrific.
As for the extras, well they are all brand-new with none crossing over from the previous Arrow release. Here’s the low-down…
First up is the audio commentary from Alan Jones and Kim Newman. Jones, of course, is Argento’s number one fan who has become a close friend and written the definitive book(s) on the director, while Newman’s comprehensive film knowledge is truly enviable.
It’s fun and very insightful (film nerds like me will lap up the trivia, especially those related to the Turin film locations); and you’ll see Catherine Spaak’s costumes in a whole different light after listening to Jones views on Luca Sabetelli’s outré surreal outfits.
As for the featurettes, Nine Lives, comprises an exclusive 2017 interview with Dario Argento, who confirms Jones’ comments that the film was the least favourite of his canon, as he felt it ‘too American’.
The Writer o’ Many Tails has screenwriter Dardano Sacchetti discuss his career (over 34 minutes) which included an infamous row between him and Argento over the credit for the screenplay.
Child Star is another Arrow exclusive, an interview with the film’s Cinzia De Carolis, who played Karl Malden’s niece Lori and is today a well-respected voice dubber.
Being a huge fan of film locations, Giallo In Turin was the one that I watched first. Disappointingly, we don’t get the guided tour that I had imagined, instead production manager Angelo Iacono discusses his first meeting with Argento, before recalling his memories of the cast and crew.
A huge bonus is the inclusion of the Original Ending, in which the fates of Anna (Spaak) and Lori (De Carolis) are revealed. But wait! As the footage is now lost, we only get a visual storyboard alongside the English version of the last couple of pages of the script. But the money shot is a single German lobby card containing an actual still of the final scene. Yeah!
Now, as I have the rare movie tie-in novelisation (one of only two written by Paul J Gillette – the other was Play Misty for Me), I had hoped it would contain this version. Unfortunately, it deviates totally from both the original ending and the final cut ending.
With stylish new artwork by Candace Tripp, a limited edition booklet, lobby card repros and fold-out poster also included, this latest Argento release from Arrow is a keeper. Now, I just need that 4K kit.
If you want to see my thoughts on Arrow’s previous of the film… READ IT HERE
The Wonderful Worlds of Ray Harryhausen: Volume Two (1961-1964) | Mysterious Island, Jason and the Argonauts and First Men in the Moon
From Indicator/Powerhouse comes three more classic Ray Harryhausen adventures presented with brand new 2K and 4K restorations, and containing a wealth of new and archival extras. Here’s the lowdown…
American Civil War prisoner Captain Cyrus Harding (Michael Craig) escapes in a balloon with other Confederate officers and a war correspondant Gideon Spillet (Gary Merril, aka Bette Davis’s ex) and end up on an unknown island in the Pacific along with shipwrecked aristocrats, Lady Fairchild (Joan Greenwood) and her niece Elena (Beth Rogan). Holed up in a cave they nickname the Granite House, the plucky castways encounter strange creatures, pirates, an angry volcano and the charismatic Captain Nemo (beautifully underplayed by a blonde Herbert Lom).
This action-filled adventure, loosely based on Jules Verne’s 1874 novel, provides a field day for special effects man Ray Harryhausen, who conjures up a magnificent menagerie of oversized critters: including a giant crab (whose carapace was bought from Harrods Food Hall), a prehistoric Phorusrhacos (which looks like an oversized cassowary), a hive of bees, and a slumbering multi-tentacled cephalopod.
The picturesque Spanish locations (including Sa Conca Bay in Catalonia, and some others that would later be used in Jason and the Argonauts), evocative production design (especially the Nautilus and its Victorian-futuristic paraphernalia) and atmospheric score from composer Bernard Herrmann are an added delight to Harryhausen’s fantastical-take on a Boy’s Own-styled castaway adventure.
• 2K restoration from the original camera negative
• Mono and 5.1 surround sound audio options
• 2012 audio commentary with Ray Harryhausen and Tony Dalton (This is thoroughly enjoyable, and I love it when a genuinely surprised Ray keeps commenting on how sharp everything looks in the restoration – especially as he used filters to soften the actor’s faces in the first place. He also reveals many of his camera tricks, including using a cardboard cut-out for the Phorusrhacos)
• Audio commentary with film historians Randall William Cook, C. Courtney Joyner and Steven C. Smith (having heard everything from the master himself, I might leave this for a rainy day)
• Archive interview with Ray Harryhausen (featuring many of his storyboards)
• 2017 interview with actor Michael Craig (who talks about the difficulty of trying to act against an invisible crab on a beach filled with onlookers)
• 2017 interview with clapper loader Ray Andrew (who gives an entirely different account of that crab story)
• 2017 interview Kim Newman (on the shared cinematic universe of Jules Verne)
• Mysterious Magic: 2017 interview with visual effects animator Hal Hickel (on the huge impact Harryhausen’s work had on his career)
• Islands of Mystery: vintage black and white featurette (this one really beefs the film up – making you expect more monsters)
• Super 8 version (a cut-down version, in colour, with a narrator to paste over the gaps)
• Back to Mysterious Island: A preview of the 2008 Bluewater Comic that re-imagines the adventure for a younger generation (colourful, but not my cuppa tea, sorry)
• Isolated Bernard Herrmann score (just perfect to listen to over and over)
• Trailers and TV Spots
• Image gallery
With his father’s kingdom in the hands of a tyrant, Jason (Todd Armstrong) sets sail with the bravest men of all of Greece aboard the Argo on a quest for the Golden Fleece. Along the way, they encounter a host of mythical creatures and rescue Medea (Nancy Kovack), the high priestess of Colchis, who soon causes problems for the crew when she falls in love with Jason…
This spectacular mythological adventure marked the pinnacle in the career of Ray Harryhausen. A landmark in the history of movie special effects, it was this film that inspired many a budding young film-maker – from Nick Park to Peter Jackson (who provides one of the commentaries in this Indicator/Powerhouse release) and – on a personal note – fuelled my love for myths, fantasy and ancient history.
Harryhausen’s Dynamation effects are delivered with amazing imagination (and took him almost two years to complete). Jason’s climactic sword fight with a band of resurrected skeletons remains the film’s highlight of course, while the other weird creatures including the giant bronze automaton (Ray’s take on the Colossus of Rhodes), a band of hungry harpies (who torture poor old Patrick Troughton) and the magnificient seven-headed Hydra.
As well as Troughton, a host of other recognisable British actors provide great support, including Laurence Naismith and Nigel Green as Argus and Hercules, Douglas Wimer as Jason’s nemesis Pelias, amd Michael Gwynn and Honor Blackman as Olympians Hermes and Hera. This truly is the greatest mythical adventure film ever made.
• 4K restoration from the original camera negatives (despite the odd flashes of grain, this really is the best presentation of Harryhausen’s film we shall ever see)
• English mono and English 5.1 surround sound audio options
• Audio commentary with Ray Harryhausen and Tony Dalston (This one is filled with lots of behind-the-scnes anecdotes, some we’ve heard before on the other commentaries, and much of it is also explored in the three books that Ray and Tony have published – which are also a must have)
• Audio commentary with film-maker Peter Jackson and Randy Cook (Also very interesting, as Peter and Randy cover the film’s influence and legacy, although some of their conjecture is cleared up in the Harryhausen commentary)
• Original Skeleton Fight Storyboards
• The Harryhausen Legacy: archival documentary
• Ray Harryhausen interviewed by John Landis
• The Harryhausen Chronicles: archival documentary narrated by Leonard Nimoy
• Original trailers & TV spots
• Previews (Ghostbusters, Close Encounters, 20 Millions Miles to Earth, It Came from Beneath the Sea, 7th Voyage of Sinbad)
• Image gallery
The world is shocked when a team of United Nations astronauts land on the Moon in 1964 only to discover that the Victorian British beat them to it – back in 1899!
In a Dymchurch nursing home, they track down the only survivor of the expedition, 91-year-old Arnold Bedford (Edward Judd)… Bedford then tells the assembled investigators how he travelled to the Moon with his fiancée Kate (Martha Hyer) and inventor Professor Cavor (Lionel Jeffries) in a spaceship which Cavor had coated with a revolutionary anti-gravity paste. And what did they find living beneath the Moon’s surface? Only an insectoid population with advanced technological know-how.
HG Wells’ 1901 science fiction tale gets the Dynamation treatment from Harryhausen and his 20 Million Miles to Earth director Nathan Juran, based on a screenplay by Nigel Kneale, who was best known for his Quatermass series.
This is entertaining yarn finds Lionel Jeffries going full pelt with his cranky inventor act, while the always stalwart Judd provides some energetic heroics. Martha Hyer’s Kate, meanwhile, is a spirited and feisty creation that was not in Wells’ original novel, but proves to be most welcomed here (and not just on account of her looks).
The film’s stand out creature is the giant caterpillar-like ‘moon-bull’, while the Selenites (actually kids in rubber suits) could easily have come out of a classic Doctor Who adventure or even Lost in Space (which Juran would later direct). Boasting great production values in spite of its limited budget, and having a great sense of Victoriania, this is million times better than the 1967 Jules Verne-pastiche Rocket to the Moon and a Harryhausen adventure that I can happily revisit time and again.
• 4K restoration from the original camera negatives (It looks fantastic, especially the sequences involving the lunar surface and the Selenites’ underground city).
• Mono and 5.1 surround sound audio options
• Audio commentary with Ray Harryhausen, Tony Dalton and Randy Cook (there’s a wealth of information on offer here from the trio, with Harryhausen spending a lot of time chuckling at the film’s more comic elements, like Jeffries’ performance and improbably science. But then Ray does say, ‘you should never over analyse fantasy’. Now that’s something I totally agree with. He also reveals that his major influence for the stairs leading to the Grand Lunar’s throne room was 1935’s She – which was produced by Merian C Cooper, whose King Kong inspired Harryhausen in the first place).
• An introduction by Harryhausen fan Randy Cook
• Tomorrow the Moon: This vintage featurette is my favourite extra as it combines behind-the-scenes footage of the film (featuring producer Charles Schneer, Harryhausen and Juran, and some of the sets, and models) with the real-life US Apollo space project.
• 2017 interviews with special effects assitant Terry Schubert (who reveals how all the effects were created in a small space on a Slough trading estate); production manager Ted Wallis, clapper loader Ray Andrew (who has some great memories of cinematographer Wilkie Cooper) and title designer Sam Suliman (who wasn’t impressed with his titles).
• Isolated score by Laurie Johnson
• Trailer commentary from John Landis (who quickly runs out things to say)
• Image gallery
Read about the First Volume of The Wonderful Worlds of Ray Harryhausen HERE.
Back in 1977, Dario Argento unleashed Suspiria, his intoxicating brew of black magic and murder in which Phantom of the Paradise’s Jessica Harper played an American ballet student who uncovers a deadly cover of witches at a prestigious German dance academy, overseen by Dark Shadows‘ Joan Bennett as Madame Blanc and Eyes Without a Face‘s Alida Valli as the butch dance instructor Miss Tanner.
Saturated with an expressive colour palette, hyper-real art deco production design and a ground-breaking score by The Goblins (as they were credited then), and punctuated by shocking, but expertly staged, violence, Argento’s symphony of terror is, without doubt, his horror film opus and a masterpiece of the modern macabre.
Now turning 40, Suspiria has been given a 4K makeover. Over in the US, Synapse Films spent four years working on their 4k restoration that was made from the uncut 98-minute 35mm Italian camera negative (and was overseen by cinematographer Luciano Tovoli). They have now released it as a Special Edition Steelbook (read more here) producing 6000 units, with bags of extras.
Meanwhile, here in the UK, CultFilms are releasing their own restoration, which is set to be the most complete and original looking, finally doing justice to Argento’s vision. The new 4K scan was painstakingly restored by TLE Films in Germany with the film’s crucially distinct colour palette reinstated in accordance with Argento’s original Technicolor Dye Transfer specification, using period film materials as reference. The restorers also reinserted all the missing frames which had degraded badly or were simply lost over the years.
CultFilms have got a crowd-funding campaign up and running to get the film its official UK/European Ultra HD home entertainment release. It’s got just under two weeks left, and has already passed its initial target of £15,000, thanks to some 700+ backers, which means some great bonus extras will be added. And 100 of those initial backers also got the chance to get their copy signed Argento himself (alas now sold out). If you live in Europe, or anywhere that isn’t region A and you do not have a region free player, then this 4k UHD release is one to look out for. Plus, it will also include the Blu-ray and DVD (see below).
UPDATE: On 4 December 2017, CultFilms announced that their campaign closed, reaching an incredible £33,705, which guarantees the creation of a third disc, filled with those promised bonus extras.
I was lucky to see the 4k print (which is simply stunning) at the sold out London screening at the Barbican, with Argento introducing film and giving an illuminating Q&A afterwards. Now, I have seen Suspiria more times than I can remember, and in many formats – from scratchy 16mm and faded VHS to dodgy DVD and the fab HD release back in 2009. But it’s always great to learn something new – especially from the master himself. So, thanks to some intelligent questions from the audience, I discovered that his main inspiration came from Disney’s Snow White, both as a dark fairytale of female empowerment and because of the animated feature’s vibrant primary colours; and that he drew from his own nightmares, one of which became the vicious dog attack sequence.
He also worked alongside Goblin to create what has become an iconic horror score, and even introduced the bouzouki, a Greek musical instrument, to link with the ballet school’s Directress, Helena Markos, a Greek émigré who is ultimately revealed to be Mater Suspiriorum (the Mother of Sighs), the oldest and wisest of the Three Mothers.
The other interesting piece of trivia I discovered was that Jane Russell was in line for the role that eventually went to Joan Bennett, who got it only because she worked with Argento’s favourite director, Fritz Lang, and that she liked a drink or two. And, on a more personal side, Argento also said that he did not believe in magic, except as a narrative device in books and films; and that he had nothing to do with the poster design of the blood-splattered ballet dancer.
If you can’t wait to get your hands on the UK 4K edition, then CultFilms are releasing the Dual Format (Blu-ray/DVD) edition on 4 December, with the following extras…
• Dual format special edition: Blu-ray and DVD in a numbered, embossed slipcase
• New Extra: Long interview with Dario Argento
• New Extra: Exclusive Dario Argento Introduction of this new 4K restoration
• Audio commentary by critics Kim Newman and Alan Jones
• Fear at 400 Degrees: interview with Dario Argento and Claudio Simonetti
• Interview with Claudio Simonetti, Norman J Warren and Patricia McComack (Blu-ray only)
• New Extra: The 4K Restoration Process ‘utterly fascinating’
Dario Argento’s genre-busting psycho-thriller The Bird With the Crystal Plumage gets a 4k-restored release from Arrow
Back in 1970 Dario Argento’s directorial debut The Bird With The Crystal Plumage paved the way for a new wave of cinematic terror when the then 29-year-old auteur fused the traditional thriller and whodunit with shock and spectacle for the first time.
In this landmark giallo, Tony Musante (who would later find fame as Nino in TV’s Oz) plays Sam, an American writer living in Rome who witnesses an attempted murder in an art gallery. After a series of other attacks and attempts on the lives of Musante and his lover Julia (played by British scream queen Suzy Kendall), Sam suddenly finds himself the prime suspect. In a bid to clear his name, he sets out to track down the killer – who turns out to be… Well, that’s for you to find out.
It was actually Bernardo Bertolucci who started the ball rolling on this production when he originally thought to adapt Fredric Brown’s classic thriller The Screaming Mimi for the big screen. But he ended up handing the reins over to Argento who, along with the celebrated editor Franco Fraticelli, made it his own. The film’s success would cement Argento’s reputation as the Italian Hitchcock, as well as usher in a wave of blood and black lace genre films with crazier and crazier titles.
What makes Argento’s thriller so groundbreaking is the way he makes clever use of suspense devices, such as a screaming Kendall trapped in a room while the killer hacks away at the door (much copied in films like The Shining and Halloween). Vital to Argento’s vision is Franco Fraticelli’s sharp editing skills and the impressive visuals of cinematographer Vittorio Storaro (who would go on to win an Oscar for Apocalypse Now). Plus, there’s Ennio Morricone’s unforgettable score.
Back in 2011, Arrow released a High Definition restoration of Bird on Blu-ray (that was slightly grainier than Arrow’s previous releases, but still stunning) presented in the original Univisium aspect ratio, and had the audio defaulted to the original Italian (which I prefer over the English mono). It also included contributions from directors Luigi Cozzi and Sergio Martino, and a booklet written by Alan Jones.
For their stunning 4k-restored limited edition dual format release, Arrow have really gone to town. So pull on some leather gloves, pour yourself a J&B on the rocks and let the deadly games begin…
• Brand new 4K restoration of the film from the camera negative in its original 2.35:1 aspect ratio, produced by Arrow Video exclusively for this release
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original mono Italian and English soundtracks (lossless on the Blu-ray Disc)
• English subtitles for the Italian soundtrack
• Optional English subtitles for the deaf and hard of hearing for the English soundtrack
• New audio commentary by Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films
• The Power of Perception, a new visual essay on the cinema of Dario Argento by Alexandra Heller-Nicholas, author of Devil s Advocates: Suspiria and Rape-Revenge Films: A Critical Study
• New analysis of the film by critic Kat Ellinger
• New interview with writer/director Dario Argento (this 30-minute monologue is a real treat and very instructive)
• New interview with actor Gildo Di Marco (Garullo the pimp)
• Reversible sleeve featuring original and newly commissioned artwork by Candice Tripp
• Double-sided fold-out poster
• 6 Lobby Card reproductions
• Limited edition 60-page booklet illustrated by Matthew Griffin, featuring an appreciation of the film by Michael Mackenzie, and new writing by Howard Hughes and Jack Seabrook
Pieces (1982) | Juan Piquer Simón’s bonkers Spanish slasher gets a 4k restored limited edition Arrow release
Back in 2011 Arrow Video released Juan Piquer Simón’s 1982 splatter hatchet job Pieces uncut on DVD, with just a handful of fun extras. Now, they have gone further by creating a new 4k transfer from the original camera negative to present both the US theatrical version and the original director’s cut (Mil Gritos Tiene La Noche) with the original score (by Librado Pastor, who only ever composed four film scores) in a limited edition 3-disc dual format box-set loaded with bonus content.
These include archive interviews with the director and actor Paul L Smith (of Midnight Express fame), new interview with art director Gonzalo Gonzalo (Slugs), a fan appreciation featurette, and an audio interview with producer Steve Minasian (Don’t Open Till Christmas, Slaughter High). The alternate re-score by Umberto is also a special feature, while a separate disc features the original 16 track score. Podcasters The Hysteria Continues supply the well-informed audio commentary, while artist Marc Schoenbach has come up with the new artwork (way less gory than Jeff Zornow’s 2011 artwork), and a collector’s booklet is also included.
Best served as a splatter spoof than an exercise in excessive violence, Pieces is a real guilty pleasure despite its flaws (and there are many), and this new release from Arrow is a real step up from their 2011 DVD release. So, if crazy Spanish splatter is your bag, then I’d highly recommend adding it to your collection.