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1993 was a big year for Sylvester Stallone. After staging one of his signature “comeback” vehicles with “Cliffhanger” in the summer, Sly slid into the slick Silver Pictures production DEMOLITION MAN (115 mins., 1993, R; Arrow) in the fall. While advertised as a solemn futuristic action flick, “Demolition Man” was really much more entertaining – an often humorous take on an easily-offended future society (sound familiar?) where dethawed-from-the ‘90s adversaries Stallone and villain Wesley Snipes’ machismo is decades out of step. The end result – enhanced by a charming Sandra Bullock in one of her first lead roles – has aged gracefully and remains topical, easily making for one of Stallone’s most enjoyable pictures from its era.
 Stallone plays John Spartan, a tough cop pursuing master criminal Simon Phoenix (Wesley Snipes) in a semi-futuristic 1990s L.A. When Phoenix is sentenced to a deep sleep in a CryoPrison, Spartan is unjustly accused and joins him – but is awakened in 2032 after Phoenix gets out and wreaks havoc on a truly futuristic world where the cops aren’t used to fighting and violence is a relic of another era. Spartan is resurrected by a defanged L.A. police force and is assigned to a pair of young cops (Sandra Bullock, Benjamin Bratt) to track Phoenix down, forming the central premise of Robert Reneau and Peter M. Lenkov’s original script – one that was reworked by “Heathers”’ Daniel Waters for Marco Brambilla’s finished film.
“Demolition Man” has all the trappings of a polished ‘90s Joel Silver production, but it’s the humor and engaging performances that give the picture its enduring appeal: unlike most futuristic sci-fi movies where life is often portrayed in dreary, post-apocalyptic terms, the squeaky-clean society portrayed in “Demolition Man” is highly amusing, and the filmmakers have lots of fun exploiting it (Bullock loves listening to vintage TV themes!). Stallone is laid back and seems to be having a good time here; Snipes is in fine form; Bullock exudes charisma in a role that predated her breakout turn in “Speed” by just a few months; Bratt and Rob Schneider are likeable as her cohorts; while Nigel Hawthorne and Denis Leary add further support to a top-notch cast. Technically, the credits are outstanding across the board as well (Alex Thomson shot the film; David L. Snyder designed it; Stuart Baird handled the editing; and Elliot Goldenthal composed the score), making for the kind of big-studio, class “A” action movie we basically never see today.
A fan favorite, “Demolition Man” makes its way to 4K UHD from Arrow with Dolby Vision HDR (2.35) courtesy a new 4K restoration from the OCN, supervised by director Marco Brambilla. This dynamite transfer also includes the U.S. “Taco Bell” and international “Pizza Hut” versions of the movie via seamless branching, plus a new Dolby Atmos audio mix to accompany the original 5.1 DTS MA track. New commentaries include Brambilla and Daniel Waters paired up, along with podcaster Mike White (an archival commentary with Brambilla and Joel Silver is also carried over). New interviews include production designer Snyder (of “Blade Runner” fame), stunt coordinator Charles Percini, make-up artist Chris Biggs, and “body effects set coordinator” Jeff Farley. A new visual essay by Josh Nelson is included plus six postcard-sized artcards, a double-sided fold out poster, mini stickers, and a 60-page booklet carrying essays predictably heavy on the socio-political analysis.
The vaults of the legendary Shaw Brothers studio in Hong Kong have flown open in recent years – a miraculous occasion for martial arts fans who spent years trying to track down their studio releases in North America, often succumbing to bootleg VHS tapes at times in order to see a certain kung fu classic that didn’t feature the international appeal of, say, Bruce Lee.
 Arrow’s SHAWSCOPE Blu-Ray anthologies have offered a curated sojourn through the studio’s varied productions, with a VOLUME THREE set newly released that incorporates little-known gems as well as one of the more celebrated series produced by the studio.
Once again decked out in a gorgeously designed, elongated box overflowing with an equally elaborate booklet featuring extensive notes on each film with accompanying essays about the “wuxia” genre, SHAWSCOPE’s third volume kicks off with the ONE-ARMED SWORDSMAN (1967). Jimmy Wang Yu stars in the title role in what would become an immediate genre classic, leading to two sequels: one featuring Yu, RETURN OF THE ONE-ARMED SWORDSMAN (1969), and one which passed the torch over to David Chiang, THE NEW ONE-ARMED SWORDSMAN (1971). All three of these pictures offer fast-paced action with charismatic lead performances and a hodge-podge of musical selections on the soundtrack (you’ll recognize everything from Lalo Schifrin to John Barry, Akira Ifukube and Stravinsky popping up here and there).
It’s the perfect way to kick off the set – the original restored in a new 4K transfer, the others in 2K – which then moves onto THE LADY HERMIT (1971) starring Cheng Pei-Pei; the “sexploitation” mash-up INTIMATE CONFESSIONS OF A CHINESE COURTESAN (1972), rousing ensemble piece THE 14 AMAZONS (1972); the offbeat and beautifully choreographed THE MAGIC BLADE (1976), plus three other, beautifully rendered genre exercises from director Chor Yeun: CLANS OF INTRIGUE (1977), JADE TIGER (1977), and THE SENTIMENTAL SWORDSMAN (1977); Sun Chung’s epic THE AVENGING EAGLE (1978); director Kuei Chih-Hung’s KILLER CONSTABLE (1980); the wild fantasy BUDDHA’S PALM (1982), a Shaw Brothers response to the changing genre market in the wake of “Star Wars”; and, capping this set, the comparatively more traditional, late wuxia entry BASTARD SWORDSMAN (1983).
Each disc houses a newly restored transfer, all 2.35, with Mandarin and Cantonese soundtracks plus, for the films that offered them, English dubs. Many transfers were restored exclusively by Arrow, while a reconstruction for the alternate South Korean cut of “Killer Constable” was pieced together from the HK version and standard-def inserts. Newly translated English subtitles are included as are a wealth of fresh interviews and commentaries. These are on-tap for each picture and offer insights from the likes of David West, Tony Rayns, Jonathan Clements, Dylan Cheung, Frank Djeng and Ian Jane, while fans will find supplemental sections adorned with actor interviews, extended scenes, alternate English title sequences, and much more.
Booklet notes by David West profile the wuxia genre and the assorted directors and films that comprise the Shaw Brothers legacy, while Ian Jane’s movie recaps offer helpful insights into each picture’s production history. There are also extensive notes on the respective (often hybrid) soundtracks contained therein along with Jonathan Clements’ examination of writer Gu Long and Dylan Cheung’s essay on the Shaw Brothers’ dabble into local HK broadcast television. Finally, a bonus CD is included sporting “More Music From Shaw Brothers Classics,” a variety of tracks from the DeWolfe library.
 More Shaw Brothers zaniness is on-hand in Eureka’s new Blu-Ray compilation SUPER SPIES AND SECRET LIES. This double-disc set should appeal to both martial arts fans and aficionados of James Bond-era ‘60s espionage with the Shaw Brothers seizing upon the genre’s sudden explosion by producing a trio of colorful adventures in their own unique style.
Director Lo Wei’s terrific THE GOLDEN BUDDHA (1966) kicks things off with Paul Chang Chung playing a businessman wrapped up in a criminal conspiracy after grabbing the wrong suitcase – one containing a small golden buddha – on a trip to Singapore. Lily Ho plays a woman carrying stolen diamonds in Wei’s female-centric follow-up ANGEL WITH THE IRON FISTS (1967), while Jimmy Lin Chong essays a cat burglar trying to become a singer in THE SINGING THIEF (1969), only (of course) to become a suspect in a recent rash of jewel heists in an entertaining Shaw outing from director Chang Cheh.
While all of these movies run a bit long they all offer the kind of candy-coated Shawscope imagery that looks dynamic in 2.35, Eureka’s Blu-Ray transfers having been supplied by Celestial Pictures. Mike Leeder and Arne Venema provide commentaries here with new English subtitles included on each picture. Additional extras include new interviews with “James Bond expert” Llewella Chapman on Bondmania and HK cinema authority Wayne Wong. There’s also writing from Iain Robert Smith in the collector’s booklet that accompanies Eureka’s lovely new release.
 THE SWORD Blu-Ray (89 mins., 1980; Eureka), meanwhile, took Hong Kong audiences back to the days of the wuxia genre, kicking off a resurgence in the country’s more traditional martial arts excursions. Short and effective, Patrick Tam’s movie about a young fighter (Adam Cheng) who covets the allegedly cursed sword of a legendary warrior (Tien Feng), who’s since gone into seclusion, has elegant widescreen lensing, a good amount of intrigue and style to match.
Eureka’s Blu-Ray boasts a Fortune Star-produced 2K restoration (2.35) with a limited edition O-card slipcase and a full collector’s booklet sporting a vintage Patrick Tam interview and new writing by genre historian Leuing Wing-Fai. Extras include two new commentaries: one by Frank Djeng with another from Mike Leeder and Arne Venema. There are also new interviews with Wayne Wong and Andrew Heskins, both discussing the film and the wuxia genre’s revival that started with this film (and would carry over into the likes of Tsui Hark’s cult fave “Zu Warriors from the Magic Mountain” among others). On the audio side, both the original Cantonese mono audio (with optional subtitles) and an English dub are included.
HORRIBLE HISTORY finds Eureka bundling together four epics from Hong Kong cinema “Godfather” Chang Cheh, all produced at Shaw Brothers from 1972-76 – a quartet that was just part of over 100 (!) movies Cheh made at the Shaw studios, including a number of classic martial arts movies. This package focuses on the historical films Cheh cranked out, including MARCO POLO, featuring Richard Harrison as the explorer; THE PIRATE, with Ti Lung as the infamous 19th century raider Cheung Po Tsai; BOXER REBELLION, where kung-fu waging patriots power a Chinese defense against early 20th century invaders; and FOUR RIDERS, a later effort involving the death of an American soldier and the Chinese vet of the Korean War falsely accused of murdering him in South Korea. Celestial-licensed 1080p (2.35) transfers are included with mono audio and English subtitles, while extras include new commentaries from Mike Leeder and Arne Venema (Marco, Boxer) and Frank Djeng with martial artist/filmmaker Michael Worth (Pirate, Four Riders); a new interview with HK cinema expert Wayne Wong; and a video essay on Cheh’s historical efforts from Jonathan Clements. The limited edition O-card slipcase includes Gregory Sacre’s new art while a booklet finds writer James Oliver opining on all four pictures.
 THE BLOCK ISLAND SOUND 4K UHD (99 mins., 2020, Unrated; Synapse): Kevin and Matthew McManus’ 2020 indie horror-thriller didn’t make a lot of noise upon its initial release, but Synapse’s new 4K resurrection may generate the genre audience that missed it the first time around. Its atmosphere is at least palpable as Block Island residents suffer from off-shore oddities from dead birds and tides washing up with dead fish – is it climate change or a supernatural force? Local Chris Sheffield works with his sister Michaele McManus to figure it out, but “The Block Island Sound” unfortunately succumbs to some Blair Witchian-styled cliches as it fizzles out via yet another inexplicable downer ending. Synapse’s UHD looks superb (2.35) with HDR10 enhancement and 5.1 DTS MA sound. A full run of extras includes commentary with the directors, the trailer, and numerous featurettes taking viewers behind the scenes.
Also New From Arrow: Abel Ferrara’s THE ADDICTION (82 mins., 1995, Not Rated) was one of numerous vampire flicks that turned up in the ‘90s, but even considering the subject matter and the presence of indie movie queen Lili Taylor, there’s little to recommend this grimy, abbreviated affair. Taylor plays a grad student who ends up bitten on the neck and soon starts “the urge,” which is portrayed here more in a drug-like, naturalistic manner by Ferrara than your typical movie vamp. The end result isn’t satisfying, but Ferrara devotees may still take to Arrow’s 4K UHD (1.85, 5.1/2.0) which sports a new restoration from the OCN. Extras are carried over from Arrow’s previous Blu-Ray, including a Ferrara commentary; 2018 documentary; interview with Brad Stevens; image galleries; an archival featurette; plus a booklet with writing by critic Michael Ewins and Paul Duane’s archival Ferrara interview.
 THE LAST VIDEO STORE (79 mins., 2023, R), meanwhile, is Cody Kennedy and Tim Rutherford’s tribute to the days of small video shops, VHS rentals and B-movie horrors. This predictable but entertaining Canadian import doesn’t overstay its welcome and debuts on Blu-Ray in a 1080p (1.78) transfer with extras including 5.1/2.0 DTS MA soundtracks; commentary from critics Matt Donato and Meagan Navarro; a visual essay by Heather Wixson; another visual essay by Martyn Pedlar; several other shorts by the directors; behind-the-scenes materials; scenes from the duo’s first attempt at shooting this feature; and booklet notes by Anton Biel and Alexandra West, critics paying homage to both this movie and the homespun video stores that inspired it.
MEN OF WAR Blu-Ray (103 mins., 1994, R; MVD): It’s not often the work of filmmaker John Sayles ends up becoming a Dolph Lundgren movie, but this agreeable early ‘90s affair ranks as one of Dolph’s better solo shots. Playing a soldier who joins his mercenary buddies on an attempt at overtaking a tropical island loaded with jade, Lundregn’s disillusioned Nick Gunar finds himself defending the locals from one of his former colleagues who wants to drive them from their home. Actor Perry Lang helmed “Men of War,” which offers a bit more story content than usual for this kind of picture, and ends up working fairly well as Sayles’ script was augmented with effective if routinely staged action scenes. MVD’s Blu-Ray includes a 1080p (2.35) transfer, 5.1/2.0 sound, a new intro from Lang, an archival featurette, dailies/raw footage, a photo gallery, trailer, and MVD’s traditional throwback artwork and mini-poster.
 YOKOHAMA BJ BLUES Blu-Ray (112 mins., 1981; Radiance): Director Eiichi Kudo takes us back to the 1980s for this Japanese reinvention of “The Long Goodbye,” finding Yusaku Matsuda playing a private eye who has to clear his own name while investigating the death of his best friend – a police detective whose demise leads Matsuda’s BJ down a rabbit hole of cops, gangsters, and various components of Yokohama’s assorted, seedy social circles. This highly atmospheric early ‘80s Japanese thriller captures time and place impeccably, and is rendered in a glossy HD transfer (1.78, mono, Japanese with English subtitles) from Radiance. The Blu-Ray boasts new interviews with Shoichi Maruyama and Mari Hemmi; a Yokohama location guide with Toru Sano; the trailer; and writing from Dimitry Ianni, plus a translated archival review, in Radiance’s limited-edition booklet notes.
Anchor Bay New Releases: MVD and Umbrelic Entertainment have relaunched the vintage DVD-era label with some independent horror outings, starting with CURSED IN BAJA (80 mins., 2024), writer/director/star Jeff Daniel Phillips’ auteur project about a recently-released con who has to go south of the border, trying to find a lost grandson who’s about to inherit a family fortune. Barbara Crampton has a cameo in Phillips’ fast-moving affair, on Blu-Ray with a Making Of and commentary…Sean Whalen’s CRUST (102 mins., 2024) likewise features its director in its lead role about a former child star whose lost socks, adorned with his bodily fluids, forms an unlikely creature that’s his only friend (just when you’ve seen it all, right?). Weird to say the least but with some oddball humor, “Crust” includes Whalen’s commentary, other Whalen works, and a Q&A in Anchor Bay’s Blu-Ray…in ABRUPTIO (94 mins., 2023), writer-director Evan Marlowe offers a macabre succession of creepy puppets, focusing on one such middle-aged loser (voiced by James Marsden from “Buffy the Vampire Slayer”) who uncovers a new incision in his neck, one which leads to him being coerced into carrying out violent acts. Christopher McDonald, Jordan Peele, Sid Haig and Robert Englund provide the voices but the puppet work is constrained by a middling budget in this indie effort new to Blu from Anchor Bay. Their Blu-Ray includes commentary with Marlowe and producer Kerry Marlowe; a featurette; and another commentary with puppeteer Danny Montooth.
TOXIC CRUSADERS: THE SERIES Blu-Ray (301 mins., 1991; Troma): The early ‘90s saw some very unlikely animated series popping up on TV, including “Attack of the Killer Tomatoes” becoming a kid-friendly cartoon. Ditto for Troma’s “Toxic Avenger,” the raunchy super-hero which became a staple for teens on home video. This TV spin-off finds Toxie paired with a number of similar mutant heroes, taking on Dr. Killemoff and other environment-polluting losers. It’s rather remarkable how Troma managed to turn this property into a family-friendly effort, but “Toxic Crusaders” managed to succeed on its modest goals, and comes to Blu-Ray in a complete series package. The HD masters look reasonably good (4:3, stereo) given their source and extras include a new intro from Lloyd Kaufman; the original series commercials and toy ads; archival footage; bonus cartoons; and a look at Retroware’s “Toxic Crusaders” video game.
THE FABULOUS THUNDERBIDS: LIVE IN HOUSTON Blu-Ray (2006; Cleopatra): The Fabulous Thunderbirds perform nearly a dozen of their big hits in this concert, recorded at Warehouse Live in Houston on June 30th, 2006. Included here are “Pretty Baby,” “Wrap It Up” and, of course, “Tuff Enuff.” Worth it for fans (streets mid-January).
 Also New on 4K UHD
JOKER: FOLIE A DEUX 4K UHD (138 mins., 2024, R; Warner): You have to reach back to “Exorcist II: The Heretic” for a movie sequel so unanimously and immediately denounced as “Joker: Folie a Deux,” an expensive, wholly unnecessary follow-up to Todd Phillips’ overrated 2019 box-office hit. Phillips and Scott Silver’s script never provides a compelling creative reason why this sequel needed to be made, as it follows Joaquin Phoenix’s Arthur Fleck and his fractured mind through a trial punctuated by a succession of horrific musical numbers, paired with Lady Gaga’s “Lee Quinzel.” It sounds sort of audacious, but the movie mostly retreads over the same narrative ground as its predecessor while the gimmick of being a “musical” quickly becomes repetitious and tiresome, ultimately adding nothing but running time to an already slender story. Tellingly, it all ends on a pointless note reaffirming the creative void at the heart of this fruitless enterprise. Warner’s 4K UHD (1.85) offers a typically strong Dolby Vision HDR presentation with Dolby Atmos sound — this picture was shot with a much larger budget than its predecessor and shows visually at least — while extras include a digital code and a number of featurettes.
 PARIS, TEXAS 4K UHD/Blu-Ray (145 mins., 1984; Criterion): New this month from Criterion is a beautiful 4K remaster of “Paris, Texas,” director Wim Wenders’ gem — one of his best films — featuring Harry Dean Stanton, Dean Stockwell and Nastassja Kinski in a multi-layered character study mostly filmed in West Texas, via Wenders’ distinctive lens and the writing of Sam Shepard. Criterion’s 4K UHD offers a director-approved UHD (1.85) with Dolby Vision HDR and 5.1 audio; as with the label’s previous DVD, the release is jam packed with extras, including a commentary featuring Wenders; a German interview with the director; excerpts from a 1990 documentary on the film, offering a plethora of interviews with cast/crew members including composer Ry Cooder; a French TV program segment on the score; deleted scenes; and the trailer. Highly recommended for Wenders devotees.
PIECE BY PIECE Blu-Ray (93 mins., 2024, PG; Universal): Music superstar Pharrell Williams opted for a different type of biopic — hiring director Morgan Neville and the Lego crew to create a fun, upbeat look at Williams’ rise to fame, filled with his hits and a few original songs, while also stopping to hit upon Williams’ interest in social justice and relationship with his wife and family. It’s fast-paced and engaging, with numerous “cameos” from celebrities playing themselves…in Lego form, of course. Universal’s Blu-Ray (2.39) is now out featuring a 7.1 TrueHD soundtrack, a digital code, and a new interview with Williams and Neville.
NEXT TIME: Bombs away with the last column of 2024! Until then, don’t forget to drop in on the official Aisle Seat Message Boards and direct any emails to our email address. Cheers everyone!
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