Wednesday, August 14, 2019

Blackout (1978) review


Jim Mitchum (Dan Evans), Robert Carradine (Christie), Belinda Montgomery (Annie Gallo), June Allyson (Mrs. Grant), Jean Pierre-Aumont (Henri Lee), Ray Milland (Richard Stafford), Don Granberry (Chico), Terry Haig (Eddy), Victor B. Tyler (Marcus)

Directed by Eddy Matalon

The Short Version: A modestly entertaining quasi-disaster thriller, BLACKOUT's major, if unlikely, selling point is the unpredictably terrifying performance of a pre-REVENGE OF THE NERDS Robert Carradine. A few grueling scenes of sadism and a wild and woolly gun battle n' car chase finale provide thrills for a film that could've used more of them. With that said, everything else in between drags when it needs to be frantically paced. Scenes of people working together in a crisis should provide stark contrast against the brutalism of the four killers, but these bits, too, are a letdown as they lack any emotional investment. BLACKOUT (debuting on blu-ray in its uncut version) flickers intermittently but manages just enough juice in its bulbs for a mildly satisfying 90 minutes.

A group of disparate criminals led by Christie, a psychotic political activist, escape police custody when the van transporting them crashes during a city-wide blackout. The quartet of crazies mingle among the looters before terrorizing and murdering occupants of a ritzy high rise apartment complex. Meanwhile, a lone cop stumbles upon the police van wreckage and traces the killers location in an attempt to stop them during the Blackout.

On July 13th, 1977, a series of lightning storms caused a near city-wide blackout in New York City that lasted 25 hours. In that time, thousands of stores were looted and dozens of buildings burned resulting in thousands of arrests.

Eddy Matalon's BLACKOUT is based on that grueling ordeal but only scratches the surface at capturing the chaos of that days-length of darkness and hysteria. Actually, Matalon has trouble keeping viewers riveted with far less time at just 90 minutes in what should've been an intense, gripping pseudo-disaster thriller. There's just enough set pieces to make BLACKOUT worthwhile, only not the 4-star suspenser the real-life occurrence demands of it.

The main source of electricity in the movie is the chilling performance of Robert Carradine as Christie, a domestic terrorist. The pre-REVENGE OF THE NERDS (1984) star played a few creeps in films like JACKSON COUNTY JAIL (1976) before essaying nicer guys in ORCA (1977) and the aforementioned NERDS series. In BLACKOUT, Carradine's character is despicable and made all the more horrifying in that the actor doesn't look threatening at all. For some, his slight stature might come off as an unbelievable presence for a main antagonist. In the place of an imposing physical presence, Carradine's character is charismatic yet calculatingly evil.

A mentally damaged man who feels society owes him something, Christie sees faults in virtually everyone who enjoys life. From what little the script reveals of his past, Christie would seem to take his deranged frustrations out on those he feels should suffer for his own poor life choices.

Easily becoming the leader of three other escapees, the quartet prefigure a similar gruesome foursome in Jack Sholder's cult horror favorite ALONE IN THE DARK (1982). Moreover, one of Matalon's crazies is a hulking strongman akin to Erland van Lidth's lumbering maniac of Sholder's movie. The most flagrantly psychotic of Christie's band is Chico, played in over-the-top fashion by Don Granberry, of DEATH WEEKEND (1976); a Canadian thriller where he acted in similar capacity.

Some of the attack scenes are filmed with little attempt at building suspense. Others, though, are more successful; such as the film's most harrowing moment when Christie delivers a speech about the uselessness of keeping the sick and weak alive after ransacking an elderly couple's apartment. The husband living his last days on a breathing machine, Christie calmly questions, "Who says he has to breathe?" In a scene that rivals a similar one in the underrated 1982 slasher VISITING HOURS, Christie pretends to let the couple live, but casually returns and shuts off the old man's life support.

Another strong moment is when the gang get inside the apartment of a kindly, lonely old man (played by Jean Pierre-Aumont); a magician whose best friend is his dog. Christie and Chico feign kindness to the elderly man, questioning him about his life. When he says something that reminds Christie of his father, they relish in the man's final moments as his dog whines while watching his master pass.

James Mitchum (son of Robert) is the opposite of electrifying in his unenthusiastic performance as the policeman who ends up combating the villains in the high rise. The script doesn't really give him a lot to do and what there is, Mitchum sleepwalks through much of it. When the film finally plugs itself into an outlet during the finale, you're reminded the movie has a protagonist after all.

Mitchum does get juiced up during the exciting finale where he and Carradine duel to the death in a remarkably energetic gun battle/car chase combo inside a parking garage. If only the rest of the movie harnessed the nitro of the ending sequence, BLACKOUT would have been a far more memorable thriller.

The actor is a much better showcase in movies like Albert Band's Italian western THE TRAMPLERS (1965); and MOONRUNNERS (1975), the inspiration for THE DUKES OF HAZZARD television series (1979-1985).

The Oscar winning actor Ray Milland is the biggest name in the cast. In BLACKOUT, he plays Richard Stafford, a man of wealth with an affinity for fine art. When Christie and his gang invade his apartment, he finds the way to torment Milland is not to harm his wife, but burn his art collection. 

Partial to up-scale Hollywood productions during his early years, Milland's later days had the occasional B efforts like THE THING WITH TWO HEADS (1972), FROGS (1972) and THE UNCANNY (1977); or even D efforts like THE SEA SERPENT in 1985. One of Milland's best is his starring role in Roger Corman's SciFi classic X: THE MAN WITH THE X-RAY EYES (1963).

The movie itself might not be as engaging as it could be, but many of the principals behind the camera were involved in genre work that was in varying capacity. Director Eddy Matalon helmed the obscure 'possessed child' movie, CATHY'S CURSE (1977) prior to making BLACKOUT. It was his only horror feature.

Ivan Reitman, a name many will recognize, was an executive producer and, years before directing such high-profile comedies like MEATBALLS (1980), STRIPES (1981), GHOSTBUSTERS (1984) and TWINS (1988), directed or produced horror movies. Directing the quirky CANNIBAL GIRLS in 1973, Reitman later produced Cronenberg unpleasantries like SHIVERS (1975) and RABID (1977); as well as the underrated rape-revenge thriller, DEATH WEEKEND (1976).

Writer John Saxton pseudonymously penned the notorious ILSA, SHE-WOLF OF THE SS (1975); the overlong slasher thriller HAPPY BIRTHDAY TO ME (1981); and the inventive cult thriller favorite CLASS OF 1984 (1982).

With exteriors shot in New York City, the bulk of BLACKOUT was filmed in Canada. The movie does manage to capture just enough of the NYC atmosphere of the day to make you forget you're watching a movie primarily lensed in Canada.

BLACKOUT struggles to keep the lights on, but manages to flicker to the end with some intermittent scenes of sadism and one amazing gun battle and car chase at the finale. If only other elements of the movie were as fully charged, BLACKOUT's status as an obscurity might not have kept the picture in the dark all these years since its release.

This review is representative of the Code Red blu-ray. Specs and Extras: New 2018 HD master of the uncut version; 1.78:1 anamorphic widescreen; interview with Robert Carradine; audio commentary with actress Belinda J. Montgomery; trailer; running time: 01:31:50

Sunday, August 4, 2019

Robowar (1988) review


Reb Brown (Major Murphy "Kill Zone" Black), Catherine Hickland (Virginia), Massimo Vanni (Private Larry "Ditty Bob" Guarino), Romano Puppo (Corporal Neil Corey), Max Laurel (Quang), Jim Gaines (Sonny "Blood" Peel), John P. Delaney (Alfred "Papa Doc" Bray), Mel Davidson (Mascher), Unknown actor (Lieutenant Martin Woodring)

Directed by Bruno Mattei (as Vincent Dawn)

The Short Version: Italian bandwagon master Bruno Mattei directs Reb Brown and others to do their best Sylvester Stallone impersonations against a cyborg wearing a motorcycle helmet in ROBOWAR, an awful PREDATOR and ROBOCOP copy. Mattei's sense of unintentional humor shines even in the stifling heat of the Filipino jungle where mercenaries never run out of bullets nor worry about actually aiming at whatever they're shooting at. Next to HELL OF THE LIVING DEAD (1980), this has the biggest cult following of the director's works. Its fans will love it even more with this 4K restoration from Severin. Those with a tolerance for terrible movies will get a kick out of it; everyone else will likely find this more of a ROBOBORE.

An elite squad of anti-guerrilla experts dubbed BAM (Big Ass Motherfuckers) are hired for a vague 2-day mission to rescue hostages held captive on an island by a Central American military force. What they don't know is, their real mission is to see how well they handle themselves against a military-created, cyborg killing machine dubbed Omega One that's gone rogue deep in the Filipino jungle. Armed with an array of firepower, the military wishes to keep the renegade robot soldier a secret.... at all costs.

Without American blockbusters, Italy's genre output in the 1980s would have been slim pickings indeed. Bruno Mattei's career--built on clones of whatever was popular in the United States--would likely have been very different as well. To watch his pictures, you'd think his contract stipulated he would not be delivering a good movie, but an entertainingly stupid one; and that's what ROBOWAR is.

For the most part, Mattei's movies are impossible to take seriously. Like Umberto Lenzi, Mattei has a signature style that is unmistakable. In Mattei's case, it was displaying an eagerness for uninspired filmmaking paired with excruciating dialog that almost always ended up vapidly appealing. Even so, Mattei (frequently directing under his oft-used pseudonym Vincent Dawn) has a loyal fan base that appreciate his work for just how brazenly awful his films are. Rarely has a filmmaker wallowed in mediocrity and it played to his advantage.

In contrast, WOMEN'S CAMP 119 (1977), an early title on the director's resume and one of the numerous Nazi atrocity subgenre of Italian exploitation cinema, is astonishingly well made when compared to his later pictures. It was like it was the work of another director. Competency would go out the window for Mattei a few years later when he'd find his calling making movies that were lively, yet brain-dead clones of other, better movies. The absolute nuttiness of the gore-drenched HELL OF THE LIVING DEAD (1980) is his best known production globally, establishing Mattei's uniquely vacuous style celebrated in many of his intellectually barren pictures that followed; ROBOWAR among them.

Rossella Drudi's mechanical script is efficient at counterfeiting its sources--mashing highlights of both PREDATOR and, to a lesser extent, ROBOCOP, into an incredible lack of originality that only the Italians would attempt back then. Dialog is what you'd expect although not nearly as consistently hand-to-chalkboard as something like Mattei's laugh-infested RATS: NIGHT OF TERROR (1984). Drudi worked on many of Mattei's movies, frequently collaborating with her husband Claudio Fragasso, Mattei's confidant and frequent co-director.

Other than some surprisingly good photography by Richard Grassetti, there's virtually nothing else of genuine quality to be found. For those expecting it, gore is minimal, and mostly restricted to a few melted bodies and skin-stripped corpses courtesy of brothers Francesco and Gaetano Paolocci (THE BARBARIANS [1987]; AFTER DEATH [1989])

To be fair, ROBOWAR plays much better in the Italian language version; which is slightly different from the English dubbed track in relation to sound effects and lines of dialog. 

For lovers of unintentionally funny movies, though, what's bad about ROBOWAR is what's good about it; delivering some chuckle-worthy antics typical of Mattei's work....

The script labels the soldiers-for-hire as the haplessly named BAM--an acronym for Big Ass Motherfuckers. Thankfully, they're referred to as BAMsters only once. Dopiness abounds in scenes of the mercs firing indiscriminately at anything that moves while seemingly in competition to see who can do the best Rambo yell; Reb Brown drawing attention to both himself and his group by screaming his lines; ROBOWAR's clone of PRED's Billy character holds a snake right at the base of the head to somehow decapitate it with a machete--the loss of his hand is saved by a distraction at the last second; the Omega-One cyborg fires lasers into the air but in the next shot they're coming downward into their targets; cringe-worthy attempts at one-liners; and home movie-level recreations of scenes from PREDATOR (1987) all work in the film's favor.

The action scenes are energetic but goofy with everybody firing their machine guns in a rapid, horizontal motion. The limited hand-to-hand action is surprisingly good--filmed in a way that foreshadows the over-the-top, under-cranked zombie attack in 1988s wacky ZOMBI 3 (also shot in the Philippines). Stuntman and actor Massimo Vanni gets to show off the most--his uncanny resemblance to Chuck Norris in full military regalia recalls Cannon's Braddock MISSING IN ACTION movie trilogy.

As fortuitously inept as Mattei's movies turn out, the man had a knack for corralling surprisingly spirited action sequences that was reminiscent of the hyper-kinetic brilliance of Hong Kong's unique daredevil style of action filmmaking of the time period.

Romano Puppo (see above) does double-duty as both Corporal Corey and the cyborg nemesis, Omega-One. Someone else wears the costume in one scene where it's required for both to be onscreen at once. It is said co-director/writer Fragasso wore the costume but he denies this. Decked out in shoulder pads and a motorcycle helmet, it looks nothing like either the Predator or Robocop. It does, however, bear more than a passing resemblance to the supernatural street racer avenger in THE WRAITH, a minor cult item from 1986. The robot's vision is similar to the Predator, only heavily pixelated like an old Atari video game; the silly electronic noises the robot makes (only on the English dub) are about as threatening as a Texas Instruments Speak and Spell.

The connection to ROBOCOP is foreshadowed early on, but comes into bloom during the finale when Reb Brown discovers he knows more about this cybernetic killing machine than he realizes. According to writer Rossella Drudi, there's a fleeting nod to ALIENS (1986) in the form of a treacherous character assigned to tag along with the heroes-for-hire to keep tabs on how they stand up in battle with the robot hunter.

American actor Reb Brown returns to Bruno-land, having previously screamed his way through Mattei's napalm-fueled RAMBO 2 clone, STRIKE COMMANDO in 1987. Reb had been acting since the early 70s, first appearing as a bully in the underrated king cobra cult horror SSSSSSS (1973). He's most well known for starring as Captain America in two Made For TV movies in 1979; and co-starring alongside Gene Hackman in the hit action-war film UNCOMMON VALOR (1983). Brown found himself periodically employed overseas headlining silliness such as YOR, THE HUNTER FROM THE FUTURE (1983) and LAST FLIGHT TO HELL (1990).

Catherine Hickland is the other name in the cast. Famous as a soap star in America, she was known for those same roles in Italy, too. Hickland's character doesn't add much to the movie; she's basically playing a Caucasian version of Elpidia Carrillo's role in PREDATOR.

As bad as the movie is, everybody seemed to be having a blast in spite of the heat and dangers indigenous to the Filipino jungles. Occasionally dull and frequently insipid, ROBOWAR (1988) has a sizable following in cult film circles; but till now, was unavailable in a quality presentation. Severin's restoration is better than this sort of picture would ever expect to get. If you're familiar with Mattei's filmography, then that alone will be enough to know if ROBOWAR is the sort of movie you wish to hunt down for your blu-ray collection.

This review is representative of the Severin blu-ray. Specs and Extras: 4K scan of the original negative; 1080p HD 1.85:1 anamorphic widescreen; Italian/English options; English subtitles; seven interviews with cast and crew; Catherine Hickland's behind the scenes home movies; trailer; bonus soundtrack CD limited to the first 3,000 copies; running time: 01:30:43

Sunday, July 21, 2019

The Tough Ones (1976) review


Maurizio Merli (Commissioner Leonardo Tanzi), Arthur Kennedy (Vice Chief of Police Ruini), Tomas Milian (Vincenzo Moretto), Maria Rosaria Omaggio (Anna), Giampiero Albertini (Commissioner Caputo), Ivan Rassimov (Tony Parenzo), Biagio Pelligra (Savelli), Stefano Patrizi (Stefano), Luciano Catenacci (Ferdinando Gerace), Sandra Cardini (Sandra Moretto), Luciano Pigozzi (Moretto Henchman)

Directed by Umberto Lenzi

The Short Version: Lenzi teams up with Italian superstar Maurizio Merli for the first of four times in a visual charge of assault and battery playing out in 1970s crime-riddled Rome. You'll notice the lack of an actual plot, but it was planned that way; instead of a linear narrative, it's a series of brutal incidents strung together while Merli's Inspector Tanzi does some brutalizing of his own. Packed with violence, car chases, and colorfully despicable villains, Lenzi's heavily armed actioner is a TOUGH ONE to beat.

Inspector Tanzi, a Rome cop increasingly frustrated with a flawed legal system and increasing criminality, sets his gun sights on busting a crime ring ran by the powerful Ferrender. Unfortunately, the gangster is always one step ahead of the police. Tanzi then attempts to nail the kingpin by tracing his associates; including a deranged, hunchbacked slaughterhouse worker named Moretto. Tanzi's methods are unorthodox, garnering unwanted media attention and stirring the ire of his superiors; while making himself a target

The vastly underrated Umberto Lenzi was unique among his colleagues that, like him, worked in a multitude of genres. To contrast, Lenzi had a signature style that other directors in his company didn't have. You could watch one of his movies without seeing his name in the credits and be able to discern that he was indeed at the helm. With its docu-style camerawork; cold, emotionally detached characterizations; and exclamation-marked scenes of viciousness, THE TOUGH ONES is no exception.

Lenzi had already directed four crime pictures prior to this one--those being GANG WAR IN MILAN (1973), ALMOST HUMAN (1974), MAN HUNT IN THE CITY (1975), and SYNDICATE SADISTS (1975). His next in the genre, THE TOUGH ONES (aka ROME ARMED TO THE TEETH), was as varied as his four previous entries. It would be successful enough to ensure Lenzi would maintain the 'Violent Cop' formula for five of the six remaining crime movies he would direct before saying 'arrivederci' to the genre that gave him his best box office returns.

There's barely a plot in Dardano Sacchetti's script; and what little there is exists solely as a string of brutal acts perpetrated by three disparate villains whose only commonality is the violence and misery they bring to their victims. The threadbare storyline revolves around Merli's determined Inspector Tanzi trying to nail syndicate head Ferrender and being outsmarted at every turn. Incidentally, Ferrender hardly figures into the narrative at all; his character is simply a mobile with assorted scummy figures from all walks of life dangling from it. 

At the center of it all is Merli's frustrated cop exasperated at a flawed judicial system that tends to inadvertently work in the favor of felons and lawbreakers by freeing them to maim or kill again. Merli's Leonardo Tanzi compensates by constantly staying turned up to eleven, forcing Rome's miscreant population to swallow bullets and fists, beating the holy hell out of every petty crook, drug-pusher and rapist in sight. At one point, Tanzi's excessive force becomes a liability so he's taken off the Ferrender case and placed in a licensing desk job; this seems to piss him off even more and so he then begins moonlighting--accepting applications for permits by day and lowering the city's criminal employment numbers by night.

Maurizio Merli is arguably at his angriest here, never smiling or registering any emotion other than enmity and rancor. Granted, his frustration is understandable considering the actions of the lowlife's presented to us. However, Tanzi's disgruntled policeman is over the top to the point of comedy. We cheer him on but can't help but chuckle at his overzealous trigger-finger and bitchslaps gifted to the scum of the Earth who, by all intents and purposes, deserve it.

As usual with these movies, critics and communists alike ironically labeled them fascist because of, in the case of this film, Tanzi's excessive means to either get a confession or get an arrest that sometimes ends with the offender taking a permanent dirt nap. With the laws written in such a way that they seem to protect the rights of thugs more than law-abiding citizens, Tanzi's propensities were shared by the viewing audience; since said laws impacted the lives of the public at large as opposed to the politicians that passed them.

Representing ROME's softer side is Anna (played by Maria Rosaria Omaggio of Lenzi's NIGHTMARE CITY), Tanzi's overly naive, but good-natured girlfriend who believes that everyone can be rehabilitated. Over the course of the film, a handful of released delinquents ranging in age and level of criminality return to committing crimes or are killed due to their own carelessness. After a near-death experience with some of Moretto's colleagues, Anna begins to doubt her stance; although the outcome is ambiguous since there isn't a great deal of time spent with her.

Merli's cinematic MO showed a pattern between 1975-1977 and, went from letting off some steam to showing a lighter side that allowed the actor to smile a while. His crime films became more relaxed and the actor was given more room to emote and even do some comedy. Even so, it's his interchangeably hard-nosed roles in films like ROME ARMED TO THE TEETH and VIOLENT NAPLES (1976) that people remember with great affection.

Lenzi's movie has an intentionally fragmented plot wherein both upper and lower ends of the social strata make up the criminal element indigenous to ROME's savage concrete jungle. Violence doesn't recognize who is rich or poor, it simply exists everywhere.

Tomas Milian's hunchback, Vincenzo Moretto, is a seemingly small time crook working as a butcher in a slaughterhouse (and he drives a Porsche!) with a connection to Ferrender via his brother-in-law; another criminal named Savelli (played by Biagio Pelligra of Lenzi's 1979 genre farewell, FROM CORLEONE TO BROOKLYN). Milian delivers his usual superb performance, even managing to derive some initial viewer sympathy for his hunchback even though he's an evil son of a bitch. Viewers aren't aware of the depths of Moretto's cruelty till late in the movie when his physical deformity becomes a metaphor for his twisted psychosis. Till then, he's treated as a pitiable outcast.

The character was so popular Milian played him again in another Lenzi box office hit, BROTHERS TILL WE DIE (1978); a comical crime venture featuring Milian in a dual role essaying another famous Italian character on his vast resume, Monezza. Unlike ROME, the BROTHERS is a lesser effort although it is better appreciated by those familiar with the Italian slang heard throughout. Prior to playing a psycho hunchback, Milian delivered a tour de force of even more extreme villainy in Lenzi's seminal ALMOST HUMAN in 1974.

On the other end of the antagonistic spectrum is a group of young punks that not only get off on raping women, but get off on technicalities aided by their well-to-do parents. The leader of this pack is Stefano (played by Stefano Patrizi), an evil young man with an angelic face. These sections of the film allude to the Circeo Massacre that took place in the Lazio region in late September 1975. There were a handful of Italian crime movies inspired by, or based on, this murder case wherein three youths from wealthy families kidnapped and tortured two young girls.

That same year, Patrizi played basically the same role in Romolo Guerrieri's YOUNG, VIOLENT, DANGEROUS (1976). Incidentally, Tomas Milian co-stars as the relentless cop on the case, pursuing the young killers.

Elsewhere, genre regular Ivan Rassimov (star of Lenzi's MAN FROM DEEP RIVER and EATEN ALIVE!) plays a thoroughly despicable pimp named Tony Parenzo who, like the others, has a connection to Ferrender. Unfortunately, Rassimov's participation adds little to the picture other than an additional all-beef patty of sleaze on Lenzi's greasy crime burger.

With everything it has going for it, ROME is ultimately the Merli and Milian Show. 

Reportedly, producer Luciano Martino envisioned a crime epic featuring both Merli and Milian--the former having exploded onto the scene several months earlier in the successful VIOLENT ROME (1975); and the latter having become one of Italy's biggest draws from numerous westerns. The problem was that neither man liked each other. Their egos were such that in the sequel, THE CYNIC, THE RAT AND THE FIST (1977), both men reportedly shot their scenes separately and never actually shared the screen together. In ROME, they make superb foils onscreen and share a few memorable sequences together. It's unfortunate, though, that the finale is a slight disappointment considering the intensity of what came before.

It's rare a DVD or blu-ray's extras are discussed here, and this release is literally exploding with them; but one extra that this reviewer was most looking forward to was the feature length documentary on Umberto Lenzi's career. As welcome as it is, the nearly 90 minute ALL EYES ON LENZI doc is a surprising disappointment. There's not a great deal of career-spanning and so much of what is here has already been covered on previous Lenzi releases.

Yet again, lengthy, monotonous stretches are devoted to his cannibal movies and NIGHTMARE CITY (1980) with nothing new to offer on the making of them; just critics trotting out the usual buzzwords that so-called academics commonly associate with those pictures. There's no discussion of Lenzi's peplums and adventure movies; nor any mention of his spy films; and scarcely a nod to his star-studded war productions. Lenzi directed numerous big name stars from Steve Reeves to Henry Fonda and there's no conversation on the director working with any of them; nor does it appear he was even asked. It's like the makers couldn't be bothered to actually cover the man's entire career for a documentary that was supposed to do that very thing. Obviously, his giallo and crime films are covered, but it's the aforementioned extreme horror titles that are given the spotlight for the umpteenth time. The irony is that a tribute to the late Lenzi fails to cover--whether at length or even at all--films he directed for genres he took great pride in.

However, if you are curious about some of Lenzi's other pictures, such as his work in the spy genre, you can learn what it was like working with him from former peplum actor Roger Browne in our extensive interview you can read HERE.

As for ROME, it's a top tier entry in Italy's crime genre that, while virtually plotless, compensates by aggressively casting a wide net of exploitation tropes. Something of a 'greatest hits' compilation, Lenzi's tight direction coupled with Merli's machismo and Milian's misdeeds assault your senses with unstoppable entertainment value. Few films wrangled the energy of these TOUGH ONES.

This review is representative of the Grindhouse Releasing 3-disc blu-ray set (2 blu-rays and CD soundtrack). Specs and Extras: New 4K restoration; 2.40:1 anamorphic widescreen; original Italian language w/English subs; English dubbed version; audio commentary w/Mike Malloy; brand new interviews with cast and crew including director Umberto Lenzi and Tomas Milian; tribute to Maurizio Merli; original international trailer; bonus CD of the soundtrack by Franco Micalizzi; liner notes by Italian crime film author Roberto Curti; still gallery; easter eggs... the first 2,500 copies contain a .30 caliber bullet pen; running time: 01:33:53

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