An estranged and recently widowed grandfather purchases a used RV to take one last family road trip with his two sons, daughter-in-law, and granddaughter to rekindle a broken relationship. On an isolated stretch of desert highway, the family decides to pull over to assist two stranded motorists and offer them a ride to the next town. Suddenly, the RV veers out of control, steering itself to the middle of the dangerously sweltering desert. The group now finds themselves all stranded and alone with a RV that outputs a strange vibe, displaying vividly horrific secrets inside the RV’s enclosure. One-by-one, the RV kills them off and soon they realize that their ride to family fun is no more than a reincarnated recreational vehicle with a long lineage for death and thirsty for new blood.
Fan crushes are a strange phenomena. Once an actor or an actress imprints their image, their voice, or their one-time portrayal of a charismatic character onto you, the unexplainable captivation never releases the firm grip around the psyche. Denise Richards has had a long impression on this reviewer, resulting in a severe case of fan crush. The Illinois actress won my heart as the determinedly beautiful starship pilot Carmen Ibanez in Paul Veerhoven’s “Starship Troopers,” one year before her anticipated and unforgettable champagne popping nude scene in the convoluted thriller “Wild Things.” Twenty years later, Richards, an ageless beauty, co-stars in the Tom Nagel supernatural horror, “The Toybox.” Nagel (“Clowntown”) directs his sophomore film penned by screenwriter Jeff Denton and, together, the pair of filmmakers toy with and present an idea of a detestable serial killer leaving his twisted soul in the under the rusted hood of a his torture chamber, a beat up old RV camper. A killer RV story that sounds to be right up horror-comedy’s alley is actually a rather earnest narrative that has a solid kill count with an innovative, outside the box villain and a no one is safe attitude.
I’ve already mentioned that the goddess Denise Richards co-headlines “The Toybox” and though I have yet to experience her more recent work over the years, “Valentine” was the last horror film that I can recall with Richards in the cast and her role in Nagel’s film as a loving, yet undisciplined mother and wife in “The Toybox” puts her at the opposite spectrum of her roles in the late 90’s/early 2000’s career. Still, the now recently re-married mother of two still has her unrivaled hots and still has her acting chops as a leading lady despite the lack of Hollywood glam and stardom. Her co-star, Mischa Barton, has been an upcoming figure in the b-horror community. “The O.C.” actresses has starred in a string of horror films in recent years such as “The Hoarder,” “L.A. Slasher,” and “Apartment 1303 3D.” Barton tackles a tomboy Samantha whose picked up, along with her brother, by the RV traveling family and while Barton has a fine performance, she doesn’t quite sell the intensity as a final girl. Greg Violand (“The Devil’s Toy Box”), Matt Mercer (“Contracted”), David Greathouse (“Yoga Hosers”), writer Jeff Denton, director Tom Nagel, and introducing Malika Michelle round out of the remaining cast.
“The Toybox” loosely aims to unravel the inner turmoils of the characters mainly focusing around the estranged relationship of the father and his two sons. The trio can’t quite shake the secret inducing uneasiness that boils inside their broken relationship, making a situational cakewalk for the killer RV to pit them against each other as a deranged therapy session to unsheathe their kindred issues. The bickering and the blaming hurts those they love the most around them first, a very relatable and unfortunate circumstance in beyond the sensational borders of movie magic. However, no matter how much movie magic Nagel constructs to gore-out “The Toybox,” a stiflingly story rears an ugly head via undercooked characters pivotal in being the heart of the narrative. Samantha, Barton’s character, has soft, buttery edges that don’t take shape to ultimate purpose for being a focal point and the same can be said for David Greathouse’s serial killer character Robert Gunthry whose RV-inhabiting backstory is whipped swiftly a single anecdote.
Skyline Entertainment and Steel House Productions present Tom Nagel’s “The Toybox” onto Blu-ray home video in high definition 1080p and a widescreen, 2.39:1 aspect ratio. Image is quite sharp despite lacking vivid coloring and going more for a dusty western-horror, exhibiting the rocky arid landscape of the pacific coast. The English Dolby Digital 5.1 audio track is nothing to write home about, but offers a clean dialogue track, ample ambience, and balance. Depth’s slightly weak, but won’t hinder the experience. Bonus material on the single layer BD-25 includes a behind the scenes of various takes throughout production, the theatrical trailer, and a feature commentary with cast and crew. “The Toybox” is no child’s plaything. A RV serial killer with the homicidal motivations stemmed from pure evil and, in a fair opinion, only director Tom Nagel could have poised a coherent film without making it out too, for a lack of a better word, campy and that’s not my weird obsession with Denise Richards talking.
On a dark and stormy night after a school football game, a teacher and three students take shelter at a cottage adjacent to a cemetery. If the cottage wasn’t creepy enough, the sole occupant owner surpassed the bar. She calls herself Miss Leslie, a middle aged woman with an ill-fated story of her friend and mother’s fiery demise from long past and a quirky penchant for making life-size female dolls that set inside an illuminating shrine. Though they feel uneasy about the creepy surroundings, the visitors stay and get cozy, especially with each other, but Miss Leslie has ulterior, deranged motives. Her dolls are not just lifelike, they once were vibrant lives of women Miss Leslie sorely wanted to inhabit their feminine confines of youth and beauty from over the years, but now they are an undecomposable shells, encase in Miss Leslie’s special doll making brew to timelessly capture their lovely physiques. They are also beautiful, yet painful reminders of her failed attempts to transfer her essence into their adolescent bodies.
Every so often you come across a film with a gigantically absurd hard shell cover with the gooey insides of eye-rolling cheesiness and you just have to ask yourself, how in the world did something like this ever come to fruition!? Yet, somehow, someway, these productions of an oddball variety always have an intense allure about them and end up being just one of the coolest rarities to grace the glazed-over irises. Joseph Prieto’s “Miss Leslie’s Dolls” is the epitome of this very phenomena. “Miss Leslie’s Dolls” is an exploitation, nearly softcore porn, horror with a deranged killers with severe mental issues that range from communication with dead to, what can be now construed as antiquated, complications of gender identity. One of the last directed films from Prieto, who also helmed “Shanty Tramp” and “Savages from Hell,” also penned the screenplay alongside longtime collaborator and producer Ralph Remy Jr. The script reads like an insatiable bedside thriller novel, an object of complete obsession through the entirety and well long after being completed; “Miss Leslie’s Dolls’” has a rich gothic lining, a strong sexual appetite, and a timely LGTB subject that involves debate on mental illness or inherited gender orientation.
Not many actors performed in drag. Sure, there was Jack Lemmon and Tony Curtis in “Some Like It Hot” and there was even Anthony Perkins from “Psycho,” who some might go as far as saying that “Miss Leslie’s Dolls” might draw inspiration from with the whole mother fixation, but only a small faction of fans, especially in the genre, might know Salvador Ugarte. The Cuban born Ugarte has great poise as a woman imprisoned in a man’s body. Miss Leslie just isn’t a deranged killer in drag; the character has deep rooted issues stemming out of not only being a woman embodied incorrectly, but also seeded by an engulfing obsession with capturing beauty to obtain it for herself, an addition from a result of a permanent scarring left behind by Miss Leslie’s homicidal rampage in the character’s history. Ugarte has the mannerisms and the gait down so unerringly that’s the performance is downright creepy, but there was one aspect of womanhood that Ugarte’s masculinity couldn’t mask: his voice. The actor is horrendously dubbed, adding charm to the bizarre concept. Ugarte’s joined by “Little Laura and Big John’s” Terri Juston, Marchelle Bichette (“The Gruesome Twosome”), Kitty Lewis, and Charles Pitts of “Supervixens.”
Contrary to the above, “Miss Leslie’s Dolls” has some drawback. Though the characters might be entertaining and interesting, especially with the Bourbon obsessed and hot for teacher Roy and his terrible gangster accent or the fact that Ms. Alma Frost is a smoking hot, twenty-something year old prude teacher to her pupils who are practically the same age as her, they’re washed over with an aloof mentality, consequently looking past or just blatantly oblivious to Miss Leslie’s obvious male features, her inauspicious ramblings, and the fact she has a shrine of creepy and realistic dolls of women that fill the room with the smell like rot and death. Perhaps too busy running through the cemetery at night in skimpy bedroom garments. Yes, this does happen. On top of that, Miss Leslie harness of occult powers goes relatively unexplored, yet very much utilized as an important portion of the film near the last act. Despite being passively mentioned and rather undercut from more than most of the film, Miss Leslie’s occult mischief is plucked right from left field to further the enigmatic aurora of Prieto’s mystical exploitation.
Network proudly presents “Miss Leslie’s Dolls” on an UK 1080p Hi-Definition, region free Blu-ray home video, remastered from the original film elements once thought to be have been forever lost. The newly scanned transfer came from a surviving print and presented in the film’s original theatrical aspect ratio of 1.85:1. The restoration included detailed grain management, the automated and manual removal of dirt and damage, and the correction of major color instability, warp, and density fluctuations. (In full disclosure, Network sent me a DVD-R screener and that is what the following critique is based off of) Though in some frames there flares up some instability, from my perspective, the first act and half really came out well with the vivid, yet natural, coloring. However, once inside Miss Leslie’s basement, woozy blotchy moments of Leslie fiddling around makes the particular scene a bit off putting. The stereo mono track is fair for the 1973 film that has it’s share of distortions and editing pop faux pas, but the dialogue is fiercely prominent, despite the inherent awfully laid dub track, and equally well balanced with ambient tracks. There were no bonus material on the release. Transvestitism horror is quite a rare experience that always has a lasting impression, cerebrally popping visuals of grim visions commingling with the blood, the viscera, and the other supplementary violence. “Miss Leslie’s Dolls” deserved this Blu-ray release and Network did right by Prieto’s obscure grindhouse feature that will sear into your skull.
“A Taste of Phobia” brings together 14 international directors to the fold, executing their creative version of terror of various fears. From the fear of the dark to the fear of feces, each short compiled into this feature length film delves into what it means to be afraid of something that an average person regularly encounters on a daily basis. No ghouls, no monsters, and no ghosts stories here; “A Taste of Phobia,” or otherwise known as “Phobia,” explores the inherit human element, the everlasting internal struggle, and the mental conjuring of demons and the anxiety of the unknown that fabricates by and into fear itself. The psychological terror of phobias plagues each and every one of us and is never exclusive to a particular group or race of people, and that’s a haunting reality, especially in an time and age where suppressed personal emotions and issues lead to unfortunate suicidal circumstances. Some of the directors include Lorenzo Zanoni, Alessandro Sisti, Alessandro Redaelli, Alessandro Giordani, Rob Ulitski, Sam Mason Bell, and Davide Pesca.
A number of these filmmakers I’m not familiar with, but I do recognize a few names from the bunch by examining their previous work. Somniphobia is a sleep anxiety disorder which is the basis for the short written by Sophia Cacciola and directed by Michael J. Epstein, who also steps into the lead. “Blood of the Tribabes,” a vampiric melodrama, was my last experience with the Cacciola and Epstein duo, who have a passionate dynamic and chemistry when it comes to horror. Somniphobia is a whole different animal that’s more on a compact scale in comparison to their vampire feature and doesn’t necessarily tackle the perpetual fear of sleep; instead, Epstein portrays a contractor pushed to the limits, practically threatened by an employer, to finish coding a project to the point where he hasn’t slept in days. The lack of sleep and the various methods to try and stay awake by the power of suggestion have fried his brain to the point of self-inflicted harm. The writings good and the dark humor direction is a nice touch. Another recognizable filmmaker that stands out to me is Domiziano Christopharo. The “House of Flesh Mannequins” and “Red Krokodil” director has always exhibited a thirst for body horror and the Italian director places his talents in the kitchen with Mageirocophobia, aka the fear of cooking. Christopharo continues his brand of body-manipulation motif by telling a story of a woman, whose seemingly very good at putting together a tasty and savory fish dish, into a deeply disturbed woman who contemplates and nightmarishly fantasizes herself being the sliced, diced, and cooked to a crisp main dish.
Then, there are many filmmakers I’m not familiar with at all, but did enjoy their short entries. Sunny King’s Nyctophobia, aka fear of the dark, is hands down one of the best entries despite the slight ghost-like manifestation, but the Nigerian director fosters a tangible evil constructed by fear and his version of Nyctophobia is classic, very timeless, sans blood and shock to the point where the story plays out like a simple spook film. Very enjoyable, subtly powerful, and basically classic in tone, King reigns “A Taste of Phobia.” Now, that doesn’t mean Nyctophobia stands alone; UK’s Jackson Batchelor and his fear of politics, Politicophobia, has to be one of the more honest entries and, certainly, one of the more timely. The political undercurrent of two-faced politician is a phobia we can all get behind with their scummy, repetitive, and subliminal messaging campaign ads. Batchelor polar extreme sheds light on what a fear invoked person might experience when viewing just one of the hard-hitting, lying through the teeth campaigning juggernauts. The previous examples pinpoint heighten the emotional aspect of fear, but what if fear perpetuated madness, such as in Poison Rough’s Mysophobia, or fear of germs. The idea of bugs, dirt, or even microbes, crawling in the hair or on the skin gives one very particular man the creepy-crawlies to the breaking point where he’s forced to self-remove his own skin in order cease the sensation.
On the opposite end of the spectrum, some shorts didn’t make muster. Fear of feces, or Coprophobia, was just bizarre, daft, and, well, not even that gross for the titular phobia. The approach by churning schlock director Jason Impey was more juvenile than expected with a feces covered stuff animal rising out of the depths of a shit covered toilet and have actor Martin Payne portray a fight of physicality in a small bathroom that ends with Payne naked stabbing the metaphorical stuff animal. Dustin Ferguson’s Mazeophobia, fear of mazes, was another that flared out with a hispanic man driving around lost in America’s unforgiving conservative countryside. He eventually winds up in the hands of a pair of Trumpian wing nuts and the climax becomes a little fuzzy from there into editing shambles that hesitates to make sense of how the series of events play out.
Artsploitation Films, a Philadelphian based distributor seeking the dark and desolate corners of the world to bring to light international entertainment, releases horror-anthology “A Taste of Phobia” onto DVD home video. The anthology is presented in various ratio formats due to the different styles of filmmaking and, thus, a range of image qualities stand out to some that’s suffer from aliasing and blotching atrocities to others that surprising peak in picture value. The 2.0 stereo audio track, mostly English with some Italian and Spanish, have varied ranges, depths and balances as well. Bonus features include a bonus fear mini-movie entitled Achluophobia from director Jason Impey, a behind the scenes look at Michael J. Epstein’s Somniphobia and Chris Milewski’s Pharmacophobia, an interview with producer and one of the 14 fear directors Domiziano Christopharo, a little inside on the special effects for Pharmacophobia and Mageirocophobia, and a theatrical trailer. “A Taste of Phobia” pushes the limits to extremely visualize the niche fears in us all by packing 14 deadly phobias up into an anxiety-riddled anthology released by the good, but probably psychologically insane, people at Artsploitation Films!
Third year medical student Dan Cain is on the verge of graduating from the New England Miskatonic University Medical School. That is until Dr. Herbert West walks into his life. Learning all he can from neurologist Dr. Hans Gruber in Zurich, Switzerland, West eagerly enrolls as a student at Miskatonic to viciously dismantle, what he believes, is a garbage postmortem brain functionality theory of the school’s grant piggybank Dr. Carl Hill while West also works on his own off the books after death experiments with his formulated reagent serum. West takes up Cain’s apartment for rent offer and involves Cain in a series of experiments that lead to reviving the old and the fresh dead. The only side effects of revitalizing dead tissue is the unquenchable rage and chaos that urges the recently revived to rip everything to shreds. Things also get complicated and people begin to die and then revive when West and Cain’s work becomes the obsessive target of Dr. Hill, whom discovers the truth and plans to steal West’s work, claiming the reagent serum as his own handiwork while also attempting to win the affection of Dr. Cain’s fiancee and Miskatonic’s Dean Halsey daughter, Megan Halsey, in the most undead way.
A vast amount of time has passed since the last time I’ve injected myself with the “Re-Animator” films and I can tell you this, my rejuvenation was sorely and regrettably way overdue. Stuart Gordon’s impeccable horror-comedy, “The Re-Animator,” is the extolled bastardized version of Mary Shelley’s Frankenstein without direct references and begins the ghastliness right from the initial opening prologue and never wanes through a fast-paced narrative of character thematic insanity and self-destructing arrogance with hapless do-gooders caught in the middle of undead mayhem. Producer Brian Yuzna financially backs Charles Band’s Empire International Pictures distributed 1985 film that’s based loosely off the H.P. Lovecraft 1922 novelette “Herbert West-Reanimator.” From a bygone novelette to an instant cult favorite amongst critics and fans, “Re-Animator” glows vibrantly like it’s reagent serum embodied with reality-buckling entertainment and grisly havoc displayed through the silver screen adapted form. Umbrella Entertainment has released a two-disc collector’s set, the first volume on their Beyond Genres label of cult favorites, and this release, with various versions, will include the allusive 106 minute integral cut!
From his first moments on screen holding a syringe to over three decades of pop-culture films, comics, and social media presence, nobody other actor other than Jeffrey Combs could be envisioned to be the insatiable Dr. Herbert West. Combs is so compact with an explosive vitality that his character goes beyond being a likable derivative of a Machiavellian anti-hero. Narrowing, dagger-like eyes through thick glasses on-top of small stature and a cruel intent about him makes Combs an established horror icon unlike any other mad doctor we’ve ever seen before. Bruce Abbot costars as Dr. Dan Cain, a good natured physician with a penchant of not giving up on life, but that’s where he’s trouble ensnares him with Dr. West’s overcoming death obsession. Abbott’s physically towers over Combs, but his performance of Cain is softly acute to West’s hard nose antics. Abbott plays on the side of caution as his character has much to lose from career to fiancée, whose played by Barbara Crampton. “Re-Animator” essentially unveiled the Long Island born actresses and made her a household name who went on to have roles in other prominent horror films, including another Stuart Gordon feature “From Beyond,” “You’re Next,” and the upcoming “Death House.” David Gale rounds out the featured foursome as the detestable Dr. Carl Hill. Gale embraces the role, really delving into and capturing Dr. Hill’s maddening short temper and slimy persona; a perfect antagonist to the likes of Combs and Abbott. The remaining cast includes Robert Sampson (“City of the Living Dead”), Carolyn Purdy-Gordon, and Peter Kent.
The “Re-Animator” universe is right up there with the likes of Sam Raimi’s “The Evil Dead.” Hell, there is even a line of comics that pit the two franchises together in a versus underlining. Unfortunately, “Re-Animator” is frankly nothing without the franchise star Jeffrey Combs, much like “The Evil Dead” is nothing without Bruce Campbell even though we, as fans, very much enjoyed the Fede Alvarez 2013 remake despite the lack of chin. Gordon’s film needs zero remakes with any Zac Efron types to star in such as holy role as Dr. Herbert West. That’s the true and pure terrifying horror of today’s studio lucrative cash cow is to remake everything under the genre sun. Fortunately, “Re-Animator” and both the sequels have gone unscathed and unmolested by string of remakes, reboots, or re-imagings. Aside from a new release here and there, such as Umbrella’s upstanding release which is fantastic to see the levels of upgrades up until then, “Re-Animator” has safely and properly been restored and capsulated for generations to come.
Umbrella Entertainment proudly presents the first volume of the Beyond Genres’ label with Stuart Gordon’s “Re-Animator” on a two-disc, full HD 1080 Blu-ray set, presented in a widescreen 1.77:1 aspect ratio. A very fine and sharp image quality that maintains equality across the board with minuscule problematics with compression issues, jumping imagery on solid colored walls for example, but the issues are too small amongst the rich levelness of quality and when compared to other releases, Umbrella Entertainment’s release is a clear-cut winner. The English DTS-HD master audio puts that extra oomph into Richard Bands’ score that’s heavily influenced by Alfred Hitchcock’s “Psycho,” adding a pinch of chaotic gothic charm to the macabre story. Dialogue is balanced and upfront, but there isn’t much prominent ambient noise to put the dialogue off-kilter. Special features on the first disc include the 86 minute unrated version of “Re-Animator,” audio commentaries from director Stuart Gordon, producer Brian Yuzna, and stars Jeffrey Combs, Barbara Crampton, Bruce Abbott, and Robert Sampson; there’s also a “Re-Animator Resurrectus” documentary, 16 extended scenes, and a deleted scene. The second disc includes the 106 itegral cut along with interviews with Stuart Gordon, Brian Yuzna, writer Denis Paoli, composer Richard Band, and former Fangoria editor Tony Timpone. Plus, a music analyst by Richard Band, TV spots, and the theatrical trailer. All this and a bag of corpses is sheathed inside a remarkably beautiful encasement with a seriously wicked custom slipcover desgin by illustrator Simon Sherry. There’s also reversible Blu-ray casing cover art with previous designs incorporated. H.P. Lovecraft would be extremely flattered and proud on how Umbrella Entertainment not only enhanced the film adaptation of his classic tale of macabre, but also with how diabolically attired the release is distributed. A true horror classic done right!
A father mysteriously goes missing when visiting aliens violently abduct him from his serene cottage home. Thought to be a deadbeat husband and father for abandoning his family, the man returns three years later at the doorstep of his wife’s London flat. A bewildered and conflicted wife struggles with his return while the live-in boyfriend makes it clear that he wants the man out, shelling out a vicious cold shoulder whenever in the same room, but the returned father seeks to resume his patriarchal position amongst his family; however, he’s not exactly the same person he used to be as he garnishes an exterior shell of a human and the interior of a hostile extraterrestrial with ulterior motives. His return has nightmarish affects on his traumatized son whose becoming a device of deviancy at the hand of his father’s otherworldly influence, issuing carnivelesque ill will toward other flat tenants. By the time the boyfriend suspects something, the not-so-friendly alien might have already established the intended invasion into a family so eager and willing to accept their sorely absent loved one.
Perhaps one of the most out of this world science fiction horror films ever made that’s set on Earth, “Xtro” is the Don Coscarelli-like bizarre horror film from British filmmaker Harry Bromley Davenport. Co-written the story with Michael Parry (“The Uncanny”), Davenport’s blended American and British financed 1982 unsettling venture was penned by Iain Cassie (assistant director on “Schizo”) and Robert Smith. Honestly, no other film comes within a comparison zone of “Xtro’s” sheer creativity that doesn’t just redesign the genre or it’s tropes, but, rather, embraces a new kind of fragmented oddity by telling an uncomfortable story consisting with the graphic birth of a full grown adult, the flesh crawling sensation of an adult man bending down to child level to drink from the bare skin of a child’s shoulder, and the exhibition of the dark pageantry of humor underlined death. Over an umbrella of horror shades metaphorically a fairly common family crisis baseline premise of an inattentive father’s return home to try to reinstate himself with conflicted wife and eager son only to, once again and concretely, destroy them internally.
Philip Sayer sets foot into the duplicitous titular space invader. The trained veteran actor had experience from the stage that translated to what could be considered performance art in “Xtro” to embodied a creature on the inside to his humanity on the out. Sayer costars alongside an unseasoned child actor, Simon Nash, as the young Tony and the pair make a inharmonious father and son with cankerous performances by Nash who doesn’t exactly fit, when considering accent and even appearances, his portrayed parents. Bernice Stegers is the other half of Tony’s folks and the “Macabre” star does a phenomenal job as the stiffly conflicted mother and wife Rachel Phillips, straining toward more what’s best for her love life rather than to the care of her son. The live-in boyfriend Joe, portrayed by Danny Brainin, limps by as a fairly useless character who doesn’t contribute either way to a conclusion. Other than providing a minor tether to Rachel Phillips life to normalcy, Joe can’t swallow his emotions and the best the character can offer is to abandoned his girl and son, another frail male in their life. Brainin’s performance is good for the character’s weak minded attitude. The cast rounds out with Maryam d’Abo (who goes onto to be a bond girl in “The Living Daylights”), Peter Mandell, and Anna Wing.
Though thought provoking and wildly entertaining through soul rattling imagery, “Xtro” is by far from a perfect film. Sure, the Tom Harris special effects pull at innard chords you may never knew you garnished and certain scenes would be the subject of mysterious gif images in the dark corners the internet that proclaimed creatures do live unknown amongst us, but the British science fiction horror film, a video nasty of the time, just might have been too absurd in the nonconformist form that struck unpopular opinions with audiences and critics because the villain wasn’t necessarily tangible and wielded a blood stained machete and more so involved obscure telepathic references that were non-explicit. There’s literally no connective tissue which makes this film so beyond the mind’s grasp. “Xtro’s” niche saw non-homaging aspects, but had familiar flavors such as a bit of Peter Jackson humor, a dry slapstick that’s hard to enjoy, but fascinating to take in at the same time. That’s the whole idea behind “Xtro” was to create an off-structured horror film that pushed the limits while not just replicating other great horror movies.
New Line Cinema’s “Xtro” is coming to a limited edition Blu-ray set from UK distributor Second Sight. The newly restored extended presentation of the transfer will also have option alternate ending plus will also be accompanied with the original video version. Unfortunately, a screener disc was provided for this particular review and comments about the image and audio presentations will not be commented on. The disc did include extras such as a brand spanking new 57-minute documentary that included new interviews with Harry Bromley-Davenport, Mark Forstater (producer), Bernice Stegers, Susie Silvey, Tim Dry (Tik), Sean Crawford (Tok), Robert Pereno, Alan Jones and Craig Lapper. Also included is a new featurette with Dennis Atherton, Harry Bromley-Davenport and Mark Forstater, ‘Beyond Xtro’ – a new featurette with Harry Bromley-Davenport and Mark Forstater looking ahead to new reboot, ‘Xtro – The Big One’, including exclusive test footage, ‘Loving The Alien: A Tribute to Philip Sayer’ featuring exclusive Brian May music tribute, and ‘Xtro Xposed’ archive interview with Harry Bromley-Davenport. A venturous Robert Shaye at New Line Cinema wanted to match wits with his own one-two punch version of a video nasty. The result was an out of body experience alien feature with unapologetic tastes and unafraid wills to push the shock market limits. “Xtro” might be one of the billions of stars in the film archive, but at least it’s one of a kind.