In the Australian outback, a prehistoric and ginormous crocodile has surfaced in the wake of mankind’s gentrification of the wilderness land. Between ambushing crocodile poachers and snatching little Aborigine children from off the river shore, the ancient saltwater hunter has become the hunted as park ranger and crocodile preservation expert Steve Harrison has been assigned to kill the beast, but the local Aborigine tribe holds the killer croc sacred, calling it Numunwari, an ancient, spirit carrying crocodile that has embodied the bones and souls of ancestral aborigine. Together, Harrison and local tribe leader Oondabund must find a way to stop the chaos without terminating the Numunwari while combating drunken poachers and a rattled ranger chief looking to abruptly end public fear. With the enthusiastic help of Harrison’s ex-lover, Cathy Pope, the three devise a dangerous plan to sedate the massive croc and transport it to a secluded habitat before death rears it’s ugly head once again.
Arch Nicholson’s “Dark Age” is the Australian “Jaws” equivalent, introducing a massive crocodile that puts the fear of the murky rivers into the hearts of audiences much like a giant great white shark did for the ocean beaches. “Dark Age” is a raging adventure with a delicate undertone about nature fighting back against an aggressive, occupying force called man, especially the white man, who kills without cause, who plagues without consciousness, and whose power instills a reactionary fear to kill. A single, monstrous crocodile embodies and symbolizes the essence of an entire habitat, chomping through flesh and doing a death roll to make known that nothing can stop nature or as “Jurassic Park’s” Dr. Ian Malcolm so eloquently put it, “Life, uh, finds a way.” Nicholson’s film, from the novel of Grahame Webb novel Numunwari, isn’t solely a man versus nature horror despite marketed as one; instead, “Dark Age” unveils more the cruel side of human nature that’s more Machiavellian than nature running its course.
“Wolf Creek” star John Jarrett, who I better know from “The Odd Angry Shot,” stars as the conflicted park ranger and crocodile preservation expert Steve Harrison. Jarrett’s more convincing a maniac outdoors man than a crocodile conversationalist, but the iconic Aussie convinces us all that being in between two opposing sides is no easy task with this willingness to do what’s right on both sides. Nikki Coghill portrays Steve Harrison’s love interest, Cathy Pope, and Coghill is a dominating female lead by, not only being the only prominent female character, but with her striking ability to overpower Jarrett in scenes and with her also very striking beauty that comes to peak in a fleshy sex scene with Jarrett. The second most recognizable face behind Jarrett is aborigine descendant David Gulpilil. Most Stateside filmgoers may recall Gulpilil’s long locks and distinctive facial features from Crocodile Dundee in a ceremonial Aborigine dance alongside Paul Hogan. In “Dark Age,” Gulpilil plays Adjaral, son of Aborigine tribe leader Oondabund played by Burnham Burnham. “The Howling III” actor acts as a spiritual liaison between the crocodile and the white man world and Burnham Burnham’s childlike presence onscreen makes the actor very memorable and likable. Ray Meagher, Max Phipps, Jeff Ashby, Paul Bertram, and Ron Blanchard co-star.
There have been many installments and versions of crocodile leviathans. In fact, in It’s Bloggin’ Evil’s last review, Sion Sono’s Tag, there’s a dream sequence of a giant crocodile gorily snapping down upon a Japanese schoolgirl with blood spraying everywhere. While the scene is graphic, eye-catching, and notable, the croc was a mockery of reality with disproportionate jowl and a flimsy design that’s more cartoonish than substantially factual. Kuddos to the monster effects and long time visual effects artist Roger Cowland for constructing a frightening behemoth of a crocodile. Though slightly stiff in some scenes, Nicholson camera placement exhibits just enough to warrant a shortage of breath whenever the crocodile goes in for the kill or stalks a prey with the round eyes popping just above the water’s surface. This effect is masterfully executed by the late director who didn’t feel the need to be gratuitously gory with the death scenes that are modest, intense, and sheerly practical.
Yet to be on DVD or Blu-ray in the U.S.A., the good blokes over at Umbrella Entertainment release ultra-rare “Dark Age” for the first time hi-definition on Blu-ray as part of Ozploitation Classic series presented in a 1080p widescreen, 16:9 aspect ratio, format. The image looks clean without any noticeable enhancements, distortions or print damage with only some heavy noise in the darker scenes. The Dolby Digital 2.0 audio track is just as perfect with clarity in the dialogue, a pulsating synthesizing score, and fine fidelity and range. No hissing, popping, or any other noise annoyances were detected. Umbrella unleashes a slew of bonus material includes an audio Commentary with Actor John Jarratt and Executive Producer Antony I. Ginnane, a Bicentenary with Bite: Revisiting “Dark Age”, panel discussion with film historians Lee Gambin, Alexandra Heller-Nicholas, Emma Westwood and Sally Christie, and Uncut Not Quite Hollywood Interviews with John Jarratt and Antony I. Ginnane which are tremendously enlightening about the film’s birth and concluding reactions. There’s also a 1986 documentary entitled Living With Crocodiles with Grahame Webb, author of Numunwari, trailers, and an image gallery. Forget “Rogue.” Forge “Lake Placid” Lets even forget “Dinocroc!” Umbrella Entertainment’s “Dark Age” is the ultimate formidable 90-minute action-horror with trembling induced fear and adrenaline produced thrills accompanied inside a hi-definition release packed to the razor sharp teeth with extras.
While at a Spanish night club, Lucy meets a darkly tall and handsome gentleman who takes her back to his luxurious yacht and spends a romantic night with him inside his cabin on the sea. The next morning, Lucy suffers from a terrible case of amnesia, unable to recall where she’s met this mysterious man before or even remember her own past and as she relaxes in her hotel room after a soothing bath, a past life vision of herself entangled with her one night stand, otherwise known as Dracula, establishes her place amongst Dracula’s side as his undead love, but vampire hunters, Doctor Van Helsing and his faithful assistant Seward, are hot on Dracula’s scent toward his brooding castle in order to save Lucy from succumbing to Dracula’s cursed evil forever.
“Apostle of Dracula” is a Spanish retelling of the classic Bram Stoker “Dracula” tale, versed in Edgar Allan Poetry, and is directed and co-written by Emilio Schargorodsky. Also known more in other parts of the world as “Dracula 0.9,” Schargorodsky’s film boldly tiptoes through a minimalistic approach regarding the mythos of the legendary vampire that dabbles in some special effects when required and uncomplicated imagery that still relishes in wondrous imagery. The “Spirits of the Dead” poetic works of American macabre writer Edgar Allan Poe reinforces the Gothically garnished settings and costumes and heightens the gloomy sensationalism in Schargorodsky’s melodramatic horror soap opera that redesigns slightly Dracula’s origins and his infatuating love interest that isn’t Mina Murray.
Instead, Dracula’s focus is resuscitating the undead cursed life into Lucy dreamily and elegantly portrayed by model-actress Nathalie Le Gosles. Le Gosles has ghostly grey eyes that pierce vividly on screen through her Lucy Westerna performance that’s quite different than what audiences might be typically used to in the character. Lucy is the titular character, being the “Apostle of Dracula,” and Dracula (Javier Caffarena) spares no expense or time and effort in making Lucy his forever. Caffarena’s Dracula is very much overshadowed by Le Gosles’s beauty and performance as Caffarena’s acting experience before his freshman film only credits him in on other role in a short film directed by Schargorodsky, but Caffarena’s a busy body on this feature, delving into many facets from cast to crew as also one of the three co-writers and also donning not only the cape and fangs of the vampire but also creating a composing soundtrack, editing the film, and acting as a producer. In all honest, Paul Lapidus stole the show with his role as the most famous vampire hunter that was ever created – Van Helsing. Virtually embracing every facet of his time hopping character, along with the rest of the cast, Lapidus’s steadfast approach toward a more conventional Van Helsing relieves many anxieties of jumbling up Dracula’s mythology. Antonia Del Rio, Francisco Del Rio, Jose Luis Matoso, and Virginia Palomino round out the cast.
Schargorodsky’s indie Gothic Dracula feature is not immaculate; however, because Schargorodsky is an experienced photographer, a silver lining in his filmmaking playbook is his impeccable eye for cinematography. Whether in the framing or capturing the organic beauty of the landscape, Schargorodsky blends a dream with classic styles that had once scared the pants off people by incorporating shadow imagery that pays a dear homage to that of F.W. Murnau’s “Nosferatu” alongside Caffarena’s Dracula shaving his head and extending his fingers to be a lookalike Max Schrek. Captivating as many of the frames might be, the juxtaposition to the story doesn’t hold water as the story hops from one century to another without much regard for exposition. Lucy’s passionate yacht fling with a daylight walking vampire not only raises many vampire mythos questions, but also leads into Lucy displacing much of her memories of herself and her past. She then goes into a trance after returning to her hotel room, envision her great lineage self intertwined with Dracla and that story unfolds for a good portion of the film from the time Lucy’s bit to when Van Helsing and Seward interject at Dracula’s Castle. The story then returns Lucy’s back to present time where she then fights to urge to be a bloodsucker, but can’t stop her desires to be with her undead beau all the while a modern day Van Helsing and Seward, sporting sleek Secret Service-issues shades and wardrobe, seek to protect Lucy at all cost. Lost somewhere in the midst of the story is an important pice of the puzzle that goes unexplained.
Wild Eye Releasing MVDVisual present the 2012 “Apostle of Dracula” onto DVD for the first time in the U.S. The DVD, graced with a cover illustrating an unrelated naked female vampire crotched down and glaring outward, widescreen presentation sports a digitally shot transfer that fairly mediocre throughout despite soft details, faint aliasing, and spotty moments of digital noise during darker scenes. However, the worst technical aspect lies with the dialogue audio track that’s horrendously dubbed in non-optional English in such a flat, monotone voice that all the passion behind the actors is lost. If you watch close in the special features, clips of untainted portions of the film can be caught with the original Spanish track, bringing a whole new life into the scenes. There are no options to play the original language or even optional subtitles. Caffarena’s looming score comes out clean with subtitle details in the LFE emitting from Stereo audio which can be seen discussed on the bonus material about composing the score. Another special features contain a pleasant surprise with a never before scene interview with the late Jess Franco, who looked to be on his death bed, conversing his positive thoughts and praises on Emilio’s film that does have a faint resemblance to Franco’s work consisting of elements, but not limited to, the gothic, dream-like, and slightly sleazy. Bonus material comes full circle with Wild Eye Releasing trailers. Emilio Schargorodsky’s self-funded Dracula film proves any filmmaker can be a auteur without losing focus despite some flaws being on the grand stage of an iconic horror monster and while “Apostle of Dracula” flips the script on Bram Stoker’s telling of one of the greatest villains ever scribed, there’s something to be said for the multiple ways to skin a cat in this and still able to construct a solid story in this European horror.
Paul and Jennifer Hemdale snag a great deal on their dream home withstanding an ugly past considering the previous homeowner who disappeared without a trace and a woman ending up badly burned. Despite the stigma surrounding the house, the Hemdales vow to turn their first home into a marital love nest, but every instance in which one of them is ready to break in the new home underneath the sheets, the other falls flaccid, as if something is keeping them from making love. Beneath the first floor, in the darkest part of the basement, there lies a locked black room with ritualistic pagan writing sprawled inside every wall, floor, and ceiling surface and an demonic incubus, lying in wait for the perfect opportunity to reinstate a master plan to take over the world. When Paul becomes a host for the incubus, the body count rises when repairmen, friends, and family come calling to their home and Jennifer must discover what’s causing her husband to act like a perverted jerk before she too falls into the incubus’s malevolent grip.
“The Black Room” mixes dark demon humor with perversions in a butt-cheeky horror comedy written and directed by Rolfe Kanelsky, whose credits in “Nightmare Man” and “Emmanuelle 2000: Emmanuelle’s Intimate Encounters” have sure to have aided in the director’s seamlessness in blending an erotic tone with an aggressive horror element. Kanelsky’s cavalier approach to the 2016 film, “The Black Room,” hints at the Sam Raimi approach with the unexpected and the bizarre mischief of the demon and a violin heavy folk-artsy soundtrack style with jump scare after jump scare techniques, but without going full blown with “The Three Stooges” antics as Raimi is well-known to implement. Instead, Kanelsky’s far more subtle and isn’t afraid to be verbally pun awful, even during more positionally vulnerable scenes involving actresses. Whereas most horror films uses horror as an exploitative tool or an ultimate means to be hacked to pieces, “The Black Room” transforms nudity, and sex, into a running joke much like a Troma production would gravitate to, with “Tromeo and Juliet” being a prime example, and then punch the joke into hyper drive by either being overly gory or ridiculously impractical.
In all honesty, “The Black Room” is the second Cleopatra Entertainment title reviewed at Its Bloggin’ Evil, with the first being a clunky deal-with-the-Devil thriller entitled “Devil’s Domain” by director Jared Cohn, but Cleopatra’s latest entry into the demonic hierarchy enrolls more star power to provide legitimacy in the horror realm by casting horror hall of famed actress and “Insidious” series star Lin Shaye as the snarky previous house owner with a dwelling secret and as well as “Species” series and “Ghost of Mars” actress Natasha Henstridge as the lovely Jennifer Hemdale. Shaye’s dedication to any project, big or small, places the four-decade-careered actress as a beacon of hope for the indie project and Henstridge, still oozing that blonde bombshell of sexiness image, is the proverbial cherry on top. Shaye and Henstridge bare a heavy cast presence without having to bare much skin, but there’s a fair amount of nudity to behold from actresses Augie Duke (“The Badger Game”), Jill Evyn, Alex Rinehart, cheesy horror goddess and “Killjoy” actress Victoria De Mare, and a full frontal nude debut by Milena Gorum in her first credited film. When you’re done ogling over the female roster, a tall, baritone voiced Lukas Hassel illuminates as the sleazy parasitic host of an sex-crazed incubus, embracing every tall, dark, and handsome aficionado to dream of Paul Hemdale in a variety of gore-raunchy segments while maintaining a straight face about the filth that seeps from his character’s mouth. Rounding out this cast is a “Skarkansas Women’s Prison Massacre’s” Dominique Swain as the film’s third headliner on the Blu-ray cover and intro credits, one of my personal favorite supporting actors James Duval (“Cornered!”), Caleb Scott, Robert Donovan, and with genre favorite Tiffany Shepis.
While the story’s nuts and bolts of “The Black Room” consists of demons, possession, and world domination, lots of sex, sex talk, and sexual situations litter every scene. Yes, the demon is an incubus and by very definition of the term, a demon who makes sexual advances on women while they sleep, whole-heartedly defines the amusing premise. Maybe with Kanelsky’s background in softcore erotica, sex comes second hand and writing all the associations with the act is easier for the filmmaker who installs both main characters, Paul and Jennifer, with an insatiable sex drive from beginning to the end. Even with side characters untarnished by the incubus’s powers, such as the perverted water heater repairman, become a slave to the story’s grossly sexual tension. Now, I’m not complaining, but the continuous play on sex is odd without the slither of a moral growth. After all is said and done and the characters walk away from a deadly supernatural cluster-you-know-what, neither Paul and Jennifer progress, knowing nothing more from when they first started, and plateau to a level right from the start when first purchasing the dreadful dream home.
Cleopatra Entertainment and MVDVisual present “The Black Room” on a region free Blu-ray with 1080p on a 2.39:1 aspect ratio. Coloring is everything and the range of hues in “The Black Room” vividly crisp off the screen and the filter lighting smoothly goes unnoticed when sudden changes from natural to red flare up. For most of the 91 minute runtime, a clean image plays out a levelness throughout, but film grain presents itself in last moments of said titular room and the digital effects are gaussian soft that it’s penalizing. The English Dolby Digital 5.1 mix has a compressed audio that’s not up the spec when considering Cleopatra is a major record label. The dialogue is clean and prevalent, but sorely soft at times with ranges between ambient, soundtrack, and dialogue fluxing more on the lower volume totem poll rather than being beefy and in charge. Audio is passable, being free from damage and distortion, but a little more range would do this demon dance some justice. Bonus material includes commentary with director Rolfe Kanelsky, star Natasha Henstridge, supporting actor Augie Duke, and producer Esther Goodstein, a slew of extra and extended scenes, a severely anemic behind-the-scenes short, a brief blooper reel, slide show, storyboards, and the film’s trailer. When considering between the two demonically-charged Cleopatra Entertainment productions “Devil’s Domain” and “The Black Door,” there’s no contest as the latter is technically a much better film and a lot of fun to watch and sure to be every gore and sex-hound’s wet dream with titillating special effects, especially with an invisible entity seducing a sleeping Alex Reinhart with a major titty-twister, and a dark sense of humor of unholy pleasure.
The fiance of an orphaned villa owner named Frank dies in within their last loving embrace. Struck with immense grief, Frank digs up his fiance’s freshly packed corpse, injects her with embalming fluid, discards her major organs, installs glass eyes into her eye sockets, and processes her to be with him forever as a taxidermal doll laying in the bed next to him. Presumably behind Frank’s fiance’s untimely death is Iris, the family housekeeper who has an unhealthy obsession with Frank and his wealth, and when Frank instability goes beyond the means of all reason, an ill-tempered and mentally paralleled Iris swoops in to be Frank’s comfort, voice of guidance, and abetting culprit to Frank’s crimes as he can’t seem to stop killing young women in order to either replace or protect his adored doll and when a nosey mortician snoops around his residence, turmoil between Frank and Iris boil over in a heap of violence turned into a showdown of ill-fated and gruesome death.
“Beyond the Darkness” is by far beyond sick. Director Joe D’Amato (Aristide Massaccesi), one of Italy’s legendary video nasty filmmakers, reaches far into the darkest crevices of the criminally insane and exhibits every aspect of cold and brutal murder when the small window of opportunity and hope goes horribly wrong. The 1979 film shot in the Bressanone area of Italy exudes breathtaking countryside hills; so serene and peaceful that when Frank’s mind breaks and he crosses into an irreversible dark state, his frigid and murderous emotions make him a monolith that shadows the expansively green landscape. Tack on an equally demented housekeeper with a penchant for diabolical motives and the juxtaposition is no where near being level, creating this idyllic nightmare of taxidermy slaughter, a rancid deterioration of the mind, body, and soul, and a perversive obsession of inhuman replacement.
A baby faced Kieran Canter stars as the orphaned villa owner Frank Wyler who can’t handle one more tragic death of a loved one and Canter provides the blank stare, the outer shell of a spent and lost lover, despite his attractive attributes just like his the inner bones of his villa manor and speaking of juxtapositions, “The Other Hell’s” Franca Stoppi over achieves Iris’s internal and external ugliness. Iris, a seeming fixture of a puritanical matriarch in her dress and stature worn magnificently by Stoppi, uses manipulation and supernatural forces to gain power right under Frank’s already malfunctioning mentality. In the light, Frank and Iris are polar opposites, but they break bread together in the dark, feasting off each other’s malice. “The Beyond’s” Cinzia Monreale dons a dual performance as the corpse of Frank’s fiance and of her living sister. Monreale’s amazing performance in being such a still carcass struck a recall chord in me thinking of Olwen Kelly’s eerie portrayal of a slab table stiff in “The Autopsy of Jane Doe.”
Speaking of autopsies, when Frank begins his taxidermal procedures, surgically slicing down Cinzia Monreale’s freshly demised midsection, the attention to detail rapes the spine with chilling ferocity and though dated within the confines of the practical special effects from nearly forty-years ago, D’Amato’s controversial and unquenchable need for violence doesn’t hold back the gore, the guts, and the glory of chopping a British slag into pieces with a butcher’s knife and tossing her overweight remains into a cast iron tub-cauldron of skin-eating acidity only to have her partial face float up to the surface in a display of how far these vile characters are willing to entertain their pure evil. “Beyond the Darkness” lives up the title with the barbaric nature of the characters who clamp down their teeth and rip out the flesh of their, burn alive joggers in an industrial grade furnace, and store corpses like valuable baseball cards of your favorite major league players. Yes, “Beyond the Darkness’s” gold is worth it’s cinematic weight in gore.
Severin’s 2-disc Blu-ray and CD Soundtrack release of Joe D’Amato’s “Beyond the Darkness” is presented in HD 1080p 1.67:1 aspect ratio. The image quality is strong, unmolested, and rich with a vibrant color palette that gets ickier with every organ removed, every body part dismembered, and every shocking event unraveled. A dubbed English DTS-HD master and an Italian Dolby Digital dual channel mix are quite good, spanning out a brazen fidelity of leveled ranges and the Goblin soundtrack enriches every scene with gothic notes of progressive rock. Check out the CD Soundtrack “Buio Omega” (“Beyond the Darkness”): The Original Motion Picture Soundtrack to get an isolated experience of one of horror’s most fascinating scoring groups known worldwide. Bonus material is aplenty with a retrospect interview on the late Joe D’Amato entitled “The Horro Experience,” an interview with Actress Franca Stoppi entitled “The Omega Woman,” an interview with Cinzia Monreale entitled “Sick Love,” a live performance of “Buio Omega by Goblin, a visit to set locations, and the theatrical trailer. Severin completes a snazzy package and includes an plethora of auxiliary material for this ultra-violent video nasty that’s delivers the uncut and uncensored blood and nudity in a twisted 94 minutes of “Beyond the Darkness.”
Albert’s just another lowly speck among the multifaceted masses of New York City. The lonely street hotdog vendor barely scrapes by in what could be considered a life, earning next to nothing to keep him on life support in the city that never sleeps. To impress a beautiful girl, a girl of his dreams, Albert accepts a position offered to him by an eccentric photographer and hopes to learn about creating art with a single click of a photographic camera, but Albert becomes the obsessive fixation of the photographer’s next breakthrough exhibit. Albert’s simpleton nature and the photographer’s edgy intensity pushes the aspiring artist to lure women into offbeat modeling sessions in the away photographer’s NYC flat. When he can’t retrieve the inspirational art out of his models, a frustrated Albert goes to extreme lengths to ensure his art is performed to his particular, elementary taste.
“Bag Boy Lover Boy” is the 2014 inaugural feature film debut of director Andres Torres who is one of the few directors out of countless others able to resuscitate the compellingly frightful grit of New York City long ago. I’m talking about the era of pre-Rudy Guiliani New York City in the 1980’s where graffiti splayed walls and the blue fluorescent of dilapidated charm was present on every grid blocked street. Torres, along with co-writer Toni Comas, supplements one of a kind character personalities very appropriate to inhabit the sinister ladened Big Apple. Characters who aren’t dolled up or even genuinely beautiful. Those characters who are easy on the eyes don’t have the inner soul to match, residing in them an defect of some sorts that makes “Bag Boy Lover Boy” feel all too real.
Jon Wächter, a director-actor with behaviors not too alien to that of his character, centers himself as that very bag boy, lover boy of Albert, the awkward citizen with a one track mind and living to fulfill no dreams, hopes, or goals. Wachter owns his role by giving no hints of aspiration to fortune or achievement until Albert meets the cynical Ivan, appropriately casted with New York City-based actor Theodore Bouloukos, is able to hone in on the streets’ muckiest ground level and incorporate a Ron Jeremy charm that’s shrouded sleazy, but devilishly smart. Ivan draws out of Albert a simple interest, a hope to create art through photography, but Ivan has other, more prosperous, plans for the gullible nitwit as model in his own artwork. Albert’s mind focuses solely on photography and not modeling, placing Ivan in a rather haste position to con his centerpiece with poor words of self-worth advice and filling Albert’s head with misogynistic directions when Ivan goes through his rather rough motivational spiel during shooting gigs. Albert then can’t separate reality with his newfound dream that puts “models,” played by Teena Byrd (“Ninja Versus Vampires”), Sarah O’Sullivan, and Adrienne Gori, in harms path. Kathy Biehl, Karah Serine, Tina Tanzer, Marseille Morillo, and Saoko Okano make up the rest of the cast.
What I found most interesting in Torres film is Albert’s perception of himself. After a couple of, what he thinks are successful, shoots with the women he lures and drags up to the Ivan’s flat, Albert perceives himself as this eminent rockstar, exhibited very boisterously in a fantasy scene within Albert’s dingy one room apartment. What’s really ironic about the whole story is that Ivan honestly could deliver every bit of the wealth, women, and respect he promises to Albert and with these promises, he could obtain Lexy, the girl he hopes to win over, but with such a narrow mind, unable to go beyond to foresee a positive future, Albert self-destructs into infamy with only some non-permissive nudity polaroids to show for it. Torres and Comas Shakespearean-like comedic tragedy concept is a consistent conundrum for each and every one of us, not just the slow and low like Albert, but for us who think in the short term, despite whether what we accomplish now might not be a desire or may not be our sole purpose in life. Even peering into Albert’s erratic, overly-exaggerated, if not visually stimulating, mind stories are not to different from what perhaps the rest of us experience.
Severin Films presents the EXU Media production of “Bag Boy Lover Boy” for the first time on DVD and Blu-ray home video. The region free, not rated, gorgeously illustrated Blu-ray is presented in full HD 1080p. The image quality boasts vibrant colors and really exemplifies the naturally gross visual aspects of New York City streets. Various skin tones come out nicely unfiltered and untouched, especially the pasty Wächter and the olive skin of Tina Tanzer, with only brief moments of filters to accentuate subversive content. The dual channel English stereo isn’t half bad. Even though English is not Jon Wächter’s first language, the Sweden-born actor’s dialogue is clear and coherent. The rather mixed bag soundtrack and the Barbara de Biasi score have boastful fidelity and remarkable clarity. Extras include a meaty audio commentary from director Andres Torres, Theodore Bouloukos, and editor Charlie Williams, The Student Films of Actor Jon Wächter: “Got Light” and “The Never-Starting Story,” and the film’s trailer. “Bag Boy Lover Boy” is surrealistically realistic while being slightly exploitive and courageously risky. A satirical film with the proper fortitude to challenge our judgements about life and the paths chosen while leaving an uncomfortable aftertaste of profligate opportunities. Torres also leaves with us a film that we’ll never forget.