In the year 2022, Special Forces solider, Captain Robbins, is court martialed for putting a bullet in the head of his commanding officer. After escaping two maximum security prisons and a record of rebellious activity, a corrupt and power hungry warden of the Lactivus prison ships Robbins off to an off shore island called Absolom, where prisoners can roam free with no chance of escape due to 24/7 surveillance by Satellite and rocket launcher armed helicopter gunships surrounding the island perimeter. Island prisoners separate into two factions: the Outsiders and the Insiders. Each with the respective camps, the lawless Outsiders overwhelm the Insider’s numbers by 6 to 1, leaving the small manned community in constant fear of attack and pillage by the Outsider’s merciless leader, Walter Marek. When the insiders learn than Robbins has faced Marek and lived, they take the former solider into their community, but Robbins sole desire is to escape off the condemning rock and with the help of a few good men from the Insiders’ camp, the chances of escape and survival are greater together as long as Marek and his band of starving cutthroats don’t seize the endangered community first.
“Escape from Absolom,” also known as simply “No Escape” in the U.S., is a Martin Campbell directed action film from 1994 that’s futuristic and violent, fun and thrilling, and kitschy without being too cheesy. Campbell, who went on to direct not one, but two, James Bond films, begins a base of epic action that’s toweringly ambitious and pulled off nicely with the stunts and the editing. Based off the Richard Herley novel “The Penal Coloney,” the script is penned by Michael Gaylin who puts pen to paper to scribe a playful, passively aggressive dialogue, but fun and energetic on a the same coy lines of other high visibility action films. Gaylin was able to conform to a story that has no dynamic with the opposite sex in one of the few films that exhibits a rare all male cast.
“Goodfella’s” star Ray Liotta finally got his time to shine as the butch and badass action hero that is Captain Robbins, a highly skilled special forces solider and killing machine whose pragmatic intentions, at first, are hard to read. The cockiness overtop a well-cloaked deadly skill set works to the advantage of the blue-eyed actor for New Jersey. Opposite Liotta is Stuart Wilson (“Hot Fuzz”) as Walter Marek, a 7-year island lifer with dreadlocks and nose bridge piercings to match his psychotic leadership. Wilson does psychotic just fine, but the look resembles John Travolta’s atrocious attire from Battlefield Earth. Lance Henriksen, One of the most recognizable legendary genre actors, has a more serene approach in being a mentor and the leadership figurehead of the Insiders camp when compared to conventionally eccentric, sometimes maniacal performances, but Henriksen has a mellow side to him that conveys are very affectionate kumbaya approach, but any personality compared to Stuart Wilson’s internal rampage would be a stark contrast. “Ghostbusters'” Ernie Hudson has his role as security office in the Insiders camp and the sole black man of the film, for obvious reasons, stands out, but Hudson just adapts to anything you put him in though the Michigan born tended to sway toward the thrilling fantasy/sci-fi genre in the height of his career. Rounding out the cast is Kevin Dillon (“The Blob” remake), Kevin J. O’Conner (“Lord of Illusions”), Don Henderson (“The Ghoul”), Ian McNeice (“Dune”), and Michael Lerner (“Maniac Cop 2”).
All things considered, “Escape from Absolom” is a torrent men-in-prison extravaganza that’s one part Sylvester Stallone “Judge Dredd,” one part Chuck Norris “Missing in Action,” and, as a whole, an endangered brand of droll entertainment. Speaking of Stallone, Ray Liotta did it first as a character who is an expert at escaping the inescapable maximum security penitentiaries and instead of Arnold Schwarzenegger and Dave Bautista as contentious, yet supportive allies, the friendly, yet solidly statured Ernie Hudson and Lance Henriksen share Liotta’s Captain Robbin’s unquenchable lust for freedom, even if it to provide unsheathe exposition of the unethical corporate penal system practices. Far from being a perfect film and extremely blantant on a no underlying message, Martin Campbell undoubtedly has a fine tuned niche of capturing the casual eye with large scale action sequences and an affable character allure.
Umbrella Entertainment releases “Escape from Absolom” on a region-all Blu-ray, presented in 1080p, widescreen 16:9 aspect ratio. The coloring is phenomenally remastered and stable compared to previous transfers. There are times when depth becomes two-dimensional or flat, skewing the picture noticeably, but the overall picture quality is spectacular in the vast amount of Australian landscapes and even in the night scenes that show hardly any enhancing, such as sharpening or contrast. The English DTS-HD Master Audio 2.0 track is laid out nicely with audible poise and precision balance. Dialogue is prominent while explosions have just the right amount of oomph under an exact LFE recipe. The release sports other language Dolby Digital audio tracks such as a German 2.0, Spanish 2.0, Italian 2.0, and a French 2.0. Optional English SDH subtitles are available. Bonus material includes a two part making of featurette from around the production of the film with interviews with cast and crew, four TV spots, trailer, and a reversible cover. Runtime is 118 minutes. Martin Campbell’s “Escape from Absolom” is dystopian dynamite, explosive and aggressive with a flare for enjoyable banter amongst defined and diversified characters inhabiting an utopian island of mostly societal scum.
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!
When a deadly robbery strikes one of Darcy Security Services armored cars, the security company’s chief executives aim to crack down on the already rigorous operational security protocols by implementing vastly unpopular and Union-irritating measures. The hit not only induces change to security procedures, but also opens up a can of worms that forces the hand of the three internal company men, who’ve been planning to steal from inside Darcy Security Services over the last five years, to accelerate their timeline. Their carefully laid out plan quickly becomes complicated when the mob gets wind of their elaborate heist, compelling the small three man crew to work for the crime boss without much of a choice as life and limb come to stake. Now the only thing that can stand between them and millions of dollars are two new Darcy recruits, a highly trained former police officer with a penchant for doing what’s honorable and a gun shy bloke targeted to be a prime suspect in previous armored car robberies.
Based loosely on a pair of actual robbery events authored by novelist Devon Minchin, “Money Makers” bares a ruthless resemblance to hardnose acts of crime as filmmaker Bruce Beresford captivates as the maestro behind the orchestration of Minchin’s book that’s gritty and enthralling on the big screen. The “Driving Miss Daisy” and “Double Jeopardy” director also pens a script full of bloody encounters and unflinching greed that delivers “Money Movers” as the first R-rated feature to stem out of South Australian Film Corporation, a production company that, up until then, co-produced dramas, mysteries, and family films, such as Peter Weir’s “Picnic at Hanging Rock” and “The Last Wave,” with McElroy & McElroy and later co-produced the widely successful Outback horror “Wolf Creek” starring John Jarrett nearly 30 years later.
While numerous characters are subject to suspect and their roles’ intentions are guarded to the very end, the plot, for all intents and purposes, circulates around Eric Jackson, a former champion race car driver who now tenures as a 5-year senior security guard at Darcy’s, played by Terence Donovan. Donovan gives the performance his all with a wide range of subversive behavior. From cool, calm, and collective to feral gumption, Donovan race ends in drenching ferocity that’s fueled by his fellow costars who meet him at his level of performance. The most recognizable face, at least for me, is “F/X’s” Bryan Brown who portray’s Eric’s brother, Brian Jackson. They butt heads with former police officer Dick Martin and his no tomfoolery. The late Ed Devereaux had an old school acting method, very impersonal and straight forward like a John Wayne-type, and that worked perfectly in the role of Martin who befriends the projected patzy Leo Bassett played by “Quigley Down Under’s” Tony Bonner. Bonner’s able to capture Bassett’s unconfident, yet smooth persona that’s complete opposite of his partner Dick Martin, whose confident, but brash. What’s curious about the characters lies under the surface of a domineering male lineup – the women. Not one female character is apparent in a co-lead role and each role has a presumable flaw to them. Candy Raymond is an undercover private eye who uses her body and wits for information, Eric Jackson’s wife, played by Jeanie Drynan, has an absent and naive approach, and a handful of minor roles involving non-verbal girlfriends and late night secretary carnalities. The cast rounds out with Charles ‘Bud’ Tingwell, Alan Cassell, Lucky Grills, Hu Pryce, Terry Camilleri and Frank Wilson.
“Money Movers” doesn’t scream perfection, but plays a major influential part in the infancy stages of violent crime thrillers that paved the way for such films like “Heat” or “Point Blank” and supplies another keystone in constructing the genre a solid foundation. “Money Movers” is bookend with graphic shootouts and peppered with conniving dealings and unsavory characters toward a shoot’em up heist climax that Bruce Beresford was able to depict visually and script confidently. In early scene, the storyboards could have been revised, restructured, or reordered to unearth a clear picture of establishing character backstories and setup that still process a puzzling connection between their nefarious intentions, but the ample storyline corrects course quickly without loosing too much time to ponder about the after effects of the early scenes.
Umbrella Entertainment re-releases “Money Movers” on a PAL DVD home video. The region free DVD is presented in a widescreen, 1.85:1 aspect ratio. Definition is key as the colors are, for lack of a better word, washed, but the clear cut outline that produces a sharp finish image grants this release of “Money Movers” a seal of approval that isn’t asterisked with blatant enhancements. The English Dolby Digital 2.0 track is on point with clarity in the dialogue and properly aligned, volumed, and untarnished ambiance. What’s interesting about “Money Movers” is the lack of a score that forces the viewer, subconsciously, to hone in more acute to the characters and their brazen actions. Bonus material includes “Count Your Toes – a making-of featurette with writer-director Bruce Beresford and cast members Bryan Brown, Terence Donovan, Tony Bonner, and Candy Raymond. There’s also the theatrical trailer and Umbrella Entertainment’s propaganda material. One of the first to be up on a prestigious pedastal of heist films, “Money Movers” is a violent, toe-cutting, experience armored with a great cast of acclaimed actors and filmmakers in this Ozploitation classic.
Yossi Ghinsberg yearned for more than the comfy, cushy life he was born into and being young and adventurous, Yossi travels abroad to backpack in Bolivia to pursue self-discovery and beauty in places far less travelled despite his father’s wishes. He quickly befriends fellow backpackers Marcus and Kevin and together, they lay tracks through the eclectic terrain of the breathtaking Bolivian landscape, but wasn’t until an Austrian geologist named Karl approached Yossi about a promise of unearthing gold and experiencing hidden tribes deep inside the lush jungle. After some convincing, the three friends venture into the jungle with only Karl to guide them and, at first glance, the wilderness is an escape from the noise and pollution of human corrupted inhabitations, but a drastic realization quickly washes over them when they’re force to separate and that the jungle is a cauldron of constant survival. Along with captivating beauty, fire ants, poisonous snakes, symbiotic organisms, jaguars, and torrential rains tip the iceberg of everything that embodies the sequestered jungle and Yossi must endure the trials and tribulations alone in order to make it out alive.
Based off the book of true events from Yossi Ghinsberg comes the motion picture retelling of Ghinsberg harrowing tale of survival in “Jungle.” The 2017 biographical adventure-thriller is penned by Justin Monjo (teleplay writer for TV hits like the sci-fi odyssey “Farscape”) and directed by “Rogue” and “Wolf Creek” director Greg McLean. “Jungle” showcases the night and day environment of one of the world’s most beautiful, yet deadliest locations, cascaded with awesome uncharted landscapes with an augmentation of great mortality once man is introduced. However, the thing with the jungle is that no matter what man’s objectives may be with the rainforest, whether it’s to destroy it or to embrace it as were Yossi’s intentions, nature treats all with the same merciless brutal as it’s kill or be killed. Yossi is in the midst of a man versus nature thematic element where Darwin’s survival of the fittest lays all well true and from his book, Yossi Ghinsberg went through a nearly three weeks of severe isolation, stomach-devouring starvation, and vigilant hyperawareness against the local wildlife. Yet, somehow, he survived.
To play such as downtrodden character needed an actor committed wholeheartedly to the story and, luckily for McLean and the rest of the crew, Daniel Radcliffe encompassed Yossi Ghinsberg and his plight with passion and dedication. So much dedication that the Harry Potter famed actor lost about 14 to 15 pounds in order to mimic starvation and really put his body close to the hazards Yossi had faced. “Jungle” has certainly solidified his range as an actor inside the genre of not only fantasy films, but also thrillers as well. From “Horns” to “Imperium,” the English-born, 5’5”, 28-year-old actor has placed a major footprint in the industry that stretched from low-budget to Hollywood stardom and doesn’t seek to stop in the near future. Radcliffe is joined by a pair of Australian actors in Alex Russell (“Chronicle” and “Bait”) as American photographer Kevin Gale and Joel Jackson as Swiss teacher Marcus Stamm on sabbatical. A standout performance, one that really rivals Radcliffe in cliffhanging suspense with cryptic intentions, is that of Thomas Kretschmann (“Blade II”) playing the Austrian geologist Karl Ruprecther. Fantastic chemistry between all four men with spot-on performances, especially not portraying their native heritage.
While Greg McLeans has no fear in getting gritty where gritty needs to be get, “Jungle” has a tame nature about it for a director well-known for Outback cruelty. McLean doesn’t exact the right amount of perilous attitude that was unfortunately bestow upon Yossi. Much of Yossi Ghinsberg’s book was not translated to screen such as his rectum being impaled by a large stick when he falls down a slope. The hard stop editing and pivot bounces the viewer around being out of control on a trampoline. When we meet Yossi for the first time and he encounters Marcus Stamm, a cascading event of one jointly pursuit with another that string along and attach Kevin Gale to a web of awkwardly editing scenes of traveling through Bolivia in what felt like a slapdash montage with the sole purpose of setting up the trio’s friendship in an unsympathetic way. Another issue with the editing was that the film had to keep reminding the viewers about previous events, such as when Yossi was bitten by a fire ant, and those scenes ended up being a redundant time filler that points audiences to being naive and inattentive to cherry pick previous actions.
Umbrella Entertainment releases “Jungle” on a rated mature, region B Blu-ray with crystal clear full high definition, 1080p presented in a widescreen 2.35:1 aspect ratio. Image quality bares no marks of compression issues nor any flagrant fouls in the coloring, whether natural or generated. Aliasing is also a non-issue. The 5.1 DTS-HD English soundtrack has moments of low fidelity at the beginning of the film where making out the dialogue can be challenge, but the jungle ambiance and the Johnny Klimek (“Land of the Dead”) score bring alive the eclectic atmospherics of the wild, wildlife. Bonus features include a featurette that extends up Danial Radcliffe becoming Yossi Ghinsberg, the making of the Yossi Ghinsberg story, cast and crew interviews, and the theatrical trailer. “Jungle’s” adventurous first half sets up the catalytic downfall into desperation and despair of a man versus nature thriller in the latter half, splitting Daniel Radcliffe into two auspicious roles of enchanting self-discovery and a fight for survival. The movie most certainly encourages one to read the book of Yossi Ghisbergs edge of death misadventure.
A small town is under sieged by a callous killer, ripping victims to bloody pieces and shreds without an ounce of mercy. As the town goes into a lockdown curfew, a paraplegic young boy named Marty decides to enact his own version of rebellious fun with a stroll in his gas-engine powered wheelchair for some nighttime fireworks, despite a killer on the loose and lurking in the moonlight. Marty’s fun turns into a terrifying nightmare when the killer stalks the boy and when Marty comes face to face with the killer and lives to tell the tale, he discovers that the town maniac is no ordinary deranged person but, in fact, a nasty, snarling werewolf whose also living in plain sight amongst them in the small town community. The only two to believe Marty’s harrowing tale is his older sister, Jane, and his drunk Uncle Red, whose still on the fence about Marty’s werewolf encounter. When the moon is high and full, the three devise a plan to lure out the monster to definitively put it down with a single shot from their one and only silver bullet.
A true piece of Americana horror, “Silver Bullet” remains a staple werewolf flick for those who grew up watching genre films in the 1980s. Daniel Attias, his first and only ever feature film, had embraced a larger-than-life monster movie from a script written by the legendary macabre novelist Stephen King, based off his novella “Cycle of the Werewolf.” Attias and King were practically novices when in regards to directing and screenplays; yet, “Silver Bullet” offers much in the way of comedy, drama, and the frightening scares with a practical effects wolf and snippets of gruesome, violent death at the hands of the beast. “Silver Bullet” goes beyond just being a thrilling story of good versus evil by also blurring the lines of the conventional establishment that spark up the old idiom, a wolf in sheep’s clothing, and dives into a satirical outlook of certain religious faiths and their viewpoints.
What makes “Silver Bullet” as one of the most recognizable and rememberable films, regardless of some microscopic sloppy screenwriting and first time directing woes, is the cast. Before his life altering motorcycle accident, Gary Busey (“Predator 2”) as Uncle Red brings flesh and bone, and booze, to akin King’s Uncle Al character from the novella. Busey fabricates a wonderful, heartwarming performance dynamic with Marty, whose played by the late Corey Haim (“Lost Boys”). Haim is fresh to the scene with his chubby cheeks and doughy soft eyes that would eventually make him a heartthrob idol later into his career and at the young age of thirteen, Haim’s paraplegic performance is respectable and empowering. Uncle Red and Marty are pitted against a sleeper antagonist in Revered Lester Lowe, a role who I could see no one else being in aside from Everett McGill (“People Under the Stairs”). McGill has a face for television, or the big screen in this case, as his chiseled, dark features make him a formidable foe that’s hidden behind a clerical collar. Longtime television and TV movie star Megan Follows plays big sister Jane whom factors in as Marty’s only ally despite their dysfunctional relationship which Follows portrays well with verbal jabs of adolescent wickedness toward her disabled little brother. Rounding out the cast is Terry O’Quinn (“The Stepfather”), Bill Smitrovich (“Manhunter”), and “Reservior Dogs” Lawrence Tierney.
Television cooking show host, Giada De Laurentiis’ grandfather, Dino De Laurentiis, produced the film who was no stranger to the horror genre, such as “Orca” and “Amityville II,” nor to films adapted from Stephen King’s work like the “Dead Zone.” Under Luarentiis’ wing, “Silver Bullet” delivered brutal, traumatizing werewolf kills spun from the werewolf suit creating hands of another Italian, Carlo Rambaldi (“The Hand That Feeds the Dead”), and together, the two Italian filmmakers, along with an apt cast and crew, saw their installment flourish amongst an overcrowded werewolf subgenre in the early 1980’s with competition from films such as John Landis’ “An American Werewolf in London,” “The Howling,” and, yes, even “Teen Wolf.” “Silver Bullet” didn’t just arrive on the scene without some challenges to the storyline. For instance, a killing spree has already established with more than five townsfolk dead and a strict curefew has been set in place, but Marty, ignoring his Uncle Red’s solicited advice about staying near the house to set off fireworks, sneaks out in the middle of the night to shoot off fireworks away from the house. Marty’s fairly bright through the entire story and a nice kid, but the initial encounter between him and the werewolf is by far one of the most unintelligent and dim-witted action any character to make in the history of horror films. What makes the scenario even worse is that Marty is handicapped.
Umbrella Entertainment presents Daniel Attias’ “Silver Bullet” on region B Blu-ray home video in a widescreen 2.35.1 aspect ratio. Image quality of the full high-definition 1080p picture has an agreeable color palette, sharpness, and pinpoint details that especially come to light during the memorable church of wolves scene. A very few scenes have transfer instability where, in a blink of an eye, a revert to a faded frame comes into the fold. The English 2.0 DTE-HD master audio poises and harmonizes the elements and the dialogue into a vat of consistency that isn’t flawed by track damage. Jay Chattaway rallying, chilling score is a candor testament to the quality of the soundtrack that follows suit right behind the beyond par quality of the dialogue and ambient levels. Special features include audio commentary with director Daniel Attias, interviews with special effects artists Michael McCracken, Jr (“Deep Blue Sea”) & Matthew Mingle (“A Nightmare on Elm Street 3: Dream Warriors”), an interview with actor Everett McGill, an Umbrella exclusive interview with producer Martha De Laurentii’s remembering “Silver Bullet,” isolated score selections and audio interviews with composer James Chattaway, theatrical trailer, TV Spots, radio spot, and still gallery. A complete and definitive set from Umbrella Entertainment! “Silver Bullet” is a howling success story of classic American horror that has timeless practical effects, a riveting narrative, and cast enriched characters that invest into the lycanthropy film paralleling David versus Goliath.