A Big Helping of RAW MEAT (aka Death Line) in 4K

RAW MEAT aka Death Line (4K UHD)

1972 / 87 min

Blue Underground

Review by Josey, the Sudden Cat🙀

Back in the mid-70s, my friends and I snuck into auditorium #4 of the old Southgate Quad for a double feature consisting of Squirm and Raw Meat (both titles released in the U.S. by American-International Pictures). Killer worms and flesh eating zombies? Sounded like an afternoon well spent. 

At least Squirm delivered as promised. As for Raw Meat…man, talk about false advertising! Sure, there were a few gross bits, but for a thrill-seeking 13-year-old, watching an old, bald, Chatty Cathy cop berate suspects was decidedly less entertaining than the pinball machines in the theater lobby. Which is precisely where we headed after about 30 minutes.

Wisdom may not always come with age, but I eventually wised up to the unscrupulous practice of rebranding movies with gonzo new titles to snooker folks who judge books by their covers (which the likes of AIP and Roger Corman’s New World Pictures often did with films they acquired for the grindhouse crowd). Case in point, Raw Meat was originally called Death Line (still the onscreen title) and was never intended to compete with ravenous worms for a middle schooler’s attention.

While flesh eating is inferred, there are no zombies in Death Line. It’s got a pretty cool premise, though. While the London subway system was being constructed in the late 19th Century, a cave-in trapped several workers who resorted to cannibalism to stay alive. A century later, one of their descendants has been snatching commuters to feed himself and his dying mate. When a prominent MBE member goes missing, Inspector Calhoun (Donald Pleasence) investigates, but spends a lot of his time grilling Alex (David Ladd), the guy who brought it to his attention in the first place. It also turns out a lot of folks have gone missing in the subway lately. 

"I thought I paid this."

Part horror film, part police procedural, Death Line is atmospheric and well made on a low budget, with good direction by Gary Sherman (who’d later go on to helm Dead & Buried, one of the best underseen movies of the ‘80s). But it's Pleasance who steals this one. His amusing performance suggests he had great fun playing his character, which I didn’t fully appreciate as a kid, but now think he’s the best part of the entire movie. And while not nearly as gory as it’s reputed to be (or as we were expecting back in the day), some of the violence is pretty potent.

Blue Underground has given the film an impressive 4K facelift with a nice video restoration. There are also four audio options to choose from, including a new Dolby Atmos track. With the exception of a new audio commentary, the bonus features (mostly interviews) are all carried over from the original Blu-ray release, and they provide a revealing look back at the production. 

But, alas, the deceptive advertising continues even today. While Christopher Lee is featured along with Pleasance above the title on the cover, he appears in only one scene…for about two minutes. Other than that bit of deception, Raw Meat/Death Line is an entertaining slice of ‘70s British horror that has certainly aged better than Squirm.

EXTRA KIBBLES

4K & BLU-RAY COPIES

FEATURETTES - Tales from the Tube is an entertaining conversation between director Gary Sherman and executive producers Jay Katner & Alan Ladd Jr.; From the Depths is an interview with actor David Ladd and producer Paul Maslansky; Mind the Doors is an interview with actor Hugh Armstrong.

2 AUDIO COMMENTARIES - 1) By director Gary Sherman, producer Paul Maslansky and AD Lewis More O’Ferrall; 2) By historians Nathaniel Thompson and Troyhowarth.

TRAILERS, TV & RADIO SPOTS

POSTER & STILL GALLERY

REVERSIBLE COVER - With the original title, Death Line.

VENOM (4K) and the Minor Miracle

VENOM (4K UHD)

1981 / 92 min

From Blue Underground

Review by Josey, the Sudden Cat🙀

Look at that cast! 

Without knowing the title, one might naturally assume it was assembled for an English art film or one of the crazy cult classics Ken Russell used to crank out. But no, 1982’s Venom is a fairly straightforward hybrid of hostage drama and killer critter flick. It’s not bad as these things go, though the eclectic cast certainly makes it worthy of attention…and maybe even a little admiration for its director, but more on that in a minute.

The bitchy beast in this case is a black mamba, “the most dangerous snake in the whole world,” according to toxicologist Dr. Marion Stowe (Sarah Miles). Due to a pet store mix-up, it goes home with Philip Hopkins, the young son of wealthy parents who happen to be out of town, leaving Philip with his grandfather, Howard (Sterling Hayden), and Louise Andrews (Susan George), their maid.

However, Louise is conspiring with hot-headed chauffeur Dave Averconnelly (Oliver Reed) and cold-blooded criminal mastermind Jacques Muller (Klaus Kinski) to kidnap Philip, take him to a remote cottage and demand a ransom. Concurrently, Dr. Stowe, who was supposed to receive the mamba in the first place, traces the purchase to the Hopkins home and warns the police, who send an officer to check it out.

The kidnappers didn’t count to two things…the snake getting loose, killing Louise, and Dave shooting a police officer at the door. The house is quickly surrounded by cops, led by Commander William Bulloch (Nicol Williamson), who’s forced to negotiate with Muller for Philip’s release. Meanwhile, the stealthy snake slithers throughout the house, continuing to take a bite out of crime.

Though there are certainly moments of unintentional camp, Venom isn't quite as outrageous as the premise and cast suggest. One can’t help but expect a little scenery chewing with Reed and Kinski in the cast, and they don’t disappoint. But believe it or not, it’s Williamson who walks away with the movie. He’s highly amusing as a droll, exasperated detective who’d rather be somewhere else. Elsewhere, Hayden is decent in what would be his final film role (though he isn’t given a hell of a lot to do). Sultry Susan George checks-out too soon, but not before offering Reed a nice little striptease.

Once again, Klaus wrestles his demons.

As for snaky himself…we’re rooting for him from the get go, especially since he appears to have a taste for bad guys. He's shown sparingly, but the POV shots of him sneaking around the house are pretty cool, especially those that suggest he’s capable of flight (as when he leaps at Kinski for their climatic wrestling match…a hilarious highlight). I’m also pretty sure snaky is the only cast member who didn’t do the film simply for the money.

Venom is watchable, but the minor miracle is that it got completed at all. As many of the entertaining bonus features attest, the movie was a tumultuous production, largely due to the cantankerous cast, some who truly hated each other. When we see Reed & Kinski’s frequent conflicts, these guys ain’t acting. Director Piers Haggard (taking the job on short notice after notorious nutjob Kinski forced Tobe Hooper to quit) must have had the patience of Job dealing with these people. Being aware of such behind-the-scenes debacles sheds a different light on the film…and its director. Way to stick it out, Piers!

So in addition to a really great 4K restoration, Blue Underground has loaded the disc with some excellent new bonus features which extensively discuss the film’s torrid history. The supplements might even be more entertaining than the movie itself, and if one doesn’t mind spoilers, watching them first might even make Venom a lot more fun. 

EXTRA KIBBLES

4K AND BLU-RAY COPIES - Both feature great picture and sound.

INTERVIEWS (Blu-ray only) - Fangs for the Memories is an interview with Venom editor/2nd unit director Michael Bradsell; A Slithery Story features make-up artist Nick Dudman; Author/critic Kim Newman, who’s always interesting, offers his thoughts in Mamba Memories; Pick Your Passion features The Dark Side magazine’s editor, Allan Bryce, who covers a lot of the same ground as Newman.

2 AUDIO COMMENTARIES - 1) By director Piers Haggard; 2) By historians Troy Howarth, Nathaniel Thimpson & Eudenio Ercolani.

TRAILERS & TV SPOTS

POSTER & STILL GALLERY (Blu-ray only)

SUPPLEMENTAL BOOKLET - Featuring photos, cast & crew credits and an essay by Michael Gingold.

THE MILLION EYES OF SUMURU: Crazy & Campy

THE MILLION EYES OF SUMURU (4K UHD)

1967 / 89 min

FROM BLUE UNDERGROUND

Review by Mr. Paws😺

Crazy, campy and comedic - intentionally & unintentionally - The Million Eyes of Sumuru is a movie that could only have sprung from the ‘60s, when spy spoofs were as plentiful as the spies they were spoofing. Better yet, Blue Underground has once again resurrected this British relic with a sparkling new 4K transfer.

But best of all, a RiffTrax version is also included. The movie is nothing if not riff-worthy, and Mike Nelson, Bill Corbett & Kevin Murphy are in fine form here. For their fans, including Mysties, this feature alone (included on the Blu-ray disc) makes the set worth picking up.

In the film, former Bond beauty Shirley Eaton stars as the title character, who commands an army of skilled and lethal sexpots. They’re plan is to assassinate the most powerful men in the world and take over. As if The Million Eyes of Sumuru didn’t already have enough cult credentials, one of their targets is Hong Kong’s playboy president, played by none other than kooky Klaus Kinski.

"That's two references. I asked for three."

All that stands in their way are two devil-may-care CIA agents, Nick West (George Nader, he of Robot Monster fame) and Tommy Carter (the Beach Party boy himself, Frankie Avalon). Though top billed, Avalon is mostly on hand for comic relief and to trade wisecracks with Nader, though this film does provide the opportunity to witness the guy who crooned “Venus” lobbing grenades. Meanwhile, Nader has the more enviable job of making out with most of the female cast.

I wouldn't necessarily say the cast delivers great performances, but they all look like they’re having a great time. And their mood is kind of infectious. Only a curmudgeon wouldn’t have fun with its silly plot, cartoony characters, goofy dialogue and bevy of babes. The Million Eyes of Sumuru is undoubtedly a product of groovy decade from which it sprang, but that’s also part of its charm.

Not only does the film look and sound great in 4K, Blue Underground provides a wonderful introduction to its relatively unknown director, Lindsay Shonteff, with a feature length documentary that showcases his lengthy career (and affection for James Bond rip-offs). But really, this one had me at RiffTrax.

EXTRA KIBBLES

4K & BLU-RAY COPIES

THE SCHLOCK-CINEMA LEGACY OF LINDSAY SHONTEFF - This feature length documentary might be the longest, most comprehensive and affectionate tribute to an obscure director I’ve ever seen. Great fun.

RIFFTRAX EDITION

2 AUDIO COMMENTARIES - 1) By David Del Valle & Dan Marino (not the guy you’re thinking); 2) By Nathaniel Thompson & Troy Howarth.

TRAILER

GALLERY - A collection of posters and stills.

REVERSIBLE COVER

HIGH CRIME (4K): Superlative Poliziotteschi

HIGH CRIME (4K UHD)

1973 / 103 min

FROM BLUE UNDERGROUND

Review by Mr. Paws😺

When unearthing, restoring and releasing classics (especially cult classics) on physical media, I wish more boutique labels would follow Blue Underground’s lead. For certain films, in addition to the usual 4K & Blu-ray copies, they’ve been throwing in a bonus CD of the music score. More often than not, it’s a rare chance to hear the music outside of the context of the movie.

Let’s see a streaming service offer that.

This time, they pull out all the stops for 1973’s High Crime, a popular, influential Italian thriller and one of the better films in the poliziotteschi genre. Franco Nero stars as Belli, a cop fiercely dedicated to disrupting the heroin trade, which he suspects is overseen by the powerful Griva family. Belli frequently refers to “retired” gangster Cafiero (Fernando Rey) for assistance, though the latter may very well be trying to insinuate himself back on top of the heap. 

However, the Grivas are practically untouchable despite a massive dossier compiled by Belli’s superior, Commissioner Scavino (James Whitmore). After Scavino is murdered, Belli becomes the new commissioner, and his scorched earth approach in nailing Grivas dramatically raises the stakes, both personally and professionally. 

Franco gets near-o.

Like many Italian movies of the era, particularly those directed by Enzo G. Castellari, High Crime is clearly inspired by American cinema, stopping just short completely ripping-off what's currently popular. In this case, it's The French Connection, going so far as to tap Fernando Rey (the antagonist in Friedkin’s film) for a key supporting role. I suppose the biggest difference is that, even though Belli is just as obsessed as Popeye Doyle in pursuing his case, it comes at tremendous personal cost (which I won’t spoil by elaborating here). This element (however briefly) renders the film more emotionally affecting than The French Connection…

…not that this one ever approaches the grit, artistry and tension of Friedkin’s film. Not even close. Still, High Crime is to The French Connection what Grizzly was to Jaws…a knock-off to be sure, but a very enjoyable slab of action in its own right. There are shoot-outs, bombings and one hell of an opening car chase, all directed with efficient aplomb by Castellari, who proudly wears his influences on his sleeve. While Nero’s obviously no Gene Hackman, he delivers a tough, dedicated performance that approaches scenery chewing, but as Belli, he’s an engaging and likable hero. Elsewhere, Rey conveys the same cool menace as he did in The French Connection, while Whitmore is sort of wasted in a comparatively thankless role.

A huge hit in Europe, High Crime is undoubtedly a product of its era and region, but remains a superlative poliziotteschi film. Considering the genre’s somewhat scrappy reputation, that might be considered faint praise, but fans of this stuff are sure to eat it up, especially with a 4K restoration. In addition to an excellent transfer (it looks great and sounds even better), this disc comes with a terrific selection of bonus features. 

EXTRA KIBBLES

4K & BLU-RAY COPIES (a majority of the supplements are on the Bluray disc).

SOUNDTRACK CD - Following an audio introduction in both Italian & English, the disc features 19 jazzy tracks with occasional Goblin-esque touches. Certainly a product of its time, its nevertheless an enjoyable listen on its own terms, with a couple of catchy recurring themes. Composed by Guido & Maurizio De Angeles (collectively known as Oliver Onions). Track listing and musical credits are on an insert.

ARCHIVAL INTERVIEWS - Several individually filmed interviews, most in Italian with English subtitles. The Genoa Connection features director Enzo G. Castellari and actor Franco Nero; From Dust to Asphalt is another interview with Castellari; Hard Stunts for High Crimes features stuntman Massimo Vanni; Framing Crime features cameraman Roberto Girometti; The Sound of Onions features composers Guido & Maurizio De Angeles.

3 AUDIO COMMENTARIES - 1) By director Enzo G. Castellari; 2) By actor Franco Nero and filmmaker Mike Malloy (who once directed a poliziotteschi documentary called Eurocrime!); 3) By historians Troy Howarth, Nathaniel Thompson & Eugenio Ercolani.

THE CONNECTION CONNECTION - Filmmaker Mike Malloy discusses this film and its derivative origins. 

ALTERNATE ENDING - Almost the same, save for a shot that's removed from the final cut, which renders the ending even bleaker.

TRAILER

GALLERY - Features lobby cards, stills, posters, home video cover art, etc.

REVERSIBLE COVER