Hilarity at HELL HIGH

HELL HIGH aka Raging Fury, aka Real Trouble (Blu-ray Review)

1989 / 84 min

FROM ARROW VIDEO

Review by Josey, the Sudden Cat🙀

In a new interview included on this disc, actor Christopher Cousins (who plays Jon-Jon) says that he first thought Hell High was supposed to be a satire. After watching the film, one can see why. On paper, this must have been hilarious, featuring a script loaded with ridiculous dialogue and characters waaay too broadly drawn to be taken seriously. 

While Hell High is indeed hilarious, the humor is entirely unintentional. Despite some laughably gratuitous T&A and one of the worst comic relief characters in horror history, it’s clear from the get-go that writer-director Robert Grossman’s intentions are serious. 

Obstinately marketed to capitalize on the 80s slasher trend - which was already waning by the time this movie ever saw the light of day - Hell High is more thematically similar to such revenge-minded flicks as I Spit on Your Grave and Class of 1984. In this case, we have meek, angst-ridden high school teacher Brooke Storm (Maureen Mooney) being tormented by a click of students led by a narcissistic douche named Dickens (Chrisopher Stryker). They assault Brooke at her home, which includes a truly WTF scene that shows a female character schooling Dickens on how to “gently” rape a woman. 

After Brooke leaps out her bedroom window, the kids assume she’s dead, then decide to try and frame the football team quarterback - referred to as “the quarterback” throughout the film - for the crime. While Dickens sends Jon-Jon out to find something to plant as evidence, they hang-out at Brooke’s house to await his return. Meanwhile, it turns out Brooke was only mostly-dead. Despite falling two stories, she rebounds unscathed - possessing the strength of 10 men - to exact revenge.

Hell High's scream queen.

We actually spend a lot more time with the kids than their victim. Not only are they uninteresting and unlikable, none of them look, speak or behave like any teenager you’ve ever met. With the exception of perpetually contemptuous Dickens, their personalities often change at the drop of a hat, depending on what a particular scene dictates. One minute Jon-Jon’s seems to be the gang’s moral compass, warning Dickens they're taking things too far, the next he’s happily participating in the assault, then lamenting the threat to his college future after Brooke appears to be dead. And believe it or not, I think we’re expected to sympathize with him, even after causing a fiery crash involving the guy he’s trying to frame for murder.

From a technical standpoint, Hell High is actually well made for a low budget film, and overall, the performances are pretty good. However, the characters and situations are so ineptly conceived and stupidly written that the results are jaw-dropping. Because of this, there’s a trainwreck quality to the entire film that’s morbidly fascinating. A lot of hard work went into this and Grossman’s sincerity is admirable, but he’s comedically clueless about pacing, tone and basic human behavior (maybe he should have spent more time hanging-out with actual teenagers before writing about them).

While most of the fun comes at its own expense, at least Hell High ain’t boring, which is ultimately the worst sin a horror film can commit. There are also a few nifty kills that should tickle the yahoo crowd (one character’s ironic death from a #2 pencil is our personal favorite). As usual, Arrow Video puts together a better Blu-ray package than movies like this would get elsewhere. In addition to a great transfer, the disc includes a bunch of interviews with various cast & crew, as well as three audio commentaries (including one by none other than Joe Bob Briggs). The movie may be bad, but the anecdotes behind it are fascinating. 

EXTRA KIBBLES

NEW INTERVIEWS - Individual interviews with director-producer-co-writer Robert Grossman, actor Christopher Cousins, actor Maureen Mooney, composers Rich Macar & Christopher Hyams-Hart, cinematographer Steven Fierberg.

ARCHIVAL INTERVIEWS - With director-producer-co-writer Robert Grossman and co-writer Leo Evans.

“BACK TO SCHOOLS: THE LOCATIONS OF HELL HIGH” - A video tour of the locations, then and now.

AUDIO COMMENTARIES - 1) By director-producer-co-writer Robert Grossman and cinematographer Steven Fierberg; 2) Archival commentary by Grossman; 3) By Joe Bob Briggs (which is obviously the most entertaining one).

INTRODUCTION BY JOE BOB BRIGGS

ALTERNATE OPENING TITLES

DELETED SCENE

TRAILERS

SUPPLEMENTAL BOOKLET - Includes an interview with stunt coordinator Webster Whinery (who’s probably the only guy involved in the film who went on to bigger and better things); cast, crew & restoration credits.

REVERSIBLE COVER - In new and original artwork.

Does Anyone Actually Remember THE FRISCO KID?

THE FRISCO KID (Blu-ray Review)

1979 / 119 min

FROM WARNER ARCHIVE COLLECTION

Review by Mr. Paws😿

I remember being really excited to see this back in the day. Gene Wilder was in some of my favorite comedies and could do no wrong, while Star Wars suddenly made Harrison Ford one of the coolest guys in Hollywood. Surely The Frisco Kid would be awesome. 

While I remember my anticipation, the film itself must not have left much of an impression because I don’t think I gave it another thought afterwards. Like its two stars, I simply moved on without ever looking back. I probably enjoyed The Frisco Kid in the moment, but it was ultimately just another movie that came & went at the Southgate Quad for a couple of weeks. 

I still love some classic Gene Wilder now and then, yet have never felt compelled to revisit this one. I don’t recall ever thinking it was a bad movie, but it’s certainly no Young Frankenstein or Silver Streak. It's no See No Evil, Hear No Evil either, because at least that film was dubiously memorable by virtue of its sheer awfulness. Conversely, I forgot what The Frisco Kid was even about.

So re-watching it four decades later wasn’t exactly a trip down memory lane. In fact, it was sort-of like seeing a new movie. Those who only know Ford as HARRISON FORD might enjoy being reminded he was once simply a supporting actor, and believe it or not, his performance is arguably better than the one he gave in the original Star Wars. But other than that, there’s nothing particularly distinctive about it.

In a stunning plot twist, Avram & Tommy realize they've been back on Earth the entire time.

The Frisco Kid offers a standard fish-out-of-water story about naive rabbi Avram Belinski (Wilder) traveling across the Old West to San Francisco, where he’ll lead a congregation and marry a woman he’s never met. On the way, he befriends outlaw Tommy Lillard (Ford), who reluctantly ends up bailing Avram out of various predicaments. Episodically structured, it’s a story without any highs, lows, twists or turns. The performances are agreeable, the characters likable and the tone congenial, but considering the caliber of talent on both sides of the camera (director Robert Aldrich has made some incredible films in the past), everything should resonate more than it does.

Instead, The Frisco Kid is watchable without ever being truly engaging, the kind of film one might have playing in the background while doing something else. At any given time, you could leave the room and return minutes later without missing out on any plot points, memorable moments or quotable dialogue, mainly because there aren’t any. Not even Wilder rises above mildly amusing, and given his history of memorably quirky characters, that might be the film’s biggest surprise of all.

GOD TOLD ME TO (4K): Crazy Larry

GOD TOLD ME TO (4K UHD Review)

1976 / 90 min

FROM BLUE UNDERGROUND

Review by Josey, the Sudden Cat🙀

The late (sometimes great) Larry Cohen was a national treasure, even if his eccentricities and quasi-guerrilla approach to filmmaking was never fully embraced by the mainstream. Since the mid-90s, he worked mostly as a screenwriter before passing away in 2019, but during his prolific heyday, Cohen directed some of horror's most endearingly tacky, slyly subversive films…usually by the seat of his pants. I challenge anyone to watch the likes of It’s Alive, Q - The Winged Serpent or The Stuff without shit-eating grin on their face.

1976’s God Told Me To is one of his lesser known films, but it, too, has something of a cult following. It’s also pretty bleak for Cohen, especially the first half, depicting a series of random mass killings throughout New York City. Though committed by different people, each claims the same reason for their spree: “God told me to.” The film may be a product of its era, but considering our current climate, these scenes seem disturbingly timely.

Tony Lo Bianco plays Peter Nicholas, a troubled cop connecting the killings, which gets him into hot water at work when he goes public, causing city wide panic. For a while, the narrative unfolds more like a police procedural than a horror film, at least until we’re thrown some truly WTF narrative curveballs. For the sake of those who’ve never seen this, I’ll refrain from elaborating, but let’s just say you haven’t lived until you’ve witnessed an androgynous Richard Lynch (of all people) showing off a pulsating vagina growing from his torso.

First day without training wheels.

Elsewhere, God Told Me To is pure Larry Cohen, a typically slapdash hodgepodge of weird ideas, budget-conscious action, haphazard editing and occasional tastelessness. Like his best-known films, we’re convinced he’s largely making it up as he goes along. At the same time, he’s always been a good writer with a knack for assembling better casts than movies such as this usually have (or deserve). And just as he did with Q - The Winged Serpent, Cohen makes great use of various New York locations. I suppose one could consider him the Woody Allen of exploitation films.

While God Told Me To is essential viewing for Cohen fans, his films are definitely an acquired taste and this is no exception. It’s the work of a man who’s always been armed with more audacity than resources and those who can’t appreciate that will probably hate it. For everyone else, this 4K upgrade from Blue Underground nicely preserves the film’s grimy aesthetic, though it’s not a massive improvement over the Blu-ray version. However, this one offers more audio options, including a Dolby Atmos track. Aside from a new audio commentary, the bonus features are mostly carried over from previous releases, but they’re a lot of fun, especially Cohen’s own commentary and Q&A sessions.

EXTRA KIBBLES

4K & BLU-RAY COPIES

“HEAVEN & HELL ON EARTH” - Interview with actor Tony Lo Bianco.

“BLOODY GOOD TIMES” - Interview with FX artist Steve Neill, who discusses working with Cohen on several films.

“GOD TOLD ME TO BONE” - A great 20 minute Q&A with Larry Cohen after the screenings of two films at the New Beverly Cinema. 

LINCOLN CENTER Q&A - From 2002, following a screening of God Told Me To. 

NEW AUDIO COMMENTARY - By historians Steve Mitchell & Troy Howarth.

ARCHIVAL AUDIO COMMENTARY - By Larry Cohen, who’s entertaining as hell…as usual.

TRAILERS & TV SPOTS - Features trailers for God Told Me To, as well as its alternate title, Demon.

GALLERY - Featuring posters, stills, ads and VHS box art.

REVERSIBLE COVER

ZERO CONTACT: Anthony Hopkins Phones It In...Literally

ZERO CONTACT (Blu-ray Review)

2022 / 97 min

FROM LIONSGATE

Review by Tiger the Terrible😼

Zero Contact is another one of those “gimmick” movies. In fact, the title itself doesn’t refer to anything related to the plot, but the gimmick itself…sorta like The Blair Witch Project being released as Three Kids and a Camera.

The gimmick here is that the film is mostly presented as a Zoom-type meeting, with all of the principal actors performing from different locations around the world. This isn’t exactly uncharted territory, though. The underrated Unfriended franchise did it first (and better, if you ask me). According to promotional material, Zero Contact was produced at the height of the global pandemic, though that was nothing to do with the actual story, either.

But hey, they managed to nab the great Anthony Hopkins. While his role is more than a gratuitous five minute cameo tossed in to boost marquee value, at no point does he interact - virtually or otherwise - with any of the other actors. All of his scenes are shot in isolation, mostly as smartphone recordings. Considering I just recently watched a Facebook video Hopkins shared where he’s playing the piano for his cat - and is seen in the film tickling the ivories in a similar setting - I’m assuming he got to work at home. Good for him.

As for Hopkins’ character, Finley Hart is an eccentric computer genius who has developed a device that is capable of enabling teleportation, or maybe even time travel, or something like that. It’s never made quite clear what this thing can do, but after Hart’s death, five former professional and personal associates - including his estranged son, Sam (Chris Brochu) - are summoned to a virtual meeting. The A.I. informs them that each must enter a personal code within 60 minutes to activate the machine. Unfortunately, because it’s apparently powered by dark matter, there’s a possibility that turning it on will end the world. However, one of Finley’s recordings claims the world will end if they don’t turn it on.

One of the perks of performing virtually is you get to work without pants.

Meanwhile, some of these people are being murdered during the meeting by a digitally-distorted figure who’s trying to stop them. As for Sam…despite being thousands of miles away, he is able to arrive at their homes in time to either save them or grab the computer codes. Again, it’s not adequately explained how this is possible, nor is it shown (I was assuming the machine hadn’t been fired up yet). In fact, most of the details about the machine’s function and the ominous implications of using it are conspicuously absent, though it's the driving force behind the narrative.

But as bewildering as it gets, Zero Contact is actually pretty enjoyable. We may not always know just what the hell is going on, but the film does a decent job establishing its characters and building tension. Something terrible is going down, even if we are unclear what it is, and perhaps that sense of dread is ultimately more important than plausible science. So while this inevitably leads to a disappointing destination, the journey itself is kind of fun.

No one will mistake Zero Contact for a great film, nor is it another gold star on Hopkins’ resume (he’s good, but mostly engages in stream-of-consciousness rambling). But as movies coasting on a singular gimmick go, I’ve seen far worse.

DOWNTON ABBEY: A NEW ERA: No Experience Necessary

DOWNTON ABBEY: A NEW ERA (Blu-ray Review)

2022 / 125 min

FROM UNIVERSAL

Review by Stinky the Destroyer😺

Here’s how well Downton Abbey: A New Era works as a movie…

Despite its popularity, I have never seen a single episode of the original series, nor was I ever compelled to. And at the risk of sounding ignorantly presumptuous, a series chronicling the first-world problems of a batch of English aristocrats sounded about as entertaining as watching a test pattern. So obviously, the first Downton Abbey movie never earned a spot on my gotta-see list. 

But as a sequel to a film I’ve never seen, based on a TV show I never watched, Downton Abbey: A New Era is wonderful and I’m shocked at how much I enjoyed it. Best of all, no masters degree in Grantham history is required. Pretty much every character returns for another go ‘round, and while I suppose being already familiar with them - and their pasts - helps a little bit, the film as-a-whole doesn’t operate on the conceit that we are. Series creator & screenwriter Julian Fellowes deftly establishes each character’s role in the family - as well as the quirks which make them endearing - within the first act, without relying on shout-outs to what’s already transpired. Quite an astonishing feat when you think about it.

Two primary storylines run concurrently through the film. The first has Crawley matriarch Violet (Maggie Smith) receiving the news that she just inherited a French Villa owned by  Marquis de Montirail, with whom she had a brief relationship several decades ago. Despite protest by the Marquis’ widow, Violet intends to accept the villa and bequeath it to her great-granddaughter, Sybbie. The family is invited to the villa, where Violet’s son, Robert (Hugh Bonneville), is led to suspect he might actually be the Marquis’ son. This obviously doesn’t sit well with him, nor does the news from his wife, Cora (Elizabeth McGovern), that she is gravely ill.

The second, more amusing story involves a studio wishing to use Downton Abbey as the setting for a new movie starring two silent film heartthrobs. While much of the staff is excited, not everyone in the house is happy about the intrusion (leading to many charmingly humorous moments). Still, the Abbey could use some renovations and the money would come in handy.

"Damn...the cable's out again."

When the sudden boom of “talkies” threatens the production, Lady Mary (Michelle Dockery) suggests to director Jack Barber (Hugh Darcy) that they turn his film into one. Unfortunately, self-absorbed star Gladys Denker (Sue Johnston) is somewhat vocally challenged - to say the least - so Barber coerces Mary into providing the voiceover. Barber is also sort-of sweet on Mary, and since her husband, Henry, is largely absent all the time, the feeling might be mutual. 

Interspersed are many scenes and side stories giving just about every character their moment in the spotlight. To this newbie’s surprise, they’re all pretty interesting and likable. Even the closest the film has to an antagonist - Gladys Denker - ends up as someone we sympathize with. The story isn’t heavy with conflict and most of it is wrapped up pretty neatly (maybe too neatly, in some cases), but for the most part, we simply enjoy being around these people. Despite their lifestyle, they’re generally pretty relatable.

The performances are uniformly congenial. Maggie Smith, in particular, effortlessly steals every scene she’s in and her character, Violet, is not only the tie which binds the family, her story becomes the crux of the entire film. Hence, the poignant conclusion will certainly be moving to longtime fans. Hell, I barely knew her and I found myself getting a little misty. 

Downton Abbey: A New Era works wonderfully as both a continuation of the franchise and a stand-alone film. As a newcomer, I’m not sure if I’m yet-ready to dive into six seasons of the original show, but this one definitely has sparked my interest in checking out the first film. I really enjoyed meeting these characters and am more than happy to visit them again. 

EXTRA KIBBLES

FEATURETTES - “Good to be Back” (cast members talk about reuniting for another movie); “Return to Downton Abbey: The Making of A New Era”; “A Legendary Character” (an appreciation of Maggie Smith); “Creating the Film Within a Film”; “Her Majesty’s Yacht Britannia” (cast & crew discuss being aloud to film a scene on the Queen’s boat); “Spill the Tea”

AUDIO COMMENTARY - By director Simon Curtis.

DVD & DIGITAL COPIES

EDGE OF TOMORROW: The One Where Tom Cruise Fights Aliens...in 4K

EDGE OF TOMORROW (4K UHD Review)

2014 / 113 min

FROM WARNER BROS #InPartnershipwithWB

Review by Tiger the Terrible😽

I never cared for most of Tom Cruise's early career (not even Top Gun), unable to escape the notion that his roles were customized to fit the image he had of himself. Even in the more "prestigious" movies where he attempts to be taken seriously as an actor, his meticulously self-cultivated persona makes that impossible. He's simply too Tom Cruisey to be accepted as anything else.

He must have come to the same conclusion years ago and finally dropped all pretenses of being anything other than TOM CRUISE, which nobody does better. I've grown to appreciate that and have really enjoyed most of his 21st Century films, which could just-as-accurately be titled like Friends episodes: The One Where Tom Cruise Rides a Bus, The One Where Tom Cruise Fights the Undead, The One Where Tom Cruise Dangles from a Plane, The One Where Tom Cruise Hunts Hitler, etc. Without really stretching himself, Cruise has evolved into a superlative action star. Not only that, these movies are remarkably consistent because we never question his utter dedication (something we could never say about Bruce Willis). Even in such marginal movies as Knight and Day & Oblivion, we're certain Cruise is giving it everything he's got.

 

That being said, 2014’s Edge of Tomorrow is the best Tom Cruise movie of the past decade that doesn’t have Mission: Impossible in the title. Not to be confused with The One Where Tom Cruise Runs from Aliens (War of the Worlds), this is The One Where Tom Cruise Fights Aliens. But in addition to featuring Cruise as his Cruisiest, the film throws in my future ex-wife, Emily Blunt, who’s every bit Tom's equal as England’s most badass supersoldier. 

 

Elsewhere, Edge of Tomorrow serves-up a unique premise, a smart script and engaging characters to enhance the usual sci-fi mayhem. It’s essentially Groundhog Day with aliens and Tom Cruise playing William Cage, an American Army public affairs officer - with no fighting experience - who repeatedly dies and relives the same battle over and over. He's able to change events each time because he has knowledge no one else does about the future. 

"Crap, where'd we park?"

Though smarter than your typical sci-fi action film - playing around with the concept of time just as engagingly as Interstellar - the film never really found an audience in theaters. Perhaps some of that was due to being slapped with a generic title that sounds like a romance novel. They should have stayed with the title of its source, All You Need is Kill, which is far more intriguing. Hell, simply calling it The One Where Tom Cruise Fights Aliens would have better clued audiences in for what to expect.

But Edge of Tomorrow eventually found its niche on home video. Highly re-watchable, the film was given a pretty decent Blu-ray release that included a bevy of bonus features. That disc is also included with this new 4K UHD release, which is a good thing because the overall picture quality of the Blu-ray is actually more consistent. Edge of Tomorrow was never a particularly “pretty” film to begin with and the 4K transfer doesn’t significantly change that. Some scenes look great, while others - such as an early scene in the Army barracks - almost look over-exposed. Both discs sound terrific though, with the 4K version sporting Dolby Atmos for those of you equipped for it.

Being one of the better sci-fi action films in recent years - as well as one of Tom Cruise’s best - Edge of Tomorrow is certainly worth owning. However, watching Cruise fight aliens in 4K isn't quite the upgrade one would hope. The transfer ain't bad, but it's inconsistent, so those who already own it on Blu-ray might be content with what they have. 

 

EXTRA KIBBLES

4K, BLU-RAY & DIGITAL COPIES

FEATURETTES - “Operation Downfall: Adrenaline Cut”; “Storming the Beach”; “Weapons of the Future”; “Creatures Not of This World”; “On the Edge with Doug Liman”;

DELETED SCENES

THE POOP SCOOP: Summertime Picks of the Litter...

🙀MEN arrives August 9 on Blu-ray and DVD from Lionsgate

Alex Garland’s unsettling and enigmatic horror film, Men, arrives on Blu-ray + DVD + Digital and DVD August 9 from Lionsgate. The gruesome horror film follows a young woman who goes on a solo vacation to the English countryside following the death of her ex-husband. Men will be available for the suggested retail prices of $39.99 for Blu-ray + DVD + Digital and $29.96 for DVD. OFFICIAL SYNOPSIS: In visionary filmmaker Alex Garland’s (Ex Machina, Annihilation) feverish, shape-shifting new horror film, Harper (Jessie Buckley) retreats alone to the beautiful English countryside in the aftermath of a personal tragedy, hoping to have found a place to heal. But someone or something from the surrounding woods appears to be stalking her. What begins as simmering dread becomes a fully-formed nightmare, inhabited by her darkest memories and fears.

 

😺DIRTY DANCING 35TH ANNIVERSARY arrives August 23 on 4K Ultra HD, Blu-ray and Digital from Lionsgate

The musical romance Dirty Dancing returns on its 35th anniversary on 4K Ultra HD + Blu-ray + Digital August 23 from Lionsgate. This brand-new, 4K Ultra HD + Blu-ray + Digital release will feature new art of Jennifer Grey (Ferris Bueller’s Day Off, Red Dawn, TV’s “Red Oaks”) and Patrick Swayze (Point Break, Ghost, Road House). Dirty Dancing will be available for the suggested retail prices of $22.99 for 4K Ultra HD + Blu-ray + Digital. OFFICIAL SYNOPSIS: Thirty-five years after audiences were first introduced to Johnny (Patrick Swayze) and Baby (Jennifer Grey), Dirty Dancing remains a cultural icon. Loved by generations of fans, this cinematic treasure has inspired multiple films, a stage version, and reality dance competitions watched around the world. On the film’s 35th anniversary, celebrate the magic of Dirty Dancing and its timeless themes of love, family, class, and perseverance all over again.

 

😺Brian De Palma’s BLOW OUT on 4K and Blu-ray and DVD September 6 from Criterion Collection

In the enthralling Blow Out, brilliantly crafted by Brian De Palma, John Travolta gives one of his greatest performances, as a film sound-effects man who believes he has accidentally recorded a political assassination. To uncover the truth, he enlists the help of a possible eyewitness to the crime (Nancy Allen), who may be in danger herself. With its jolting stylistic flourishes, intricate plot, profoundly felt characterizations, and gritty evocation of early-1980s Philadelphia, Blow Out is an American paranoia thriller unlike any other, as well as a devilish reflection on moviemaking. In addition to a new 4K digital restoration, this release includes De Palma’s 1967 feature, Murder a la Mod, interviews with De Palma and Allen and other bonus features.

 

😼ZACK SNYDER’S JUSTICE LEAGUE on Digital July 19 from Warner Bros

On July 19, “Zack Snyder’s Justice League” will be available to own digitally in high definition and standard definition from participating digital retailers where you purchase movies.  Additionally, a Trilogy bundle will also be available on Digital on July 19.  The three-film collection includes Man of Steel, Batman v Superman Ultimate Edition, and Zack Snyder’s Justice League. In “Zack Snyder’s Justice League”, determined to ensure Superman’s (Henry Cavill) ultimate sacrifice was not in vain, Bruce Wayne (Ben Affleck) aligns forces with Diana Prince (Gal Gadot) with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions. The task proves more difficult than Bruce imagined, as each of the recruits must face the demons of their own pasts to transcend that which has held them back, allowing them to come together, finally forming an unprecedented league of heroes. Now united, Batman (Affleck), Wonder Woman (Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) may be too late to save the planet from Steppenwolf, DeSaad and Darkseid and their dreadful intentions.

🙀EVENT HORIZON 25th Anniversary 4K Blu-ray SteelBook Coming 8/9 from Paramount.

Seven years ago, pioneering research spacecraft "Event Horizon" mysteriously vanished without a trace on its maiden voyage. But then, in the darkness of deep space, a persistent signal prompts a rescue crew to wing its way through the galaxy on a bold rescue mission. What they uncover is an unimaginable interstellar horror that will test the entire team's sanity and souls. This set includes a new 4K restoration of the film, as well as numerous bonus features: Audio commentary by director Paul W.S. Anderson and producer Jeremy Bolt; The Making of Event Horizon - Five featuurettes; The Point of No Return - The filming of Event Horizon with director commentary; Secrets with optional director commentary; The Unseen Event Horizon - the unfilmed rescue scene, plus conceptual art; Original trailer.