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‘Mirror Mirror’ 4K Ultra HD Review – Dark Force Entertainment Resurrects ’90s Cable Staple

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Do any of you hardcore horror fanatics remember Mirror Mirror from 1990? It had a theatrical release, but garnered much of its popularity on the shelves of Blockbuster Video stores nationwide and became a late-night cable staple for several years throughout the decade. And yes, it should be considered somewhat “popular” since it spawned three sequels. If you haven’t seen the original Mirror Mirror, don’t worry because Dark Force Entertainment, headed by Demon Dave, has released it in 4K UHD. That means you OG fans of this B-movie classic can relive some sense of nostalgia from that decade, now in 4K clarity.

Let’s dive into the film’s plot. Megan Gordon (Rainbow Harvest, Old Enough) and her mother Susan (the legendary Karen Black, Five Easy Pieces and Trilogy of Terror) move to L.A. and into a new home to begin their equally new lives. The previous residents left behind a lot of their belongings that are being sold by an auctioneer named Emelin (Yvonne de Carlo, The Munsters). One of the left behinds is a large, ominous, and mysterious mirror in Megan’s claimed bedroom, which she instantly becomes enchanted with.

William Sanderson (Blade Runner) also pops in for a small role (even though he is prominently promoted on the film’s original poster), shacking up with Karen Black’s character.

Being a goth and pretty timid, Megan obviously has a hard time fitting in with the beautiful people at her new high school, who proceed to torment her as bratty teens seem to do. The offending clique is headed up by class president-wannabe Charleen (Charlie Spradling, Puppet Master 2) and her boo Jeff (Tom Breznahan, The Brain). Megan has a mega man-crush on the latter, which plays into major events later in the film. The only people she has in her corner are Charleen’s competition for the class president seat, Nikki (Kristin Dattilo, Chris Issak Show) and her boyfriend Ron (Ricky Paull Goldin, The Blob), who is a bit reluctant to accept Nikki’s new connection to Megan.

While all this high school drama is going on, Emelin researches the history of the mirror and discovers that this reflector is no bueno and needs to be handled. This coincides with weird stuff happening to Megan, like her seeing the mirror oozing blood and having an unsettling zombie dream about her late father. Add in the fact that her teacher Mr. Anderson (Stephen Tobolowsky, Memento) almost has a fatal asthma attack and Charleen gets a wicked nosebleed, and Megan soon embraces the power of the mirror that she believes will help her right all of the horrible wrongs in her life. But we’ve seen enough of these films to know it is all going to go terribly wrong for her.

Is this film by director/co-writer Marina Sargenti (Lying Eyes) original? Eh, not really. Many detractors have criticized it for pulling in certain ideas from other better-made horror films and it’s hard to argue against that critique. Let’s check all the tropes. An antique containing evil? Check. Sympathetic outcast as the lead character? Check. Popular crowd being mean to the outcast? Check. Outcast getting powers that seem to help initially? Check. Outcast gets revenge against the mean popular crowd? Check. Outcast eventually gets overrun by the powers and things go completely off the rails? Check. Teenagers played by actors who are obviously in their late-20s? Check.

But in its defense, many horror films back then (and even in future decades) were very derivative and recycled each other because certain formulas worked and kept making money. It also seemed that people in general did not really make a fuss about the recycling of horror concepts, as long as they were having fun. Like many, this is one of those films that could only exist back in the ’80s. Yes, it was released in 1990, but it was filmed in the ’80s and it shows— with its vibe and especially the hairstyles.

Marina Sargenti mirror mirror

The lesser-known Dark Force Entertainment might not be boxing in the same weight class as some other companies, being a younger company with a smaller staff and budget, but they do have a moderate selection with distinct packaging and presentation. And you can always tell they put a lot of love and effort into their transfer attempts, because they always look great. Their offering of Mirror Mirror is no different, with a 4K HDR scan from the original 35mm negative. This film’s last home media release was by Anchor Bay in 2004, and it has been OOP for quite some time before Dark Force decided to accept the challenge of giving it a much-needed upgrade.

There’s even a bonus feature of Demon Dave and John Rubin of Vinegar Syndrome providing a commentary worth listening to. The only disc included is 4K, no standard Blu-ray like other releases, so please be advised.

You can pick up a copy at Dark Force Entertainment. The limited edition, glow-in-the-dark slipcover sold out fast, but you can still grab a standard edition with the same great transfer.

Champion for bad films, Jaws fin-atic, heavy metal horror aficionado.

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‘Cemetery Man’ 4K Ultra HD Review – 1990s Italian Horror Gem Shines in New Severin Release

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Despite being hailed by Martin Scorsese as one of the best Italian films of the 1990s, Cemetery Man is criminally underseen. Also known as Dellamorte Dellamore, the 1994 cult classic has been hard to come by in the US since Anchor Bay’s 2006 DVD went out of print, but Severin Films has revived it with a 4K Ultra HD + Blu-ray edition.

Dario Argento protégé Michele Soavi directs from a script by Gianni Romoli, based on the 1991 novel Dellamorte Dellamore by Tiziano Sclavi itself a precursor to Sclavi’s influential Italian horror comic Dylan Dog. Rupert Everett (My Best Friend’s Wedding), on whom the Dylan Dog character was visually based, takes on the lead role as Francesco Dellamorte.

As he explains in the noir-esque opening narration, Dellamorte is the watchman for a small town cemetery wherein “some people, on the seventh night after their death, come back to life.” He and his slow-witted but genial assistant, Gnaghi (François Hadji-Lazaro), are tasked with stopping the so-called returners by splitting open their heads.

While there is somewhat of an overarching narrative involving Dellamorte’s enamorment with a mourning widow (Anna Falchi), the manner in which subplots are introduced and resolved give the film an episodic structure. The collection of ghoulish misadventures range from undead boy scouts, bikers and nuns to a murderous descent into madness.

Soavi clearly took heed of Argento’s visual acumen while serving under the master of horror on the likes of Tenebrae, Phenomena, and Opera. Working with cinematographer Mauro Marchetti, production designer Massimo Antonello Geleng (Cannibal Holocaust, City of the Living Dead), and special effects artist Sergio Stivaletti (Phenomena, Demons), Soavi marries the beautiful and the macabre in every stylish frame.

Comedy is the other predominant factor in the equation. Dellamorte possesses Army of Darkness-era Ash swagger as he disposes of not-quite-zombies, but Soavi’s European sense of humor is more dry than Sam Raimi’s signature style. Soavi is not above splatstick, but it never undercuts the carefully crafted Gothic atmosphere. The blend of horror, comedy, and romance is as masterful as Shaun of the Dead, but it’s decidedly hornier. A hint of nightmarish surreality akin to Phantasm helps to balance the tonal tightrope act.

Cemetery Man has been scanned in 4K from the Cinecittà Studios negative, approved by Soavi, with Dolby Vision. It features English Dolby Atmos, 5.1, and Stereo sound options, in addition to a Stereo Italian dub. Severin’s transcendent efforts are apparent from the FBI warning that precedes the disc menu, which is interrupted by the film’s floating balls of light. The picture is ravishing no matter the format, but the restoration is so clear that previously imperceptible strings used to puppet some of the effects are now visible.

Soavi, Everett, and Falchi sit down for new interviews totaling nearly 80 minutes. They’re not meandering, career-spanning conversations; each key player offers a deep dive into the film. Soavi details the film’s origin, capturing its unique atmosphere, and how the poetic conclusion came to be at the last minute. Everett recalls his excitement to take on the role and work in Italian cinema and expresses his pride in the film. Falchi details her three roles in the film, including the extensive makeup process.

A thorough, archival audio commentary by Soavi and Romoli is presented in Italian with English subtitles. The creatives examine how they got involved in the project, adapting the source material, how they pulled off in-camera effects, and budgetary limitations, among other topics. An archival making-of featurette, featuring some great behind-the-scenes effects footage along with cast and crew interviews, rounds out the extras.

For the mega-fan, Severin Films offers a limited edition set that includes an additional Blu-ray disc with eight more interviews (Romoli, Marchetti, Stivaletti, actors Fabiana Formica and Stefano Masciarelli, composer Riccardo Biseo, set designer Antonello Geleng, and film historian Alan Jones) and trailers, a soundtrack CD, a booklet written by horror scholar Claire Donner, and an exclusive slipcase.

Despite his horror output being limited to a mere four films (although he remains active in Italian television), Soavi is worthy of being in conversation with Italian maestros like Argento, Lucio Fulci, and Mario Bava. His auspicious earlier efforts 1987’s StageFright, 1989’s The Church, and 1991’s The Sect built toward Cemetery Man, a crowning achievement that continues to endure after 30 years.

Cemetery Man is available on 4K UHD + Blu-ray now.

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