Sunday, September 20, 2026

SISTERS OF DEATH (1976) Leomark Studios BD-R Review + Screenshots


SISTERS OF DEATH (1976) 

Label: Leomark Studios
Region Code: Region-Free 
Rating: Unrated 
Duration: 86 Minutes 52 Seconds 
Audio: Dolby Digital 2.0 (No Subtitles) 
Video: 1080p HD Fullscreen (1.33:1) 
Director: Joe Mazzuca
Cast: Arthur Franz, Claudia Jennings, Cheri Howell

Sisters of Death (1976) is a slasher-adjacent sorority prank gone wrong entry, opening with a sorority initiation prank involving a game of Russian Roulette that tragically ends with one of the pledges, Liz (Elizabeth Bergen), getting her brains blown out when a real bullet somehow ends up in a gun. Seven years later five of the pledges present at the tragic initiation ceremony are summonsed to a house for a reunion of sorts, they're picked-up by two hired drivers, Mark (Paul Cart, Brute Corps.) and Joe (Joe E. Tata, Beverley Hills, 90210), who transport the women to their final rendezvous, a dilapidated old estate out n the middle of nowhere surrounded by electrified fence. 

The reunited sorority sister include Judy (Claudia Jennings, Truck Stop Women), Sylvia (Cheri Howell, Soylent Green), Diane (Sherry Boucher, White Lightning) as Diane, Francie (Sherry Alberoni, Terror Circus), and Penny (Roxanne Albee), a spiritual hippy-dippy blonde. Upon arrival the girls initially are excited by the prospect of boozing it up for the weekend, but soon become wary of who has summoned them, initially having thought that one organized the reunion. Soon enough it is reveled that Edmond Clybourn (Arthur Franz, Flight to Mars), the father of the victim from the opening is behind it, he's convinced that his daughter was murdered, and he has brought them there to get to the truth of the matter, giving them until the next morning for the guilty party to come forward, It's an interesting enough set-up, but the execution is a pretty creaky. 

The two guys are turned on and pretty horny, so they gatecrash the reunion, not realizing that they're walking into a trap and becoming part of the madman's revenge plot. Throughout the evening and into the night the girls and the two guys find themselves in precarious, oftentimes deadly scenarios, attacked by hairy tarantulas and nearly snake-bit, one is found dead with a pair of scissors through the back, a vicious dog attack sends one careening into the electrified fence, and another is strangled to death. All in all it;'s pretty tame stuff I thought the set-up was fairly interesting but the execution is rather bland. I did enjoy seeing some familiar b-movie drive-in familiars show-up though, the '70s fashions are a fun peek back in time at least, and the women are quite attractive, and the acting is alright, but there's zero nudity, the suspense is lacking. The kills just are not creative or interesting in any way whatsoever either, it's sadly quite a snooze-fest, but not without some dated early '70s charms, but I could see how this Ten Little Indians revenge/proto-slasher riff could have been, but as is, I thought it was pretty  weak sauce.   

I'm not too familiar with the production of the film, as I was watching this full frame version I was curious if the theatrical version was more violent and if maybe this was a cut TV version, but it looks like it was PG when it screened, too. It appears the film was actually shot several years before it screened at the drive-ins in '76, so it was shelved for a few years before finally getting released, which might partially explain how tame it is, but also just seeing how shabby a looking production it is, well, a shitty film is sometimes just a shitty film because it was poorly made. 

Audio/Video: The film is presented on a BD-R in 1080p framed in 1.37:1, though this apparently screen in 1.85:1 widescreen at the cinema initially. The source looks like an SD master, perhaps a TV master of some sort, whatever it is the quality is rather poor, looking like a crappy VHS, the images soft with faded colors throughout, blow-out whites, and milky blacks, it's quite murky with no texture or detail to it. The Dolby Digital 2.0 audio is not much better, a shrill, thin and hollow sounding affair with light noise, pops and hiss throughout. It's never hard to discern, but it's not pleasant either. Out of curiosity I compared this to a couple of other sources online, and this is about the same as what you can find on YouTube and Tubi for free, and at least streaming yoo get subtitle options, which this does not.  

There are zero extras, as has been the case with all the Leomark Blu-rays I've ever watched. There's not even a menu, you just pop it in the player and it plays, when it ends it just just plays again. The BD-R arrives in a non-logo  keepcase a single-sided sleeve of artwork that features a poor photoshopped excuse of a wrap that does good work advertising how shoddy the quality of the transfer is at least. 

I'd be hard-pressed to recommend this unless you absolutely desperate to own a physical copy of Sisters of Death (1976) in your collection on BD-R that looks like a VHS tape. 

Special Features: 
- None 

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Saturday, September 19, 2026

TOOMORROW (1970) Deaf Crocodile Blu-ray Review + Screenshots

TOOMORROW (1970) 

Label: Radiance Films
Region Code: A
Rating: Unrated 
Duration: 93 Minutes 47 Seconds 
Audio: English DTS-HD MA 2.0 Dual-Mono with Optional English Subtitles 
Video: 1080p HD Widescreen (2.35.1) 
Director: Val Guest 
Cast: Olivia Newton-John, Roy Dotrice, Benny Thomas, Karl Chambers, Vic Cooper

Brit science-fiction musical Toomorrow (1970) is the ill-conceived brainchild of producers Harry Saltzman (007) and pop music impresario Don Kirshner (The Monkees) who sought to replicate the multi-media pop-culture success of The Monkees with a film that would introduce a new bubblegum-pop band to the world. The band was actually a real band, not a construction, consisting of band members Benny Thomas on guitar/vocals; Vic Cooper on keyboards; Karl Chambers on drums; and singer Olivia Newton-John. The film was directed by Val Guest (The Quatermass Xperiment, The Abominable Snowman), with special make-up designer Stuart Freeborn (Superman) and special effects by John Stears (Star Wars: Episode IV - A New Hope), and it was lensed by Dick Bush (The Blood on Satan's Claw), and a score by Hugo Montenegro (The Farmer).

The musical-minded film follow four London art college musicians whose songs catch the attention of an an androgynous alien race called the Alphoids, who just happen to have an alien observer stationed on Earth for the past 3000 years, John Williams (Roy Dotrice, Hellboy II: The Golden Army), who is tasked with recruiting the band and convincing them to travel to the alien's home world to perform. The main source of the good vibes seems to be a mix of heart and soul unique to the music, but also the particular effects of keyboardist Vic's "Tonaliser", a homemade creation of his own that imbues the music with a desired frequency the Alphoid's seem to groove on

The groovy slice of threadbare sci-fi pop euphoria is fun enough, the young cast are bubbly and fun, the band live in a communal house, and hang around a campus chock full of counterculture political and sexual activity, with appearances from Imogen Hassall (When Dinosaurs Ruled the Earth), Tracey Crisp (Casino Royale), and blonde alien-construct bombshell Margaret Nolan (Goldfinger) as love-interests. With that said, the story is so shallow it won't wet you ankles while wading through it, but it is a fun bit of harmless and substanceless fluff. I might have liked it more, but the saccharine flower-power pop tunes did nothing for me, but it's hard to deny there's an effervescent charm about the young attractive cast particularly the the charming Olivia Newton John who is irresistibly cute. 

The best part of this for me was the glimmering alien spacecraft which is a strobing crystalline construction with clear walls. The scenes inside the ship are my favorites with the aliens walking with a trippy looking phase effect, but I really found it to be a throwaway bit of pop confection. Now if the band was The Stooges or even Davie Allan and The Arrows, well, that would have pulled me right in, but not this weak-sauce bubblegum pop.

The story behind the troubled film is actually quite a bit  more interesting that the film itself, it turns out that this was only in cinemas for a week when it was pulled because cheapskate Saltzman never paid director Val Guest for his work, so he took him to court and put an injunction on the film, and it ended up shelved and little seen for decades. This short theatrical window and lack of proper distribution would seem why the film is little heard of by most. It's home video releases prior to this Blu-ray were scarce, but die hard fans of Val Guest and Olivia Newton John should rejoice, for now this hard to come by rarity finally gets a proper restoration and HD release from Deaf Crocodile, thanks to a partnership with the BCI. 

Audio/Video: Toomorrow (1970) makes it's debut U.S. release via Blu-ray from Deaf Crocodile in 1080p HD framed in 2.35:1 widescreen, having been restored by the British Film Institute and Deaf Crocodile from the original 35mm negative. Audio comes by way of English DTS-HD MA 2.0 dual-mono with optional English subtitles. The film looks wonderful, there are some visible scratches and white speckling but the vibrant colors shine, with accurate looking skin tones, and strong blacks. The mono audio is solid as well, dialogue is always easy to understand, the Toomorrow band songs are full-bodied, as is the score by Hugo Montenegro. 

Special features start off with a new Audio commentary by author & music historian Andrew Sandoval, a 65-min Archival video interview with director/writer Val Guest, conducted by The Guardian newspaper (1998), 8-min “The Nose Has It” (1942) which is a WWII propaganda short that warns against spreading germs, which was directed by Val Guest and stars comedian Arthur Askey (The Ghost Train), plus a 13-min“If I Could Turn You On” (1969, dir. Bernard Coyne), a black and white experimental film documenting an avant-garde performance at the Camden Roundhouse, which is one of the locations used in the film. 

Next up, the 12-min “Toomorrow: Musical Humanism Through the Stars”, a new visual essay by film critic Celeste de la Cabra, plus a 10-min New visual essay by Someone’s Favorite Productions featuring a 1988 audio interview for the British Entertainment History Project with director Val Guest discussing his work on the film, moderated by Roy Fowler. The single-disc release arrives in a clear full-height keepcase with a two-sided non-reversible wrap featuring artwork by Beth Morris. 

Special Features: 
- New audio commentary by author & music historian Andrew Sandoval
- Archival video interview with director/writer Val Guest, conducted by The Guardian newspaper (1998, 1:04:57)
- “The Nose Has It” (1942, 8:04) – delightful WWII propaganda short about the danger of spreading germs, directed by a young Val Guest and starring comedian Arthur Askey.
- “If I Could Turn You On” (1969, 12:44, dir. Bernard Coyne) – stark experimental film documenting an avant-garde performance at the Camden Roundhouse, one of the locations used in TOOMORROW.
- “Toomorrow: Musical Humanism Through the Stars” – new visual essay by film critic Celeste de la Cabra (11:56)
- New visual essay by Someone’s Favorite Productions featuring a 1988 audio interview for the British Entertainment History Project with director Val Guest discussing his work on TOOMORROW, moderated by Roy Fowler (10:02)

Screenshots from the Deaf Crocodile Blu-ray:








































































































Extras: 












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