Wolf Man (2024) Howls onto Digital Feb. 4, 4K UHD, Blu-ray March 18

FOR THE FIRST TIME AT HOME

BLUMHOUSE AND THE DIRECTOR OF THE INVISIBLE MAN DELIVER A TERRIFYING TWIST ON UNIVERSAL’S CLASSIC MONSTER NOW WITH ALL-NEW BONUS CONTENT!

AVAILABLE ONLY ON DIGITAL

TO OWN OR RENT STARTING FEBRUARY 4, 2025

PRE-ORDER NOW! LIMITED EDITION STEELBOOK,

4K UHD, BLU-RAY & DVD AVAILABLE MARCH 18, 2025

FROM BLUMHOUSE & UNIVERSAL PICTURES HOME ENTERTAINMENT

Leigh Whannell brings a dark new twist to one of Universal’s most iconic monsters in WOLF MAN, available to own or rent on Digital February 4, 2025 and on 4K UHD, Blu-ray and DVD March 18, 2025 from Blumhouse (The Black Phone, Halloween franchise) and Universal Pictures Home Entertainment.

WOLF MAN contains over 30 minutes of behind-the-scenes content, including a peek at the terrifying Wolf Man transformation, breakdowns of the gnarly action & scares scenes throughout the film, and much more! WOLF MAN is directed by horror-acclaimed filmmaker Leigh Whannell, and stars Christopher Abbott (Poor Things, It Comes At Night), Julia Garner (“Ozark”, “Inventing Anna”), Sam Jaeger (“The Handmaid’s Tale”), Matilda Firth (“Hullraisers”), Ben Prendergast (“The Sojourn Audio Drama”) and Benedict Hardie (The Invisible Man).

From Blumhouse and the director of The Invisible Man comes a modern take on the classic monster story, WOLF MAN. Seeking a fresh start, Blake moves his wife Charlotte and daughter Ginger to his childhood home in rural Oregon. Upon arrival, they encounter a brutal animal attack, forcing the family to barricade themselves inside the house as an unseen creature prowls the perimeter. As the night wears on, Blake’s injuries worsen, and his bizarre behavior turns monstrous. To protect her daughter, Charlotte must decide whether to confront the danger outside or the growing horror within.

BONUS FEATURES on DIGITAL, 4K UHD, BLU-RAY AND DVD:
- UNLEASHING A NEW MONSTER – Explore Leigh Whannell’s dark and gritty take on one of horror’s most iconic monsters. Learn what inspired the visionary director to create this tragic tale of family, loss, and a night of absolute terror.

- DESIGNING WOLF MAN – Director Leigh Whannell and prosthetic designer Arjen Tuiten, set out to create a Wolf Man unlike any seen before. Take a closer look at the conceptual designs, sculptures and prosthetic make-up that aided in the creation of a monster that stays with you long after the credits roll.
- HANDS ON HORROR – Strap in for a breakdown of the film’s most thrilling action sequences. Cast and crew discuss how practical effects enabled them to capture raw and realistic performances of the most terrifying, heart-pounding scenes in the film.
- NIGHTMARES AND SOUNDSCAPES – Transition into Blake’s perspective and witness the world through the eyes of an animal. Learn how sound design and VFX came together to highlight the enhanced hearing, vision, and complete abandonment of humanity that materialized during the transformation from Man to Wolf.
- FEATURE COMMENTARY WITH DIRECTOR/CO-WRITER LEIGH WHANNELL

For more information on WOLF MAN, please visit:
Website: https://www.wolfmanmovie.com
Trailer: https://www.youtube.com/watch?v=-tWdzz04C3Y
Facebook: /WolfManMovie |/UniversalPicturesAllAccess
X: @WolfManMovie25 |@UniAllAccess
Instagram: @wolfmanmovie/ | @UniAllAccess
TikTok: @universalallaccess
#WolfManMovie

FILMMAKERS:
Cast: Christopher Abbott, Julia Garner, Sam Jaeger
Casting By: Terri Taylor CSA, Sarah Domeier Lindo CSA, Ally Conover CSA
Music Supervisors: Devoe Yates, Gabe Hilfer
Music By: Benjamin Wallfisch
Costume Designer: Sarah Voon
Edited By: Andy Canny ACE
Production Designer: Ruby Mathers
Director Of Photography: Stefan Duscio
Executive Producers: Leigh Whannell, Beatriz Sequeira, Mel Turner, Ken Kao
Produced By: Jason Blum p.g.a., Ryan Gosling
Written By: Leigh Whannell & Corbett Tuck
Directed By: Leigh Whannell

TECHNICAL INFORMATION 4K UHD:
Street Date: March 18, 2025
UPC Number: 191329273838 (US) / 191329274019 (CDN)
Layers: BD 66
Aspect Ratio: 16:9 2.39:1 Widescreen
Rating: R for bloody violent content, grisly images and some language.
Languages/Subtitles: English SDH, French Canadian, and Latin American Spanish
Sound: English (Dolby Atmos for Feature, Dolby Digital 2.0 for bonus content), French Canadian (Dolby Digital Plus 7.1), and Latin American Spanish (Dolby Digital Plus 7.1)
Run Time: 01:42:36

TECHNICAL INFORMATION BLU-RAY:
Street Date: March 18, 2025
UPC Number: 191329273753 (US) / 191329274002 (CDN)
Layers: BD 50
Aspect Ratio: 16:9 2.39:1 Widescreen
Rating: R for bloody violent content, grisly images and some language.
Languages/Subtitles: English SDH, French Canadian, and Latin American Spanish
Sound: English (Dolby Atmos for Feature, Dolby Digital 2.0 for bonus content), French Canadian (Dolby Digital Plus 7.1), and Latin American Spanish (Dolby Digital Plus 7.1)
Run Time: 01:42:36

TECHNICAL INFORMATION DVD:
Street Date: March 18, 2025
UPC Number: 191329274026 (US) / 191329273692 (CDN)
Layers: DVD 9
Aspect Ratio: 16:9 2.39:1 Anamorphic Widescreen
Rating: R for bloody violent content, grisly images and some language.
Languages/Subtitles: English, French Canadian, and Latin American Spanish
Sound: English (Dolby Digital 5.1 for Feature, Dolby Digital 2.0 for bonus content), French Canadian (Dolby Digital 5.1), and Latin American Spanish (Dolby Digital 5.1)
Run Time: 01:42:42

ABOUT UNIVERSAL PICTURES HOME ENTERTAINMENT:
Universal Pictures Home Entertainment (UPHE – www.uphe.com) is a unit of Universal Filmed Entertainment Group (UFEG). UFEG produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms, as well as consumer products, interactive gaming and live entertainment. The global division includes Universal Pictures, Focus Features, Universal Pictures Home Entertainment, Universal Brand Development, Fandango, DreamWorks Animation Film and Television. UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

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ALICE, SWEET ALICE (1976) (Arrow Video 4K Ultra HD Review)

ALICE, SWEET ALICE (1976)

Label: Arrow Video
Region Code: Region-Free
Rating: R
Duration: Communion (Original Version) 107 Minutes 8 Seconds, Alice Sweeet Alice (Theatrical Version): 107 Minutes 17 Seconds, Holy Terror (Re-Release Version) : 107 Minutes 9 Seconds
Video: Dolby Vision HDR 2160p Ultra HD Widescreen (1.85:1)
Audio: English PCM 2.0 Dual-Mono with Optional English Subtitles
Director: Alfred Sole
Cast: Linda Miller, Paula Sheppard, Mildred Clinton, Tom Signorelli, Brooke Shields

The post-Exorcist Catholic shocker Alice Sweet Alice (aka Holy Terror, aka Communion) is set in the early sixties in Patterson, New Jersey, where a ten-year old girl named Karen (Brooke Shields, Pretty Baby) is preparing for her first holy communion. Her doting mother Catherine Spages (Linda Miller, Night of the Juggler) lavishes attention on her constantly, much to the chagrin of her twelve-year-old sister Alice (Paula Sheppard, Liquid Sky) who acts out in a brattish sort of way. The older sister steals Karen's beloved doll and lures her to an abandoned warehouse where the older girl dons a creepy, translucent plastic mask and a yellow rain slicker and gives her sister a good fright, locking her in a room and threatening to make the doll disappear if Karen tattles on her.

The next day at Church during her holy communion Karen is strangled to death by someone wearing a similar plastic mask and yellow rain slicker, her body is stuffed inside a pulpit bench compartment and set on fire. The smoke ends up attracting the attention of a nun who discovers the body - sending out a horrific scream that sets in motion an appropriate wave of hysteria from parishioners and Catherine's mother, though Alice seems a bit nonplussed by everything happening around her. When Alice is found to have her sister's communion veil she becomes a suspect in the murder, with the film positing the question - could this twelve year old girl been capable of such a heinous crime? The answer seems to be a resounding yes as we witness the deeply troubled girl killing a kitten by grabbing it by the neck and throwing it full force at the ground. There's more to the story than all that though, the awful kitten-killing act having been spurred by the creepy advances of her child-molesting landlord, but it's still pretty heinous.

The film a great example of a 70's proto-slasher, coming a few years before John Carpenter's slasher-defining Halloween (1978) and a few years after Bob Clark's seminal holiday themed sorority proto-slasher Black Christmas (1974), as well as offering up some Euro-styled whodunit thrills, though not as artful as those of Dario Argento (The Bird with the Crystal Plumage). This is more along the lines of Massimo Dallamano's equally perverse giallo film What Have You Done To Solange? (1972), in lieu of a black gloved killer in a trench coat we have translucent-masked culprit in a yellow rain slicker, which itself is a visual nod to Nicolas Roeg's surreal shocker Don't Look Now (1973).

The film is populated by adults who are are portrayed as religiously faithful, conflicted and dangerously repressed Catholics, most of their lives centered around the community church, which is represented by the kindly Father Tom (Rudolph Willrich, The Shadow). Then we have Catherine's sister Annie (Jane Lowry) - who loathes Alice - and her poor hen-pecked husband Jimmy (Gary Allen, The Sentinel), plus the priest's over-zealous housemaid Mrs. Tredoni (Mildred Clinton, Serpico) and the pervy landlord named Mr. Alphonso (Alphonso DeNoble, Bloodsucking Freaks), a cat-loving obese man with urine stains on his pants and a budding pedophile! Also coming into the picture is Alice's absent father Dom (Niles McMaster, another Bloodsucking Freaks alum) who having divorced her mom has moved on with a new wife, but his arrival re-ignites unresolved intimate feelings, while his quest to prove his daughter's innocence also dooming him in the process.

The movie has a solid cast, a very young Brooke Shields appears in the film for mere minutes but her character's presence looms large in the film. It's Paula Sheppard - who was unbelievably nineteen at the time they made this film - that brings the movie home, she plays the conflicted and deeply disturbed young girl very well, it's surprising she didn't go onto do more in cinema, her only other credit being in the new wave, art-damaged sci-fi film Liquid Sky, where she yet again gives a memorable turn. Miller and McMaster also give good performances as the parents, particularly Miller as the grieving and guilt-ridden mother struggling with the loss of her daughter while trying to connect with the one she still has, who might be a killer. Not all the acting is great though, Jane Lowry as the aunt is just chewing up the scenery, that woman screams a lot and makes some over-wrought faces, but I loved it. Creepy Alphonso DeNoble seems like he's acting in a completely different movie, he comes across a bit campy, but his child-molesting ways do sort of help explain Alice's inappropriate behaviors in a way, so that also worked for me.

The movie is not a bloodbath but the set-ups are good and the execution is well-done, the initial strangling of Karen and the image of the smoldering pulpit compartment that conceals her body is nicely staged. We don't see the body right away but the horrified faces of those who see the body tells the macabre story, which is followed-up with a great still image of her corpse's face descending down a dumb waiter, which is a bit of strange perfection. A later scene involves her father being lured to the same warehouse where Alice locked Karen in a room, he's stabbed and tied-up, helpless to stop the culprit from rolling him on the floor towards an open window where he will fall to his death. During the scene he's being beaten with brick which bloodies his mouth as he desperately clenches onto a crucifix belonging to the murderer, which will prove vital in establishing his daughter's innocence, it's nicely visceral scene.

As the movie comes to a close the identity of the murderer has been revealed already and without being too spoilery we get a wonderfully blasphemous end that takes place, appropriately enough, during communion at the church, with the sinner-killing culprit plunging a butcher's knife into a priest's neck, releasing a torrent of blood which runs down the culprit's yellow rain slicker - it's a nice visual and a sad but powerful finale to the film.

Audio/Video:  

Arrow's new 4K scan from the original camera negative looks terrific. The source looks wonderful, grain looks terrific, and we get the expected uptick in depth, clarity and detail. The colors are warm and nicely suffused, the largely earthy color palette accentuated by the WGC Dolby Vision/HDR10 color-grade, offering truer brighter whites, deeper blacks levels, and more natural looking skin tones. The yellow of the signature rain slicker and moments of bloodshed also shine. The 4K resolution also offers more finely resolved grain, giving is some excellent close-up detail and textures throughout. Audio comes by way of English PCM 2.0 dual-mono with optional English subtitles, dialogue is well-balanced, and the atmospheric score from composer Stephen J. Lawrence (TV's Sesame Street, I kid you not!) complements the attractive lensing.

This new 4K Ultra HD edition from Arrow mirrors the same set of extras a their 2018 Blu-ray, though we do get all three cuts of the film available in 4K UHD via seamless branching, plus we get a 2-min Split-screen Version Comparison. 

Archival extras include the 17-min First Communion: Alfred Sole Remembers Alice, Sweet Alice, an interview with director Alfred Sole who begins by speaking about shooting his first film, inspired by Francis Ford Coppola, which was the the x-rated film Deep Sleep. He thought it would be his big break, and while it grossed well at the box office, which it did, but is also landed him in court and he served some probation. He then goes into writing the script for this film, reading screenplay books, being influenced by Hitchcock and Nicholas Roeg's Don't Look Now, raising the capital for the film, and casting the roles in the film including Brook Shields and Paula Sheppard, and meeting Alfonso Denobe in a graveyard in New Jersey and keeping him in mind for a role in a film. Then going into shooting the film, the trouble with holding down a cameraman for the film, saying that the credited cameraman was a 'real dick'.

Next up, the 15-min Alice on My Mind features Composer Stephen Lawrence, he gets into how he came to score the film, his process of creating certain themes in the movie, even playing selections from a few of them on piano during the interview. Lawrence gives director Alfred Sole a lot of credit for crafting such a stylish film, saying it's not just a slasher film, it's a well-made movie.

The 16-min Lost Childhood: The Locations of Alice, Sweet Alice features the beloved former editor-in-chief of Fangoria Michael Gingold taking us a locations tour of the places used in the film around Patterson, NJ, including the various churches, many of which have been since torn down or burned down, as is the case with the funeral home in the film.

The 11-min Sweet Memories: Dante Tomaselli on Alice, Sweet Alice, this guy is a filmmaker who is the cousin of Alfred Sole, he discusses his longtime connection to the film. He speaks of hearing about his uncle's x-rated film and how that made him queasy at a young age, and being invited to hang on on the set of a Mary Lambert (Pet Sematary) music video that Sole was working on at the time. He also discusses finally seeing the film on home video, and later reading about Alice Sweet Alice in Fangoria and learning that the film had a fan base. Apparently he's been working on a remake of this one for awhile now, so that might be coming along one day, but I said that back in 2018 when I reviewed the Blu-ray as well, and I still have not heard  an update about the project.

In the Name of the Father is a 6-min interview with actor Niles McMaster who played the father of Alice, he talks about his role in the film, balancing shooting this film with his work on a soap opera, also speaking of how a shoot at the morgue was cut short with the arrival of five fresh corpses burned in a fire showed up, and briefly mentioning Sole's porno film, and his own work on Blood Sucking Freaks. The interview was conducted over Skype so the audio is a bit poor on this one, but listenable nonetheless.

We also get a pair of archival  audio commentaries, the first is an Audio Commentary with Director Alfred Sole and Editor Edward Salier moderated by a pre-Blue Underground Bill Lustig - who also worked on the film as a crew member. The trio speaking about the production of the film, and the influence of Don't Look Now and Alfred Hitchcock on the aesthetic of it. The second track is an Audio Commentary with Richard Harland Smith who deep-dives into the film, making the case that the film is misunderstood and a bit underrated, getting into the themes of the film, the locations and the various actors in the film, its an excellent track.

We also get 3-min of Deleted Scenes that were discovered during the scan of the original negative, but no sound elements exist for it so they are presented mute with score from the film. Rounding out the extras we get a 2-min Split-screen Version Comparison that shows the differences of films, plus the 2-min Re-release Trailer, 16-sec UK TV Spot, plus an  Image Gallery with 41 images of lobby cards and posters, and the Original Screenplay. '

We were only sent a "check" disc for the purpose of this review, but retail copies include a Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx, plus an Illustrated collector's booklet featuring writing on the film by Michael Blyth. 

4K Special Features: 
- Brand new 4K restoration of the original theatrical version from the original camera negative by Arrow Films
- 4K (2160p) Ultra HD presentations of three versions via seamless branching: Communion (original), Alice, Sweet Alice (theatrical) and Holy Terror (re-release)
- Archival audio commentary with Richard Harland Smith
- Archival audio commentary with co-writer/director Alfred Sole and editor M.Edward Salier
- First Communion: Alfred Sole Remembers Alice, Sweet Alice, director Alfred Sole looks back on his 1976 classic (18:45) 
- Alice on My Mind, an interview with composer Stephen Lawrence (14:59) 
- In the Name of the Father, an interview with actor Niles McMaster (16:43) 
- Sweet Memories: Dante Tomaselli on Alice, Sweet Alice, filmmaker Dante Tomaselli, cousin of Alfred Sole, discusses his longtime connection to the film (11:19) 
- Lost Childhood: The Locations of Alice, Sweet Alice, a tour of the original Alice, Sweet Alice shooting locations hosted by author Michael Gingold (16:03) 
- Deleted scenes (2:43) 
- Split-screen Version Comparison (2:13) 
- Re-release Trailer (1:44) 

- UK TV spot (0:16) 
- Image Gallery (41 Images)

- Original Screenplay (136 Images) 
- Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx
- Illustrated collector's booklet featuring writing on the film by Michael Blyth

Alice Sweet Alice (1976) is a wonderfully creepy 70's horror entry with lots of atmosphere and Euro-styled whodunit thrills, it continues to shock me even after all these years, the psychological underpinnings and killer-kiddie shock of it all has aged quite well. The new Arrow 4K UHD is easily the best the film has ever looked on home video, having all three cuts in 4K is a plus, and the archival extras are terrific. 

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SADDLE UP WESTERNS: APACHE RIFLES (1964) + PANHANDLE (1948) (Kit Parker Films Blu-ray Review + Screenshots)

SADDLE UP WESTERNS DOUBLE FEATURE: APACHE RIFLES (1964) + PANHANDLE (1948)

Saddle up for two classic Westerns -- Audie Murphy in William Witney's Apache Rifles (1964) and Rod Cameron in Lesley Selander's Panhandle (1948).

APACHE RIFLES (1964)

Label: Kit Parker Films

Region Code: Region-Free

Rating: Unrated

Duration: 91 Minutes 53 Seconds 

Audio: English PCM 2.0 with Optional English Subtitles 

Video: 1080p HD Widescreen (1.85:1) 

Director: William Witney

Cast: Audie Murphy, Lindsay Lawson

Apache Rifles (1964) is an American Western directed by William Witney (Master of the World) and starring Western icon Audie Murphy (Destry), in it Murphy plays  

Capt. Jeff Stanton, who commands an Arizona Territory cavalry outpost, and it's established that he is a fierce Indian fighter, who has no love for the Apache people. He is tasked with reigning in some Apache warriors who have fled the reservation, who are lead by  Chief Victorio (Joseph Vitale, Zombies On Broadway) and his son Red Hawk (Michael Dante, The Farmer), who have left the reservation in protest of greedy white miners, led by the unscrupulous general store owner Owens (Charles Watts, Giant) and his sidekick Mike Greer (L.Q. Jones, The Brotherhoods of Satan) who continually trespass onto the reservation in search of gold. He successfully manages to wrangle them up and return them to the reservation, and in the process becomes he's smitten by the half-white and half-Comanche Christian missionary Dawn (Linda Lawson, Let's Kill Uncle), which softens his views on the Apache people just a bit. 

He realizes that the white are continually trespassing onto the Apache reservation in search of gold and comes to sympathize with them, posting men around the reservation to deter the bad-faith prospectors. Eventually he s relieved of duty after turning guns on white prospectors who massacre a group of Apache, and publicly beating a man who throws racists remarks at Dawn. In his place the government sends Col. Perry (John Archer, I Saw What You Did) as his relief, which leads to Stanton seeing that a massacre is brewing between the whites and the Apache after the baddie prospectors kill a white man with an arrow and pin it on the Apache, and attempting to thwart further bloodshed. This is a pretty standard Western, it didn't do a lot for me to be honest, but it looks terrific with the Mojave and Red Rock Canyon locations, and I was a but surprised how pro-indigenous people it turned out to be, with the baddies being the white folks. It's not quite a revisionist Western nor as edgy as what we would come from Sam Peckinpah and Sergio Leone, but still a solid American Western in the 50's mold. 

PANHANDLE (1948) 

Label: Kit Parker Films

Region Code: Region-Free

Rating: Unrated

Duration: 84 Minutes 10 Seconds 

Audio: English PCM 2.0 Dual-Mono with Optional English Subtitles  

Video: 1080p HD Fullscreen (1.33:1) 

Director: Lesley Selander,

Cast: Rod Cameron 

The b-side to this western double-feature is Panhandle (1948) directed by Lesley Selander (The Catman of Paris) and starring another Western star Rod Cameron (The Monster and the Girl). In it Cameron plays a former lawman turned gunslinger John Sands, who after tarnishing his name in the States moved down Mexico way where he has since attempted to leave his violent past behind him, opening a trading outpost. However, when he learns that his brother was murdered in the Texas Panhandle town of Sentinel he once more straps his guns and crosses the border to go after the killers, but his outlaw past proves to be a tricky workaround as there are warrant for his arrest. We get a few weak detours into the possible love interests by way of Cathy Downs (Missile To The Moon) and Anne Gwynne (The Black Cat), but nothing serious, which is a pity, I wanted more of hellcat Downs' Jean 'Dusty' Stewart, but both women are quite lovely lookers. There are also some well-directed action set-pieces including the pre-requisite saloon brawl and a shootout on the streets of Sentinel. This one is notable for several reason, for starters it's filmed in sepia tone and not black and white, which took some getting used to, and it also was co-written and co-produced by future Pink Panther director Blake Edwards as a  young gunslinger who insists that Sand tell him of the time he faced down the notorious Billy the Kid!

Audio/Video: Both films arrives on region-free Blu-ray from Kit Parker Films in 1080p HD, advertised as "Restored 4K transfers from the original 35mm negatives.". Apache Rifles (1964) is framed in 1.85:1 widescreen with Panhandle (1948) gets a fullscreen presentation. Both flicks looks terrific, grain is present but never obtrusive, detail and depth, clarity and fine detail are string, and the sepia tone contrast is pleasing. Audio on both come by way of English 2.0 PCM with optional English subtitles. The tracks show their age in that they are a tad flat, but are clean and well-balanced, dialogue is never a chore to discern, and the score fares well. 

Extras include newly produced documentaries for each film by western film historian Toby Roan; we get the 6-min The End of the Road: Audie Murphy and Apache Rifles, and the 6-min Something A Little Bigger: Monogram, Allied Artists and Panhandle. Both are wonderful value-add bonuses that I enjoyed quite a bit, they're handsomely produced and a wealth of knowledge for a western no-nothing like myself. The single-disc release arrives in a standard keepcase with a single-sided sleeve of artwork. This was my first time seeing something from Kit Parker Films, and I was suitably impressed with the quality of the scans, transfers and extras, I will be looking forward to checking out more from them in the future! 

Special Features; 
- The End of the Road: Audie Murphy and Apache Rifles (6:28)

-Something A Little Bigger: Monogram, Allied Artists and Panhandle (6:04)

Screenshots from the Kit Parker Films Blu-ray: 

APACHE RIFLES (1964) 

PAN HANDLE (1948) 

EXTRAS: 

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