Clive Barker’s “Hellraiser” franchise kicked off its existence with a pair of modestly budgeted horror outings produced by New World Pictures in the midst of its post-Roger Corman mid ‘80s heyday, back when they and other upstarts like The Cannon Group tried to throw their hat into the ring with major Hollywood studios. The first two “Hellraisers” weren’t big box-office hits but nevertheless became instant cult classics and are collected on 4K UHD for the first time along with the intriguing, if hugely uneven, third and fourth series entries in Arrow’s dynamite HELLRAISER: QUARTET OF TORMENT 4K UHD box-set – one that was released to widespread acclaim and big sales in the UK in 2023, and now comes to the USA in an identically packaged release.
Now, I’m one of those odd people who find more entertainment in the later films included here than the original HELLRAISER (87 mins., 1987, R), which has never been a personal favorite of mine – despite the grand orchestral stylings of composer Christopher Young, whose music adds a sense of horrific fantasy grandeur the movie’s limited visual trappings can only hint at. A gross and rather unpleasant odyssey of demonic terror, horror novelist Clive Barker’s big-screen career was launched with this effort, establishing Doug Bradley’s Pinhead as a Freddy/Jason-like menace (despite only a few minutes of screen time) and Barker as “the future of horror,” or at least according to Stephen King at the time. There are individual moments of terror here and there but the claustrophobic and rather shoddy production of this New World Pictures release only magnifies the goo and gore at the expense of a not particularly engaging story.
“Hellraiser” heroine Ashley Laurence’s Kristy Cotton – now committed to an asylum – returned alongside villains Doug “Pinhead” Bradley and Claire Higgins for HELLBOUND: HELLRAISER II (98 mins., 1988, R), a follow-up helmed by Tony Randel, who opens up his sequel with a Salkind-ian flashback so fans don’t forget the most memorable gore moments from the original – along with its flimsy plot. From there, Barker surrogate Peter Atkins’ script (he would repeat the chores for both the third and fourth films in the series) produces a wild, bombastic array of images that seldom make any sense and a story that’s likewise difficult to grasp with Laurence trying to rescue a fellow asylum inmate (a mute teenage girl) from Hell itself after wicked dead stepmother Higgins is resurrected by a crazed doctor obsessed with the “puzzle box” that serves as a direct-line to Pinhead and his crew.
“Hellbound” is scattershot dramatically, a little overlong and very much undisciplined – Barker fans still ate most of it up but the film didn’t connect with more mainstream viewers, grossing less than its predecessor once New World released the picture at Christmas time (why not?) 1988. Subsequent legal obstacles including New World’s bankruptcy forced another sequel to endure an extended hiatus before HELLRAISER III: HELL ON EARTH (97 mins., 1992, R) popped up after Labor Day weekend in early September ‘92.
Now, I’m under no pretense that this is a great movie, but for a “Hellraiser” film, it does the job – in fact, this third entry is my favorite of the series. Director Anthony Hickox had displayed a keen sense of humor in producing “Waxwork,” “Sundown: The Vampire in Retreat” and “Waxwork 2: Lost in Time” before being tabbed for this sequel which could’ve been accurately subtitled “Pinhead in New York,” with writer Peter Atkins opening up the claustrophobic confines of the first two, UK-set pictures quite effectively. His story is accordingly much easier to get into, with new heroine Terry Farrell stumbling upon the puzzle box and Pinhead (and friends) conjuring up a fresh succession of Cebonites including one who spits out killer CDs and another with camcorder attached to its skull.
The entire mood of III is different – in a good way. Bradley plays the dual role of Pinhead and his WWII-era alter-ego pilot in a “struggle for the soul” subplot that plays out as an effective backdrop for the hellish shenanigans, but Hickox balances action and character in equal measure in a way that eluded his predecessors. Farrell is a capable heroine and Paula Marshall, in her first big movie leading role, is good as a troubled victim who succumbs to Pinhead’s ghoulish promises – there’s also a pleasing pace to the film and a sense of humor lurking about also.
“Hellraiser III” was intended to be more “American” in its concept and there’s certainly a sense of that here also, with Pinhead causing trouble at a NYC club and the picture not wallowing as much in the sadism and accompaning blood and guts as the first two pictures. Quite interestingly, Clive Barker himself had nothing to do with the movie in pre-production and was set to badmouth it – however, once he saw how competent the film was turning out to be, he agreed to put his name on. Still, his direct lack of creative involvement might explain why “Hell on Earth” is better balanced, less self-indulgent and, overall, more entertaining than its counterparts.
The surprise success of Part III, alas, didn’t last for long. Miramax moguls Harvey and Bob Weinstein had gobbled up the “Halloween” franchise for their horror shingle Dimension Films by the time they decided to likewise buy the rights to “Hellraiser” and untangle it from its ramshackle web of post-New World ownership. With Peter Atkins retained as writer, HELLRAISER: BLOODLINE (86 mins., 1996, R) sought to wrap up the series and it does, pretty much, serving as the final “Hellraiser” theatrical film as well as a capper to its predecessors.
Getting there, however, involved a typical Weinstein “creative process” of heavy studio meddling, test audience feedback and reshoots that plagued “Bloodline” much in the same way it did Dimension’s first Michael Meyers film, “Halloween VI.”
Fragments of the original intentions of writer Peter Atkins and director Kevin Yagher still appear in the compromised final product, which tries again to do something a little different by offering an anthology framework set in three separate timelines – one starting off in late 18th century France where a toymaker constructs the original puzzle box; another that serves as a sequel to III, wherein one of the toymaker’s ancestors has constructed a NYC building that resembles the box; and a third, set in future outer space, where another family descendant, this one a scientist, decides to end Pinhead’s reign of terror once and for all.
“Bloodline” went out with Yagher using Alan Smithee’s directorial pseudonym and it is mostly a mess, with an abbreviated run time and some obviously restaged moments, especially in the bookending outer space bits. Still, you have to give the filmmakers some credit for branching out from formula, and the picture manages to entertain through its ambition and other pleasures, including a fine score by Daniel Licht.
All four films have been remastered for 4K UHD by Arrow (1.85) and include Dolby Vision HDR presentations with 5.1/2.0 audio options. The movies look just splendid across the board as you would anticipate, and the hardbound, Pinhead-adorned box ranks with their best and most comprehensive releases – highlighted by its sprawling, 200-page hardbound book with Barker surrogates Phil and Sarah Stokes providing extensive essays and background detail into Barker’s creative process, his relationship with these four films, production notes, interviews and much more. It’s one of Arrow’s finest book presentations (and that says something!) to date.
Extra features are every bit as glorious as you’d hope. The commentaries by Kim Newman and Stephen Jones (who was a set publicist on the first three movies) are fun and insightful, with Jones providing lots of nuggets as to the sometimes rocky production history of these pictures; they’re also joined on the fourth movie by Peter Atkins. Each disc contains its own set of roundtable interview segments and archival goodies, including the following:
“Hellraiser” features archival commentaries (one with Barker, another with Barker, Ashley Laurence and Peter Atkins); a new visual essay by Alexandra Benedict; an hour-long discussion with Paula D. Ashe and Eric LaRocca on the gay elements Barker infused in the series; a visual essay by Guy Adams on Barker’s body horror ethos; newly rediscovered EPK interviews with cast/crew featuring Newman and Jones’ intros; the ‘87 EPK, plus archival interviews with Doug Bradley and Sean Chapman, trailers/TV spots and draft screenplays.
“Hellbound: Hellraiser II” sports archival commentaries from Tony Randel, Peter Atkins and Ashley Laurence, plus another with Randel and Atkins solo; an 80-minute appreciation of the sequel by George Daniel Lea and Kit Power; Guy Adams’ analysis of Christopher Young’s scores for the first two movies; archival on-set interviews, behind-the-scenes footage, and copious vintage interviews with Bradley, Chapman and other crew members; and a full trailer/TV spot gallery.
“Hellraiser III” offers both its unrated version (with standard def inserts) and archival commentaries sporting Peter Atkins, as well as Anthony Hickox and Doug Bradley; previously unreleased EPK interviews with Barker and Bradley; FX dailies; archival interviews with Paula Marshall, Anthony Hickox, and Doug Bradley; and trailers/TV spots.
“Hellraiser: Bloodline” includes a newly uncovered workprint of the movie, in decent shape off a time-coded tape source; a featurette of the Cebonites’ connection to goth/fetish cultures; David Gatwalk’s archival appreciation of Barker’s written works; trailers/TV spots; and the archival series documentary “Hellraiser: Evolutions,” which offers comments from some of the directors who continued the series in a succession of mostly terrible direct-to-video follow-ups. Highly recommended!
Arrow’s delicious October slate also includes the 4K UHD debut of TRICK R’ TREAT (82 mins., 2007, R), a stylish and thoroughly entertaining Halloween anthology from writer-director Michael Dougherty and producer Bryan Singer that was completed in 2007 but shelved and unceremoniously dumped on home video by parent Warner Bros. two years later.
Here Doughtery spins a delightfully ghoulish succession of vignettes all centered around an Ohio town celebrating October 31st, ranging from a girl just wanting to experience her “first time” (Anna Paquin) to a school principal (Dylan Baker) who enjoys carving a particular kind of jack o’lantern. The stories are deftly intertwined, the visuals by cinematographer Glen MacPherson and production designer Mark Freeborn are evocative of the season, while composer Douglas Pipes throws a nod to Herrmann with his brooding score. Add in a memorable creature anti-hero that’s bound to become a cult favorite and you have the recipe for a jolly good time.
Gory but not needlessly explicit, with some enjoyable old-school moralizing (the film’s victims, either juvenile or adult, tend to either be guilty of playing tricks or neglecting the true spirit of Halloween), “Trick ‘R Treat” is a short and sweet, inspired horror ride that lends itself to repeat viewing, and Arrow has wisely picked the film up for a 4K UHD available right before Halloween.
Their release offers a new 4K (2.39) restoration approved by Dougherty, and the Dolby Vision HDR enhancement results in lovely color textures that constantly evoke the season. I will say this isn’t the sharpest UHD you’ll ever watch: the source actually doesn’t exhibit a whole lot of detail, which may be a result of the Super 35 process the movie employed for its production. It’s certainly a nice upgrade on Shout’s earlier Blu-Ray, but anyone expecting a typically high-detailed transfer given its 4K remaster should dial down their expectations.
In addition to 5.1 and 2.0 sound options, brand-new extras include a fresh, podcaster-moderated commentary with Doughtery; new interviews with actor Quinn Lord, production designer Mark Freeborn, cinematographer Glen MacPherson, costume designer Trish Keating, creature designer Patrick Tatopoulus; and a tribute to the make-up designer Bill Terezakis. Ample archival extras include a commentary with Doughtery and the crew, plus interviews with Dougherty and composer Douglas Pipes along with legacy extras from Warner’s initial home video releases (additional scenes, featurettes, the trailer). A double-sided foldout poster includes original and newly commissioned artwork while six postcard-sized artcards and booklet notes from Becky Darke and Heather Wilson detail this movie’s unlikely sojourn from forgotten shelf-dweller to a perennial fan favorite.
Also on the docket from Arrow is their ambitious, seven-movie Blu-Ray anthology J-HORROR RISING. For fans of “The Grudge” or “The Ring,” this four-disc box-set boasts a number of similarly creepy Japanese genre efforts which have received scant play on this side of the pond – they’re all augmented here with extensive extras and Arrow’s customary hardbound packaging with liner notes.
Included here are SHIKOKU, with commentary by Tom Mes, and ISOLA: MULTIPLE PERSONALITY GIRL, with Jasper Sharp and Amber T.’s commentary; INUGAMI, with a commentary by Jonathan Clements, and ST. JOHN’S WORT with another Amber T. commentary; CARVED: THE SLIT-MOUTHED WOMAN, sporting commentary by Zack Davisson; PERSONA; and NOROI: THE CURSE, with commentary from Julian Singleton. All movies include 1080p transfers and 5.1 (2.0 on “Persona”) soundtracks along with English subtitles for all movies plus a booklet sporting writing on the genre by Eugene Thacker, Jasper Sharp, Anton Bitel, Amer T., Mark Player, Jim Harper, and Sarah Appleton. There’s also a double-sided foldout poster.
Ample extras include Tom Mes discussing J-Horror at the turn of the millennium; interviews with directors Shunichi Nagasaki, Masato Harada, Takashi Komatsu, and Koji Shiraishi, plus producer Takashige Ichise; video essays from historians like Amber T. and Lindsay Nelson; ample archival interviews with respective cast/crew members, deleted scenes, image galleries and more.
A NIGHTMARE ON ELM STREET 4K UHD (91 mins., 1984, Unrated/R; Warner): Souped-up 4K UHD from Warner gives horror fans a comprehensive package of the original 1984 Wes Craven fave “A Nightmare on Elm Street.” This first and almost-best of the Elm Street franchise (I personally prefer Ronny Yu’s over-the-top “Freddy Vs. Jason” brawl to this ‘80s staple, while Part 3 of the original “Nightmare” franchise — “Dream Warriors” — is easily the best of the “official” series) boasts Heather Lagenkamp, Johnny Depp, Robert Englund, John Saxon and the hilariously-awful Renee Blakely in an always-amusing, though not always terrifying, ‘80s chiller with laughs of both the intentional and unintended variety.
A movie later subjected to a horribly serious – and downright horrific – remake that’s quickly been forgotten, “Elm Street” debuts on 4K UHD in a satisfying Warner release. This HDR10 (1.85) image doesn’t perform revisionism on the original cinematography of the film but does provide some splashes of color and higher contrasts, while the Dolby Atmos audio is an effective remix (the original mono is also, supposedly, included, though purists will have to measure its fidelity to the original mix from decades back for themselves).
The movie is included in both its R rated theatrical cut plus an unrated version while archival extras appear to be culled from the “Infinifilm” special edition New Line issued on DVD in 2006, including commentary with Craven, Lagenkamp, Saxon and cinematographer Jacques Haitkin, plus alternate endings, documentary/featurettes, “focus points” with alternate takes and other vignettes, and a Digital HD copy.
TWISTERS 4K UHD/Blu-Ray (122 mins., 2024, PG-13; Universal): Less a remake and more a “remix” of story elements from the 1996 Michael Crichton-written/Steven Spielberg-produced/Jan DeBont-directed smash was one of the few bright spots at the domestic box-office this past summer (curiously, though, the movie fell flat internationally — surprising since the first “Twister” was a foreign blockbuster).
Spielberg recruited indie helmer Lee Isaac Chung (“Minari”) and writer Mark L. Smith (“The Revenant”) for this follow-up, finding appealing Daisy Edgar-Jones (of the UK “War of the Worlds” series) as a young meteorologist haunted by her past storm chasing back in rural Oklahoma. Still plagued by memories of a twister that took out several of her friends, Edgar-Jones is recruited by a former classmate and storm chaser (Anthony Ramos) to help predict tornado formation for the somewhat suspect company he works for. After overcoming her reluctance to go home, Edgar-Jones finds herself battling a rag-tag group of social media-generating storm chasers – led by brash Glen Powell (“Top Gun: Maverick”) – to get the scoop on where the next biggest twister is forming.
In comparison to the original “Twister,” there’s much more of a story – and a lot more seriousness – in this modern day rendition, which isn’t necessarily a good thing. Helping the film enormously are its three lead performances, especially Edgar-Jones in a star making turn – she nicely underplays her part and manages to be highly appealing in the process. Powell obviously has star charisma, even if the film does a turn typical of modern Hollywood by making sure he doesn’t become that heroic and letting Edgar-Jones’ heroine single handedly save the day (what’s worse is that the last scene teases us with getting the two of them together before abruptly yanking it away, much like Lucy pulling the football out from under Charlie Brown for all those years). Anthony Ramos, meanwhile, is very good in the difficult role of Edgar-Jones’ friend, and the script reworks elements of the first movie fairly well conceptually – to make a comparison to the old film, it’s basically as if Helen Hunt’s character starts off working for the Cary Elwes group. (In fact, I wondered if this was written as a prequel to the original “Twister,” showing how Hunt and Paxton’s characters got together – with a few minor shifts the film could’ve easily worked with that premise attached).
What’s curious is that, for all its dramatic enhancements, “Twisters” isn’t a lot of fun – in stark contrast to the original, which definitely was “fun,” this movie has an undercurrent of sadness running throughout it. Edgar-Jones’ character is seriously hurt throughout the entire movie, the tone is not free-wheeling and fast paced. There are a lot of character beats, in keeping with Chung’s past indie work, and it works both ways: the performances have a chance to shine, yet I felt like the movie stayed on that line too long (the 2nd or 3rd time they reference the heroine’s dead boyfriend, the “video taped memory” in the barn, should’ve been cut).
The places where “Twisters” also comes up short are the action scenes — which aren’t nearly as well staged and edited as Jan DeBont’s predecessor — and this nagging feeling I had that Chung just couldn’t let go and let this movie be what it’s supposed to be. This is a big summer movie with two attractive leads. Have some fun. Let the movie breathe a little. Instead it felt like Chung was handcuffing the material to a serious character drama and couldn’t entirely deliver to audiences what they wanted to see – as evidenced by that annoying last scene that generated some groans amongst the audience I watched the movie theatrically with.
Given how things are going for Hollywood, though, I’ll still give “Twisters” a passing grade (barely), and Universal’s dynamic Dolby Vision 4K HDR (2.39) transfer with well-enginnered Dolby Atmos sound is top-flight in their new 4K UHD. This is a good looking and sounding disc as you’d expect, with the Blu-Ray, Digital HD code, and scattered extras including deleted scenes, a gag reel and featurettes on-hand.
THANKSGIVING 4K UHD/Blu-Ray Steelbook (106 mins., 2023, R; Sony): Director Eli Roth expands upon his joke trailer from “Grindhouse” in an occasionally hilarious slasher that ends up somewhere between a spoof and an actual genre exercise. Sure, at an elongated 106 minutes, “Thanksgiving” sometimes feels like it’s overcooking its black comic premise, but still there’s a lot to like here: over the top gore and gags that are clearly intended to be funny, from its Bay State setting to an uproarious Black Friday gone wrong teaser that’s among Roth’s most uproarious satirical work to date. Some viewers didn’t seem to grasp the joke fully (and I admit I was sick the first time around I sat through it, which didn’t help), but “Thanksgiving” offers a stuffing of jokes that genre fans willing to get into the proper spirit (and not take the film seriously) are likely to enjoy; look at this as a companion piece to something like the Aja remake of “Piranha” and you’re in good shape. After releasing a Blu-Ray earlier this year, Sony is back with a good-looking Steelbook premiering the film on 4K UHD (2.39, Dolby Atmos). The presentation is super with two format-exclusive featurettes included alongside extras from the Blu-Ray, also on-hand. These include deleted/extended scenes, outtakes, commentary, featurettes, a Digital HD code, and even Eli Roth and friend/co-wrtier Jeff Rendell’s early movies.
Also New & Noteworthy
VEEP: Complete Series Blu-Ray (2012-19; HBO/Warner)
CURB YOUR ENTHUSIASM: Complete Series DVD (2000-24; HBO/Warner)
THE GILDED AGE: Season 2 DVD (447 mins., 2023; HBO/Warner): Three new HBO releases include complete series sets for two of the network’s most popular comedy series, as well as the latest installment of one of HBO’s newest hits.
In VEEP, Julia Louis-Dreyfus plays a political operative who ascends to becoming Vice President – and finds navigating the real waters of Washington D.C. to be even more difficult than she bargained for – in HBO’s celebrated comedy series. Shot in a handheld, ersatz-documentary style a la “The Office,” “Veep” scores with comedy and political commentary, each half-hour devoted to Louis-Dreyfus and her harried staff (including one-time “My Girl” child star Anna Chlumsky) trying to put out a succession of blunders. Adding to the show’s novelty value is its obvious connection with current events, with Armando Iannucci’s series being generally hailed by critics throughout its seven-season run, concluding in 2019 with a goodbye season where Selina tries to make one last mad dash for the Presidency.
HBO has packaged a Complete Series Blu-Ray of “Veep” in one of those oversized plastic clamshell-designed cases featuring all seven seasons with their respective bonus features. Since a Complete Series DVD was available back in 2020, this overdue 1080p (1.78, 5.1 DTS MA) edition is worth picking up for fans or casual viewers.
Larry David’s CURB YOUR ENTHUSIASM needs little introduction for HBO viewers. This improvised comedy series smash for creator/star David receives a full-on Complete Series DVD package in similar packaging, the set containing its entire run from 2000 to scattered years up until this past spring. David is joined by Jeff Garlin, Cheryl Hines, JB Smoove, Susie Essman and the late Richard Lewis with big guest stars appearing throughout; it’s high-caliber writing and laughs well worth checking out in HBO’s definitive DVD presentation (1.33 for Seasons 1-7, 1.78 from thereafter; 5.1 Dolby Digital). All its respective-season extra features are on-hand including a gag reel, featurettes and more.
Finally, THE GILDED AGE’s second season carries on from its fine premiere year with a superior set of episodes. This highly appealing period drama from “Downton Abbey”‘s Julian Fellowes follows an exemplary cast playing equally appealing characters, all just before the turn of the (20th) century in NYC. Among them are young teacher Louisa Jacobson (Meryl Streep’s youngest daughter), living in Manhattan under the care of her two high society aunts (Christine Baranski and Cynthia Nixon), while the Russell family (Morgan Spector and Carrie Coon) continues to climb every social and financial ladder possible.
Production values (with portions of the show filmed in Newport RI and Troy NY) are high and the writing and performances are just as exceptional, most especially Coon, Baranski and Nixon, with the appealing Jacobson a heroine you can easily pull for. An instant hit for HBO, “The Gilded Age”’s second season shows no sign of a sophomore jinx, with their DVD offering a 16:9 transfer, 5.1 sound and ample behind-the-scenes featurettes and cast/crew interviews.
DOGRA MAGRA Blu-Ray (109 mins., 1988; Radiance): Creepy, moody Toshio Matsumoto-directed thriller adapts Kyusaku Yumeno’s novel about a young man who’s committed to an insane asylum after murdering his wife on their wedding day. His recollections about what happened and how, urged on by a pair of doctors, informs this strange trip into a fractured psyche packed with colorful cinematography and a story that’s not easy to pin down – even after it’s over. Radiance’s Blu-Ray (1.85, mono, Japense with English subtitles) is available October 29th with extras including commentary by Matsumoto; an interview with the director; visual essay by Julian Ross; featurette on the “chant” that features prominently in the movie; production sketch gallery; and a digital transfer supervised by cinematographer Tatsuo Suzki and producer Shiji Shibata. The booklet notes offer an interview with Shibata and a note from Matsumoto, along with an essay by Jasper Sharp on Yamatoya and a piece by historian Hirofumi Sakamoto.
Also new from Radiance and highly recommended for Japanese cinephiles is DAIEI GOTHIC, a three-disc Blu-Ray limited-edition offering a trio of ghostly tales produced by Daiei between 1959-68. Included are Kiyoshi Kurosawa’s THE GHOST OF YOTSUYA (1959), Hiroshi Takahashi’s eerie and visually mesmerizing THE SNOW WOMAN (80 mins., 1968), and Masayuki Ochai’s THE BRIDE FROM HADES (1968), which were restored in new 4K masters supplied by Daei and offering gorgeous scope compositions (2.35), all four movies in Japanese with English subtitles. Insightful supplements include commentary on “Hades” with critic Jasper Sharp; a visual essay on “Yotsuya” by Kyoko Hirano; and a visual essay on Lafcadio Hearn by biographer Paul Murray. The full color, 80-page booklet boasts archival Japanese writing, newly translated, on the respective movies along with pieces by Tom Mes and Zack Davisson, plus Hearn’s original ghost stories which inspired “Hades” and “The Snow Woman.”
THE CROWN: The Final Season [Season 6] Blu-Ray (531 mins., 2023; Sony): Celebrated Netflix series concludes with a heartbreaking retelling of Diana’s death before focusing on the Queen and the time leading up to her Golden Jubilee. High quality writing and performances, as always, adorn this sixth and final season of “The Crown,” new on Blu-Ray (2:1) from Sony featuring three behind-the-scenes featurettes and 5.1 DTS MA soundtracks.
MAXXINE 4K UHD/Blu-Ray (103 mins., 2024, R; Lionsgate): Ti West’s concluding chapter in his “X” trilogy finds Mia Goth returning as Maxine Minx, now in Holllywood and successful in her attempts at landing a big role in a new movie. Trouble, of course, soon follows, threatening Maxine’s attempts to go straight and leave her sordid, killing ways behind (apparently) in a movie West fans should enjoy but is likely to be brushed aside by anyone else. A more star-laden cast pops up here than its predecessors, including Elizabeth Debicki, Michelle Monaghan, Bobby Cannavale, Lily Collins, Giancarlo Esposito and Kevin Bacon, with Lionsgate’s now-available 4K (2.39) including Dolby Vision HDR, Dolby Atmos sound, featurettes, trailers, a Blu-Ray and Digital HD code.
NEXT TIME: THE HITCHER in 4K! Until then, don’t forget to drop in on the official Aisle Seat Message Boards and direct any emails to our email address. Cheers!