When the Mirisch Corporation’s “Inspector Clouseau” spin-off starring Alan Arkin failed to muster much box-office interest in 1968, it looked like the Pink Panther series would remain active only via DePatie-Freleng’s popular cartoons starring the title character…at least until Blake Edwards and Peter Sellers’ respective careers hit such a low ebb that the duo decided to work through their fractured relationship and make another “Panther” with THE RETURN OF THE PINK PANTHER (113 mins., 1975, PG; Kino Lorber), a fan favorite sequel that premieres on 4K UHD for the first time this month from Kino Lorber.

Though theatrically released by United Artists, this sequel – rated among the series’ best by critics and audiences alike – was produced by Lew Grade’s ITC Entertainment, which funded the film when UA declined to make it, and as such has been owned and distributed outside the parameters of MGM/UA throughout the years (for example, the current rights holder on behalf of ITC is Universal worldwide).

After issuing the first four Pink Panther films in sparkling new 4K UHDs via MGM a couple of months ago, Kino Lorber’s slightly belated format debut of “Return” is finally out, featuring a Universal-licensed 4K scan of the OCN with Dolby Vision HDR. The superb presentation does full justice to this often hilarious Panther comedy, one that marked a resurgence for both director and star. Sellers’ return ensured box-office success, and his Clouseau here is just as daffy as before (if not more so), following the Inspector on the trail of the Phantom (Christopher Plummer in the David Niven role), whom he suspects of stealing the world-famous Pink Panther diamond. With ample big laughs, “Return of the Pink Panther” is one of the crown jewels the series has to offer.

Kino’s 4K UHD (2.35) is a stunner offering more detail and clarity than the previous Universal HD master. Grain is apparent throughout and the encoding is exemplary here also. The original mono soundtrack is included plus a 5.1 remix that has some odd LFE “thumps” on the low end at times, enough that I think most viewers will be satisfied by sticking to the original mono soundtrack.

In addition to a similarly remastered Blu-Ray, the disc recycles extras from Shout Factory’s 2017 Pink Panther Blu-Ray box-set. These include a half-hour interview with production designer Peter Mullins, who worked on several Panther films, along with a 20-minute conversation with Catherine Schell, the vintage featurette “The Return of Laughter,” scores of trailers, still galleries, TV and radio spots, and a commentary with Jason Simos of the Peter Sellers Appreciation Society.

Also debuting on 4K UHD from Kino Lorber is A BRIDGE TOO FAR (175 mins., 1977, PG; Kino Lorber), Richard Attenborough’s somewhat tedious, uneven, massively produced, all-star (is there a major ‘70s actor not in this movie?) WWII chronicle of the doomed Allied mission to capture German bridges known as Operation Market Garden.

Scripted by William Goldman from Cornelius Ryan’s book, “A Bridge Too Far” has individual vignettes of interest sandwiched between talky military strategy and ample battle footage, all painstakingly filmed but not always coherently staged by Attenborough. Moments involving American GIs played by James Caan and Robert Redford are memorable, and Sean Connery stands out as British colonel Roy Urquhart, who struggles to make sense of the mission while trying to keep his troops alive. Less impressive – and far less convincing – is Ryan O’Neal, who gives a terribly grouchy turn as the commanding officer of the U.S. 82nd Airborne Division.

Anthony Hopkins, Edward Fox, Elliott Gould, Gene Hackman, Laurence Olivier, Maximilian Schell and Liv Ullman also appear in this star-studded, ambitious but only partially successful film which relies extensively on the cast, John Addison’s score and Geoffrey Unsworth’s cinematography to get by.

MGM’s 4K remaster (2.35) is a huge improvement with Dolby Vision HDR over MGM’s old, poorly compressed MPEG-2 Blu-Ray. The movie is extensively grainy and there are times the compression appears to have a difficult time keeping up, but on balance, this should prove to be a pleasing UHD for most viewers. Both 2.0 and 5.1 tracks are included here, with most of the stereophonic presence occurring during the various explosions and Addison’s fine, if somewhat overly cheery, score.

The disc includes a new commentary from Steve Mitchell and Steven Jay Rubin plus an archival commentary with William Goldman and assorted crew members, along with the trailer and a remastered Blu-Ray.

Featuring one of Gene Hackman’s numerous lead roles from the 1980s, UNCOMMON VALOR (105 mins., 1983, R; Kino Lorber) likewise receives a strong new Dolby Vision HDR remaster, this one from Paramount, fresh from the 35mm OCN.

“First Blood” director Ted Kotcheff helmed this John Milius production for the studio, finding retired colonel Hackman leading a group of marines into Vietnam in order to find his MIA son. Shot by Stephen H. Burum and sporting a fine early action score from James Horner, “Uncommon Valor” has a plot which the likes of Chuck Norris (“Missing in Action”) and Sylvester Stallone (“Rambo: First Blood Part II”), among others, would reprise in the immediate years that followed at the box-office – yet “Valor” was first out of the gate in the early/mid ‘80s, and its solid craftsmanship and supporting cast (Fred Ward, Patrick Swayze, Tim Thomerson, Reb Brown, and Robert Stack among them) enable the picture to stand out from the rest of the pack.

“Uncommon Valor” fares well in this new remaster (1.85, 5.1/2.0) with all-new extras Kino has produced for good measure. These include a pair of commentaries, one from Steve Mitchell and Cyrus Voris, another with critic Douglas E. Winter, along with new interviews with Red Brown and co-star Harold Sylvester, plus a remastered Blu-Ray copy.

It’s hard to find a more divisive film from the 1980s than RUNAWAY TRAIN (111 mins., 1985, R; Kino Lorber), the Cannon Group’s closet shot at Oscar glory that can be best described as a “quasi-existential” action film from Russian director Andrei Konchalovsky. A movie that generated Oscar nominations for both of its stars, Jon Voight and Eric Roberts, it’s also a film that made appearances on both “Best of the Year” and “Worst of the Year” critic lists in 1985, with critics falling on either side of a movie that polarized viewers with its “method” performances and outlandish story.

Tagged as a 4-star action classic along the lines of “The Seven Samurai” and “Stagecoach” by Roger Ebert, Konchalovsky’s film finds two escaped convicts (Voight and Roberts) trying to escape their Alaskan prison via train – only to find the car they’re on is on a course to nowhere after the engineer suffers a fatal heart attack. With only themselves and one female worker (Rebecca DeMornay) on the train left to stop it, the duo quarrel, bicker, fight, argue and swear at one another on their way to a seemingly dead end.

It’s safe to say that “Runaway Train” is a film that viewers are either going to accept as a dramatic work, or find to be completely off-putting. Given that there isn’t much middle ground involved with this film, I confess that I’ve always found it to an utterly overwrought viewing experience, though one that’s always curiously watchable.

Konchalovsky apparently left the actors to do whatever they wanted, which is perfectly understandable given how wretched both Voight and Roberts are here — with heavy accents and comically over-the-top mannerisms, this movie plays like a duel between two “method” actors trying to give the worst performance. The film cuts between scenes of the train with a “control center” where Kenneth McMillan, Kyle T. Heffner and others likewise give hysterical performances — the sequence in which warden John P. Ryan appears, trying to convince Heffner that one of his escaped men is on the train, and then follows him into the bathroom where he tries to drown him in a toilet (!) is nearly unmatched for its comedy value. Or the scene where Ryan attempts to send one of his men from a helicopter ladder onto the train, only to see him crash through the front window, off onto the track where (presumably) his head is crushed in, is similarly, unintentionally hilarious.

For a movie said to be “inspired” by an Akira Kurosawa screenplay, it’s also shocking how poor the dialogue is – I loved the exchange between Voight and DeMornay near the end, where he describes Roberts as an idiot, to which DeMornay replies, “you’re mean!”

There are some well-executed stunt scenes, but the detour into pretentiousness at the end is just the icing on the cake, all of it punctuated by a lackluster Trevor Jones score that houses an ’80s playbook of electric guitars and Faltemeyerian synths. It’s just as “off” as the movie itself, and the trailer – tracked with Henry Mancini’s score for Cannon’s “Lifeforce” – gives you an indication what a better (orchestral) score might have done for the film.

Despite my issues with the film, “Runaway Train” is a picture that does have its admirers – again, if you buy into its premise and its performances, you may just love it. Certainly Kino Lorber’s new 4K UHD (1.85, 5.1/2.0) presents a spectacular new Dolby Vision 4K HDR master from the 35mm OCN, one which sports pinpoint clarity in terms of details and more satisfying colors, even over the label’s previous 2K-remastered Blu-Ray which I reviewed five years ago.

The special features are also tremendous, led by a new Eric Roberts interview and assorted supplements culled from both Twilight Time’s 2016 disc and Arrow’s 2013 Blu-Ray. Kino wisely reprises Twilight Time’s commentary by Eric Roberts, who joined David Del Valle and C. Courtney Joyner for a candid, entertaining discussion of the film from the actor’s point of view; the remastered Blu-Ray disc not just houses the recent Roberts talk but all the interviews from Arrow’s release as well, including conversations with Andrei Konchalovsky (who had problems working with Roberts), Jon Voight, co-star Kyle T. Heffner and its own talk with Roberts. Certainly recommended for fans of the picture!

RAY 4K UHD (152 mins., 2004, PG-13; Kino Lorber): Jamie Foxx provides a convincing portrayal of brilliant, troubled music great Ray Charles in this traditional bio-pic from director Taylor Hackford, recounting the usual ups-and-downs of Charles’ life through his career, assorted tribulations and eventual triumphs. The formula is standard-issue for this kind of thing, but the movie is well-told just the same and offers sincere performances from its cast, especially Foxx plus Kerry Washington, Terence Howard and Regina King. Kino’s new 4K scan of the 35mm OCN (1.85, 5.1 DTS MA) offers Dolby Vision HDR support in a satisfying package; extras include archival supplements like Hackford’s commentary and deleted scenes, uncut music performances, a half-dozen featurettes and a new commentary from Dwayne Epstein.

THE PRISONER OF ZENDA Blu-Ray (108 mins., 1979, PG; Kino Lorber): Peter Sellers’ up-and-down career is mostly remembered as ending with the Hal Ashby hit “Being There,” which is just as well since the two comedies he wrapped up with – “The Fiendish Plot of Fu Manchu” and “The Prisoner of Zenda” – are sad wastes of his talent. With “Zenda,” this Mirisch Company production failed to rekindle the success of their original “Pink Panther,” with Sellers playing the son of a European monarch whose identity gets switched with a London taxi driver in order for his entourage to keep him safe from rivals vying for the throne. Writers Dick Clement and Ian La Frenais attempt to serve up a comic swashbuckler based on an Anthony Hope novel, but the energy level is beyond tired under Richard Quine’s direction, and even Henry Mancini’s pleasant score is repetitive. Kino Lorber’s Blu-Ray (1.85, mono) includes an older, brownish Universal master that’s light on detail but this was not an especially good looking production to begin with. The trailer and a commentary by Paul Anthony Nelson and Lee Zachariah comprise the extras in a disc recommended strictly for Sellers completists.

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Warner Archive New Releases

Kicking off a robust batch from Warner Archive this month is the sparkling THE MAN WHO CAME TO DINNER (113 mins., 1941; Warner Archive), the adaptation of the hit Broadway play by George S. Kaufman and Moss Hart that finds cantankerous author Sheridan Whiteside (Monty Woolley) holed up in an Ohio residence while he recovers from an injury. The family tires of him quickly while his secretary (Bette Davis) attempts to put out a slew of (his) fires in Julius J. and Philip G. Epstein’s whip-smart screenplay, which is, admittedly, funnier if you understand all its references to popular culture from the early ‘40s.

Ann Sheridan, Jimmy Durante, Richard Travis, Billie Burke, Reginald Gardner and Mary Wickes provide the memorable support to Woolley, reprising his stage performance in a highly acclaimed comedy that looks brilliant here in a new 4K restoration (1.37 B&W, mono). The disc also features two radio adaptations of the show from 1949 (Jack Benny and Rosalind Russell) and 1950 (Clifton Webb and Lucille Ball). A WB musical short and cartoon, the trailer, and archival featurette “Inside a Classic Comedy” are reprieved from earlier editions.

Sheridan previously toplined Warner’s IT ALL CAME TRUE (97 mins., 1940; Warner Archive), a lightweight comic confection starring Humphrey Bogart as “Killer Chips Maguire,” a gangster hiding out in a struggling boarding house when he decides to turn it into a happening night club. Sheridan is opposite Bogie here with her co-star delivering a wry comic parody of his typical tough-guy roles. Warner Archive’s Blu-Ray premiere of the WB release features a sterling 1080p (1.37 B&W, mono) transfer with two classic Warner Bros. cartoons and the trailer along for good measure.

Joan Crawford teamed up with Clark Gable for the first time in MGM’s 1941 comic-western HONKY TONK (105 mins., 1941; Warner Archive), an appealingly performed if uneven, and at-times very talky, affair that works better in its opening half. There’s no doubt, though, of the chemistry that develops between the duo, or the superlative supporting cast, which trots out Frank Morgan, Marjorie Main, Albert Dekker, Chill Willis and even “Stagecoach” vet Claire Trevor in support of the stars. Another satisfying new Warner Archive remaster (1.37 B&W, mono) is on-hand in “Honky Tonk”’s debut Blu-Ray with extras including shorts from Tom & Jerry and Our Gang, the trailer, and a Lux Radio Theater broadcast with Turner and John Hodiak.

Fred Astaire and Ginger Rogers broke out of supporting roles with the RKO hit THE GAY DIVORCEE (105 mins., 1934; Warner Archive), the first of their many musical-comedy successes and a recipient of five Oscar nominations. Cole Porter’s score offers “Night and Day” plus “The Continental,” performed in a lavish production number; the rest is creaky at times but still ought to be of vital interest for musical fans and aficionados of the duo in particular. Warner Archive’s Blu-Ray again offers a clear, crisp new remaster (1.37 B&W, mono) with two shorts, a pair of cartoons, a radio promo broadcast, and the 1944 Screen Guild Playhouse version featuring Frank Sinatra.

Though sanitized for mid ‘50s theatrical screens, Robert Anderson’s adaptation of his play TEA AND SYMPATHY (122 mins., 1956) is nevertheless a poignant, bittersweet story of a young man (John Kerr) at a stuffy prepschool who doesn’t fit in with his more athletic cohorts, and is ultimately tutored in the ways of “understanding” a strong female presence in the form of sympathetic Deborah Kerr. Though homosexual elements were stripped out of the picture, the subtext remains – as does the basic story of an outsider who simply doesn’t adhere to the crowd, which is where this MGM production works most effectively.

The performances of both Kerrs (no relation) are superb and the elegant Cinemascope lensing enables director Vincente Minnelli to effectively open up the stagebound material for the big-screen. Warner Archive’s Blu-Ray (2.35, mono) sports a lovely new 4K remaster with the trailer and an MGM cartoon included on the supplemental side.

Finally, animation fans should be excited by two new entertaining releases from Warner Archive this month.

Warner Archive continues to provide a gold mine of HD goodness for Looney Tunes fans, providing them with another 50 uncut shorts in the double-disc release LOONEY TUNES: COLLECTOR’S VAULT Volume 2 (359 mins.; Warner Archive). A slew of commentaries are also included in this delectable tribute to the great animators at WB, in shorts ranging from ‘30s Golden Age musicals to WWII era ‘40s ‘toons and the Friz Freleng-Robert McKinson classics of the ‘50s (and a couple of Chuck Jones Road Runner faves from the ‘60s as well). The transfers (1.37, mono) are all up to snuff in another gotta-have-it package for Looney Tunes fans.

One of the more memorable Scooby-Doo series was SCOOBY’S LAFF-A-LYMPICS (550 mins., 1977-78; Warner Archive), which found Scoob and the gang taking on other Hanna-Barbera favorites like Yogi Bear and Huckleberry Hound in a series of events far exceeding the usual, comparatively mundane challenges of the Olympic Games. The entire series is collected here in fresh HD remastered transfers (1.33, mono) with the 2012 homage “Spooky Games” included as a bonus.

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Catalog Wrap

Two brand-new box-sets from Severin Films should be of interest for hardcore buffs.

Available now is ANTONIO MARGHERITI & THE JUNGLES OF DOOM: HIS ‘80S ADVENTURE FILMS, which is a lavish 4K UHD anthology of the Italian director’s trio of B-movie thrillers all made in the wake of “Raiders of the Lost Ark,” and which attempt to mine the same sort of escapism – on a decidedly (much) lower budget, naturally. Included in brand-new HDR10 presentations are the following, all in a box with a collectible slipcase (available now at Severin’s website), or available later in April individually:

THE HUNTERS OF THE GOLDEN COBRA (95 mins., 1982), featuring David Warbeck and John Steiner as WWII plunderers seeking the Lost…err, Golden Cobra, in an amusing knockoff stylishly shot in scope. Extras here include an interview with AD Edoardo Margheriti, second camera assistant Davide Mancori, a 1996 “Festival of Fantastic Films” award presentation and Q&A with Warbeck, and a video essay by historian Rob Hill (2.35, English/Italian mono and HDR10).

Warbeck and Steiner return, in different roles, in Margheriti’s THE ARK OF THE SUN GOD (98 mins., 1984), a comparatively pokier Italian/Turkish co-production that adds some Bondian-styled riffs into its plot about a burglar (Warbeck) recruited by a collector (John Steiner again) to steal the coveted “Scepter of Gilgamesh.” Interviews with Edoardo Margheriti, writer Giovanni Paolucci and Margheriti himself, recalling David Warbeck, are included plus a bonus soundtrack CD covering the scores of this and “Golden Cobra.”

JUNGLE RAIDERS (101 mins., 1985) caps the fun with a more upbeat adventure Cannon imported to the U.S. back in the day. This one offers Christopher Connelly as a safari guide conned into retrieving the “Ruby of Gloom” by a U.S. covert agent (Lee Van Cleef). Marina Costa co-stars in this agreeable Margheriti outing, shot in scope (2.35) and presented on UHD with HDR10, English or Italian audio, the Italian credit sequence, and interview with AD Edoardo Margheriti.

Coming out next month from Severin is their Andy Milligan anthology, THE DEGENERATE: THE LOST LEGACY OF ANDY MILLIGAN, a Blu-Ray package which includes a number of new-on-disc premieres, with the debut of two features that had been previously reported as being “lost.”

Those features are the 1967 post-nuclear apocalypse outing THE DEGENERATES, which was recently found in a vault in Belgium, and an Amsterdam-retrieved copy of KISS ME, KISS ME, KISS ME!, which dates from 1968. Both are remastered on Blu-Ray from their only surviving film elements alongside an early Milligan picture, COMPASS ROSE, and his 1979 thriller HOUSE OF SEVEN BELLES. Finally, the 2025 documentary THE DEGENERATE: THE LIFE AND FILMS OF ANDY MILLIGAN presents both fans and casual viewers with a close-up examination of the exploitation auteur’s “depraved” history and work over several decades.

Special features assembled by Severin include deleted scenes and a Q&A on “The Degenerate” documentary; a commentary on “The Degenerates” with a handful of interviews including historian Stephen Thrower and actress Laura Cunningham; extensive interviews on “Kiss Me!” including an archival conversation from 1975 with Milligan; and plenty more in the three-disc BD release, due out later in April.

MONSTER MAYHEM COLLECTION Blu-Ray (Film Masters): Double-disc set offers a quartet of independently-produced sci-fi/horror entries from the late ‘50s, several of which have gained a cult following.

At the front of the line is the late ’50s drive-in staple FRANKENSTEIN’S DAUGHTER (85 mins., 1958), a movie I first came across on an early ’80s “Creature Double Feature” TV showing. This is a ridiculously low-grade affair more in-tune with the teeny-bopper films of its time (like “I Was a Teenage Werewolf,” though not as good) than anything related to Karloff and friends, with Sandra Knight playing a girl who becomes the unwitting experiment of a mad doctor – also the grandfather of Dr. Frankenstein himself – who works for her father. Brainless monster antics ensue, with most of the fun from Film Masters’ Blu-Ray (which houses a 1080p B&W 1.85 transfer) occurring via Tom Weaver’s enjoyable commentary plus an essay from Weaver, who places the film into its proper historical context.

Also on-hand here is GIANT FROM THE UNKNOWN (77 mins., 1958), another superb Film Masters restoration though here the source movie comes up a little bit short. “Giant…” is an early Arthur P. Jacobs production – the same Jacobs who would go on to produce the “Planet of the Apes” series – that finds “Vargas,” a 500-year-old conquistador, coming back to life after a lightning storm reignites his centuries-old body just in time to plague a sleepy town, a scientist and his daughter. “Giant From The Unknown” might provide some nostalgic B-movie throwback amusement for buffs invested in its era, but this is mostly a tedious affair, even with make-up master Jack Pierce having provided “Vargas”’ not-that-intimidating look (Richard Kiel could’ve probably eaten him for breakfast).

Film Masters’ Blu-Ray is a certainly worthy affair, however, with a 4K restored transfer (1.85) and lots of enjoyable special features that are more entertaining than the film itself. These include a Tom Weaver commentary plus another track with actor Gary Crutcher and the doc “Richard E. Cunha: Filmmaker of the Unknown.”

THE BRAIN FROM PLANET AROUS (71 mins., 1957): Independently produced late ’50s sci-fi B-effort has a few interesting ideas, raising it a little above the bar as its era’s alien-invasion films go. John Agar stars as a scientist corrupted by “Gor,” a brain entity from the planet Arous, who wants his body to start his quest for world domination. Luckily for us, the scientist’s wife, Sally (Joyce Meadows), is tasked with stopping him, thanks to a good alien from the same planet that’s trying to save us all. Nathan Juran helmed some good (“7th Voyage of Sinbad”) and bad (“Attack of the 50 Foot Woman”) genre films during the ’50s and ’60s, and he does a capable job with a little movie that falls somewhere inbetween, but is at least somewhat thoughtful. Film Masters’ Blu-Ray includes a 1080p B&W transfer (1.85) with extras including commentary featuring Tom Weaver, David Schecter, Larry Blamire, and Joyce Meadows, plus two featurettes on Juran.

MONSTER FROM GREEN HELL (71 mins., 1957): Grade-C ’50s monster excitement generates a high degree of entertainment just the same due to “Monster From Green Hell”’s cheapjack production values and overall unintentional comedy. Future “Dallas” star Jim Davis plays a scientist who inadvertently unleashes a horde of giant mutated wasps on the world – yes, it’s another “horrors of radiation” genre exercise from the decade, but this slender affair is no “Them!” Still, baby boomers and other genre fans of the time have carried an appreciation for this silly film, and Film Masters’ new 4K scan (1.85) includes its original, color-tinted climax plus welcome extras. These include a commentary with Stephen R. Bissette dissecting the picture and a career profile of Davis with C. Courtney Joyner.

THE GREAT SMOKY ROADBLOCK Blu-Ray (104 mins., 1981, PG; MGM): Geritol entry into the “good o’l boy” sweepstakes of the late ‘70s/early ‘80s finds Henry Fonda as a veteran trucker trying for one last run, but needing to steal back his beloved rig from a finance company in order to do so. He then decides to score by driving a group of prostitutes south of the border in this comic confection from writer-director John Leone, co-produced and co-starring Susan Sarandon. This American Cinema release offers a transfer from best surviving elements, which resemble a worn-down print (1.85, mono) in MGM’s feature-less Blu-Ray.

A MATTER OF TIME Blu-Ray (97 mins., 1976, PG; MGM): Infamous flop for star Liza Minnelli and her father, the great director Vincente Minnelli, has received scant home video releases over the many years since its original release. This MGM Blu-Ray marks its first such sojourn in high-definition, but it’s as rough a transfer as the film itself — a musical fantasy with Minnelli as a maid whose relationship with an eccentric Italian countess (Ingrid Bergman) precedes her eventual stardom in 1950s Europe. With original songs by “Cabaret”‘s Kander and Ebb, this lavish production held great promise but American-International didn’t like what they saw (likely for good reason) and ripped apart Minnelli’s original three-hour cut. The result is this pared-down 97 minute dud which lacks the sophistication of Minnelli’s usual work and is made worse here by heavy noise-reduction filters plastered on top of already bleary cinematography by a filter-happy Geoffrey Unsworth. Subsequently, the 1080p (1.78, mono) transfer is rough, making this curio recommended for Liza addicts only.

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Quick Takes

RANDY AND THE MOB Blu-Ray (91 mins., 2009, PG; Lightyear): Ray McKinnon wrote, directed and starred in this genial independent comedy about a southern boy (McKinnon himself) who gets mixed up with the mob and its well-dressed fixer (Walton Goggins), needing the help of his gay twin brother (also McKinnon) and wife (McKinnon’s real-life wife, Lisa Blount) to bail himself out of. Amiable performances from the leads and good chemistry between lifelong friends McKinnon and Goggins make for a nice little gem remastered by Lightyear on Blu-Ray (1.78, 2.0) this month. The disc also includes McKinnon/Goggins’ earlier collaboration, the Oscar-winning short “The Accountant,” plus a Making Of featurette with cast/crew interviews. Speaking of THE ACCOUTANT (40 mins., 2009), Lightyear’s new restoration has been released separately as well in its own Blu-Ray package from the label (1.78, 2.0).

MERRILY WE ROLL ALONG Blu-Ray (145 mins., 2025, PG-13; Sony): Stephen Sondheim’s cult Broadway musical, which initially bombed upon its original run but has been revived a number of times over the years, is captured in this most recent reworking from director Maria Friedman. Friedman effectively stages this tale of three friends whose lifelong relationship crumbles over time – but is told in reverse – via George Furth’s book. That material has been tweaked here, making lead Jonathan Groff the centerpoint of the trio (Daniel Radcliffe and Lindsay Mendez representing the other side), which ultimately provides a more redemptive component that’s also easier for viewers to follow. As always, it’s Sondheim’s score that’s the lead draw, with Friedman here shooting her stage rendition for the big screen in sometimes overly confining close-ups. Sony’s Blu-Ray (1.78, 5.1 DTS MA) looks and sounds fine.

RESIDENT ALIEN – Complete Series Blu-Ray (2020-25; Universal): Alan Tudyk takes center stage in a perfectly tailored role of an alien who comes to Earth with diabolical plans…but has to stem his invasion since he’s all alone and ends up trying to assimilate into small town U.S.A. by impersonating the town doctor. After getting involved in a murder-mystery, “Harry” finds life on Earth might be more meaningful and exciting than he anticipated, and the four seasons of the Syfy series “Resident Alien” offer a mostly satisfying blend of extraterrestrial thrills, social satire, outright comedy and personal drama. Collected here in a four-season Blu-Ray box from Universal, “Resident Alien” includes 1080p (1.78) transfers and 5.1 DTS MA soundtracks along with deleted scenes for extras.

ZODIAC KILLER PROJECT Blu-Ray (92 mins., 2025; Music Box Films): Filmmaker Charlie Shackleton ruminates on serial killers as he attempts to make a documentary on one such alleged clan, only to have the subject(s) leave him to narrate this long-form feature instead. There’s a lot of talk and not all of it is engaging in “Zodiac Serial Killer Project,” which may interest genre fans but, if you’re already worn out by material like this, isn’t likely to generate casual viewers. Music Box’s Blu-Ray (1.85, 5.1 DTS MA) includes a director Q&A, an “uncommentary” track, B-roll, a camera test, the trailer and more.

WE BURY THE DEAD Blu-Ray (95 mins., 2024, R; Vertical): Yet another zombie affair stars ex-Jedi Daisy Ridley as a woman who goes looking for her husband in a quarantine zone after a military disaster turns its victims into brain-dead zombies. Writer-director Zak Hilditch’s film treads over well-worn cliches and story elements, and any fresh concepts it might possess end up being swept aside by a too-brief running time that barely skirts the surface. Vertical’s Blu-Ray (2.39, 5.1/2.0 Dolby Digital) is now available.

LURKER Blu-Ray (100 mins., 2025, R; Mubi): “The Bear” producer Alex Russell wrote and directed this thriller following a retail clerk (Theodore Pellerin) who meets and then weasels his way into the inner circle of a rising pop star (Archie Madekwe), with a subsequent relationship that becomes increasingly unhealthy thereafter. Mubi has premiered “Lurker” on Blu-Ray with a 1080p (2.39) transfer and 5.1/2.0 DTS MA sound.

NEXT TIME: Arrow’s latest! Until then, don’t forget to drop in on the official Aisle Seat Message Boards and direct any emails to our email address. Cheers everyone!