SEX AND DRUGS AND ROCK AND ROLL

Born 12th May 1942, Ian Dury contracted polio at the age of 7, and went on to academic success after spending time in hospital and a school for disabled children.
Matt Whitecross' film takes us through Dury's formative years via a series of flashbacks, intermingled with the twin chaos of his stage act and personal life.

Shot in the style of BRONSON via 24 HOUR PARTY PEOPLE, this is an entertaining and thought provoking account of a tortured artist who had the punk attitude coupled with genuine music hall appeal. Dury always saw himself as a "lurker", rather than a pop star, and his 'tough love' upbringing encouraged him to stand up for himself and create an example for a group of people who are most assuredly capable of great things. Here, Andy Serkis becomes Dury both in sight and sound, alienating his nearest and dearest, pissing off the establishment throughout his life and fashioning some wonderfully memorable tunes. By turn, moving, infuriating, fast paced and funny, SEX AND DRUGS AND ROCK AND ROLL rarely misses a beat, painting a colourful and haunting picture of someone I'll always remember as a national treasure.

With Olivia Williams, Naomie Harris and Ray Winstone as wife, lover and father, the cast is always solid but it's Serkis who really delves into the extraordinary, taking me back to the Stiff Records tour and Dury's gigs with the likes of Elvis Costello and Lena Lovich (unfortunately absent here). Happily, Dury's Kilburn & The High Roads days are also chronicled, culminating in a true punk rock gig at a dingy London pub before the Blockheads were formed a little later.
Fans will lap up the live stuff and be taken back to those heady days when "Sweet Gene Vincent" soared out of concert halls and into the streets where it belonged. Credit to Serkis who does an amazing job, leading the old Blockheads band without lip- synching and delivering a mesmerising performance.

Ian Dury left us on 27th March 2000. His songs live on and this film will undoubtedly bring a new generation of fans to some great music.

THERE'S ALWAYS VANILLA

A determination not to be pigeonholed as a horror director, coupled with the success of low-budget fare such as Hi, Mom!, prompted George A. Romero to follow up Night of the Living Dead with this almighty blot on his otherwise impressive cv.

There’s Always Vanilla started life as a half hour promotional vehicle to highlight the 'talents' of Ray Laine; a would-be actor who stars here as an irritating boy-in-a-man’s-body. Rudolph J. Ricci wrote and directed the short film, and fell out with Romero over the latter’s plan to expand the script to feature length.

In this 94 minute version, Laine and Judith Ridley fill out the roles of Chris and Lynn, who meet when Lynn is on the way to a tv commercial shoot for toilet bowl cleaner. Following an exchange of views regarding her suitability for such exposure, the pair become an item for a season but drift apart when Lynn discovers she’s pregnant.

Previously glimpsed as a 15 minute clip on the Night of the Living Dead laserdisc and DVD releases, There’s Always Vanilla is now one half of a Romero DVD double-bill with Season of the Witch. Anchor Bay's Region 1 disc includes a featurette – Digging Up The Dead: The "Lost" Films of George A. Romero – where the great man admits he doesn’t really care for this film and declares it worked better as a short. I’m sure he’s right because this extended version of what was, after all, a promotional short is a long haul, full of dire acting, though not without its moments.

The opening resembles a Sunset Boulevard-like narration where a dead man tells his story, just as a member of the living dead might do. There’s a clever scene which jumps between Chris and Lynn making love and a tv commercial shoot, anticipating Nicolas Roeg's Don't Look Now; a hilarious job interview where Chris includes pimping on his short cv, and a tense chase sequence during which Lynn flees from the advances of a backstreet abortionist. There’s Always Vanilla points the way ahead for future Romero projects where the world in focus is heavy on consumerism and light on self-awareness but it’s a distance from being the 'lost' gem that many of us were hoping for.

Prior to the main feature, Anchor Bay state the transfer is below their usual high standards due to the quality of existing elements. I’ll concur with that, although the film looks way better than it deserves. At any rate, you should see it if only for the fact that the better half of this double-bill really is a must-see

COMING SOON TO BLU-RAY

I'm sure many genre fans were eagerly awaiting the first Mario Bava film to hit Blu-ray. Thanks to the enterprising Arrow, BAY OF BLOOD will make its hi-def debut late September in the UK. Hop over to their forums where you'll find a friendly and knowledgeable bunch of like-minded individuals, and make sure you vote in THE BEYOND poll while you're there. Arrow are seriously considering a Blu-ray release for Fulci's classic, providing the elements pass muster. Just click HERE

You can also vote for cover artwork for both of the aforementioned releases.

A WEEK OFF.

In just under 24 hours from now, I'll be starting a week's holiday from work.
A break from the daily haul is always nice, and getting away from your hometown to somewhere different can be a valuable added bonus. Unfortunately, my health has been poor of late, so straying even as far as nearby Derby for our 1st movie experience in over a year would perhaps not be advisable. In any event, the next few years are riddled with doom and despair as our new government seem hellbent on laying waste to the UK while telling lie after lie as they do so. That's another reason for not spending money we'll almost certainly need a little later on so that seaside holiday will just have to wait.

So, I aim to view the entire contents of Arrow's wonderful CITY OF THE LIVING DEAD Blu-ray and listen to both commentary tracks; finish reading THE GIRL WITH THE DRAGON TATOO; rent the aforementioned movie; start reading THE GIRL WHO PLAYED WITH FIRE and read a study of Dario Argento by James Gracey. All this and the company of my wonderful wife will make for an enjoyable week. Health permitting, I'll accomplish all of the above and share my thoughts with as soon as possible.

COMING SOON

Terrific news that SPIRITS OF THE DEAD will be released on UK Blu-ray at the end of August. Enjoy this trailer!

THE RED SHOES BLU-RAY

"Dreaming is a luxury I've never permitted in my company."

Boris Lermontov. THE RED SHOES.

Michael Powell and Emeric Pressburger collaborated on 22 films, but their most creative period came via The Archers production company. From 1942 - 1951, The Archers were responsible for some of the finest British films; A CANTERBURY TALE, THE LIFE AND DEATH OF COLONEL BLIMP, I KNOW WHERE I'M GOING, BLACK NARCISSUS, A MATTER OF LIFE AND DEATH and, of course, THE RED SHOES which marked the film debut of Moira Shearer, the rising star of The Royal Ballet.

THE RED SHOES script, written by Pressburger and based on Hans Christian Andersen's fairy tale, spins a cautionary tale of just what can happen when life imitates art as two men unwittingly help to destroy the most precious thing in their lives. The gal in the middle is Victoria Page (Shearer), a young ballerina who seems to love dance more than life itself. To her left stands Julian Craster (Marius Goring), the young composer who will eventually steal her away from the stage and also from this film's most imposing figure. Boris Lermontov (Anton Walbrook), a cold manipulative impresario is the other man in Vicky's life, though for entirely different reasons. Lermontov is only concerned with the pursuit of excellence, forbidding his dancers from enjoying a life outside the stage. There are times when we almost believe that Lermontov may be carrying a torch for his star performer but, ultimately, the cruel side of Andersen's tale holds sway.

Overall, THE RED SHOES cannot be termed a 'feel good' film, but there are several performers who will surely bring a huge smile to your face: Leonide Massine, Robert Helpmann and the entirely wonderful Ludmilla Tcherina (the latter being another victim of Lermontov's obsessions) are a real pleasure to watch, along with some delightful ballet sequences.
You don't have to be a 'Balletomane' to love this film - just sit back and marvel at the style and imagination of Powell & Pressburger; at the startling images guaranteed to haunt you for months after; at the mesmerising use of colour, beautifully captured by Jack Cardiff's magisterial photography. Then frame-by-frame, the superlative presentation of The Red Shoes Ballet will surely engulf your senses and convert even the most hardened sceptic.
At least, that's how it usually swings with TV and DVD screenings. Now, we have a wonderful presentation, courtesy of ITV's Blu-ray disc, which brings THE RED SHOES to life in a way we could only have dreamt of.

Here, the colours truly pop, and the exquisite detail of this production is reproduced to a staggering degree. There's a point during the extras of the UK SUSPIRIA Blu-ray where Dario Argento explains how he watched THE RED SHOES prior to shooting his nerve-jangling exercise in terror:another disciple of this endlessly inventive film.
Criterion have just released THE RED SHOES in the USA on Blu-ray but for those of you in Europe with no all-region hardware, I strongly suggest you move with due haste to bag yourself a copy of this superb ITV release. Mumblings on the net indicate that copies are in extremely short supply.

COMING SOON

Hers are the specs for Arrow's forthcoming Blu-ray release of Dario Argento's INFERNO which will also be available in SD.

Reversible sleeve with original and newly commissioned art work

- Double-sided fold out Poster

- Collector’s Booklet featuring brand new writing on Inferno by Alan Jones, author of Profondo Argento

- High Definition Presentation of the film (1080p)

- Optional 7.1 DTS-HD/2.0 Stereo Audio

SPECIAL FEATURES:

- Introduction to Inferno by star Daria Nicolodi

- Dario's Inferno (16 mins interview with Dario Argento)

- Acting in Hot Water: An Interview with Daria Nicolodi (18 mins interview)

- The Other Mother: Making the Black Cat (16 mins) In 1989 director Luigi Cozzi (a long time friend and collaborator of Dario Argento) decided to make the unofficial follow-up to Inferno and 'complete' the Three Mothers legacy. This feature looks at the torrid history of The Black Cat, with plenty of clips too!

- Dario Argento: An Eye for Horror (57 mins) Mark Kermode narrates this documentary on Argento’s career including interviews with George A. Romero and John Carpenter

- The Complete Dario Argento Trailer Gallery [18 films]

- Easter Egg (5 mins of Dario Argento in English, with random memories of Inferno)

VOTE FOR THE BEYOND

Euro cult movie buffs should head over to The Cult Lab Forums where aficionados are invited to vote for their format(s) of choice for a release of Lucio Fulci's THE BEYOND. The forums are packed with a friendly and enthusiastic fanbase, and here you will get the lowdown on the latest DVD and Blu-ray releases from the wonderful Arrow who have just released a feature-packed Blu-ray of CITY OF THE LIVING DEAD which is already shaping up to be one of this year's finest.

Why not sign up and cast your vote for one of Lucio Fulci's finest films. Just click HERE

HAPPY 2OTH ANNIVERSARY VIDEO WATCHDOG

It was 1990 when I first caught sight of Tim & Donna Lucas' VIDEO WATCHDOG. I was in London's Forbidden Planet, killing time before some gig/football match/ film, when I found myself picking up a magazine in the movie section. Three minutes later and I exited FP, clutching the very first issue Of VIDEO WATCHDOG. I recall settling down in one of London's watering holes, and read this debut issue from cover to cover, enthralled by Tim's article on a Spanish filmmaker named Jess Franco. I'd previously viewed 3-gen boots of the likes of VENUS IN FURS and SUCCUBUS, and promised myself I'd devote more time to Franco's wonderfully perverse world.

Although I never got round to becoming a VW subscriber, I began to collect this magazine on a regular basis, obtaining copies from various UK stores and specialist indie retailers.
From VHS to Laserdisc, from DVD to Blu-ray, from monochrome to full colour issues. It's been one hell of a ride and still is. Tim and his wonderfully gifted band of reviewers offer informative and entertaining reviews and features, which are graced by Donna's layout and design expertise.

Along the way, we've enjoyed special editions, a VW book and Tim & Donna's Mario Bava tome, "All The Colours Of The Dark". This is simply the finest book on film I've ever read (it's much more than a study of the great man), and I'm proud to see my name included amongst its patrons.
While every single issue has much to enthuse over, like anyone else I have my favourites. For me, the following are 10 of my firm favourites.

1/ Issue # 1. Franco and Venezuelan Video.

2/ Issue # 6. The Exorcist special!

3/ Issue # 13. Manhunter and Rampage. We need a loaded spec ed DVD for the latter.

4/ Issue # 19. A marvellous Dracula special.

5/ Issue # 29. Robocop.

6/ Issue # 38. Living Dead Dawn/Night.

7/ Issue # 81. If you doubt the greatness of Ridley Scott's HANNIBAL, you should read this!

8/ Issue # 121. Terrific Renfield article.

9/ Issue # The Wallace Krimis.

10/ Issue # 142. The Prisoner.

For devotees of Fantastic Cinema, VW is not only a publication that increases appreciation of the films we love, but also for discovering new delights.
Tim and his writers share the ability to engage the interest of their audience about films they may have previously dismissed after just one viewing, or maybe even highlight a genre that may have held little interest. It's the way they write about film that seduces their readers into giving movies, books and soundtracks a second (or maybe first) chance.

So, as we await the publication of issue # 157 which marks the 2oth anniversary of VW, we can reflect on the enormous changes that have taken place regarding how we watch films and how we see them.

Let's raise our glasses to Tim & Donna.

MARTIN

Now, how does the song go? "No Elvis, Beatles or Rolling Stones in 1977". Well, some of you may be tempted to add vampires to the list when considering George A. Romero's Martin. Here, the titular character (played by John Amplas) is a young man who becomes a victim of his deranged uncle Cuda (Maazel). Forced to work in Cuda's store and placed under a night-time curfew, Martin is befriended by cousin Christine (Forrest), who spends her time railing against Cuda's outdated beliefs and dealing with her unreliable boyfriend (fx supremo Tom Savini). Cuda believes Martin is one of nine family members marked by the curse of Nosferatu: a theory substantiated by his predeliction for female flesh and blood. As Martin slowly gets into character, he exhibits a greater degree of confidence when dealing with his (mostly) female victims, and becomes a regular caller to a late-night radio chat show, claiming he's an 84 year-old vampire. As the body count increases, Martin begins to harbour very real doubts regarding his ability to continue evading the law.

So, where does fantasy end and reality begin? Romero's film is peppered with stark monochrome flashbacks showing Martin being welcomed by his victims and hunted by those who wish him dead.While it's open to debate whether these are replays of past events or simply feverish daydreams, the latter seems far more likely, given the somewhat (intentionally?) fractured staging of some of the scenes.

Romero originally pitched a running time of 135 minutes for this film, which leaves us some 40 mins adrift for this truncated version. Unfortunately, the gaps show. Martin's relationship with an attractive older woman (Nadeau) simply cries out for extended screen time, making his transformation from a virtual necrophiliac into a capable lover seem more like an eleventh-hour re-write, rather than a considered character development. Similarly, Cuda's meeting with a priest schooled in 'the old ways' and their subsequent attempted exorcism are too close together to really gel, and leave one yearning to see the director's original cut: a disconcerting state of affairs, because there are moments when Martin comes very close to representing Romero's best work. The opening scene where Martin creates terror on the tracks - attacking a young woman (Middleton) in her train carriage - works wonderfully well, combining past and present by imaginative use of the flashback device. Martin's encounter with an unfaithful housewife and her lover scores even higher, with Romero stoking up on suspense and letting the scene run to a dramatic conclusion. This particular set piece, coupled with a scene in a children's playground, is the flip side of Carpenter's Halloween, but coming several months earlier: one can't help but wonder what would have happened if Romero's film had enjoyed the same breaks as Carpenter? Martin VIII: 'Blood On The Net'? Maybe not, but this slow-burning account of mental illness and its cause and effect remains an important work. If the hugely under-rated Jack's Wife is Romero's feminist film, then Martin explores the male psyche with just as conviction.

Arrow's Region 2 DVD is a huge shot in the veins for those who missed out on Anchor Bay's Region 1 disc (now OOP). Although Arrow's disc does not include the Romero/Amplas/Forrest commentary track, it remains an absolutely essential purchase for any self-respecting Romero buff.From a presentational viewpoint, this is the best looking version of Martin I've seen though it's never been a film that's stood out in terms of eye-popping colour. In 2003, there's still a grainy look to the film ( due to the photography, rather than any failing with the disc) but colours look a lot more stable than we're used to.

Arrow have also included a 14 minute documentary - with German audio and English subtitles - which contains footage from Night Of The Living Dead, Dawn Of The Dead, The Crazies and Martin, together with Romero's thoughts on the aforementioned films. While we don't learn a great deal that's new, it's nice to watch Romero at work on his Dawn set and the picture quality of the clips offer a nostalgic glimpse of life before DVD. Also included are a couple of radio spots, and the splendid original theatrical trailer shot from a different perspective than is normally the case for these '3 minute wonders'.

Romero's legendary 3 hour director's cut - stolen from him many years ago - will likely never be seen, leaving us with an uneven film which, nontheless, does hit the heights on several occasions. Maybe it's best to let the 'real' Martin rest in peace and attempt to make sense of what's left.

At the beginning of June, we have a new release of MARTIN to look forward to from Arrow Films here in the UK;

Features include: the original theatrical cut of the film with 5.1 and Stereo audio options plus a choice of 16:9 and 4:3 aspect ratio presentations; ‘Wampyre’ – the Italian cut of the film, featuring Italian dialogue (with optional English subtitles) and musical score by Goblin; ‘Making Martin: A Recounting’; Documentary on George A. Romero; TV and radio spots; original theatrical trailer; photo gallery; four sleeve art options; double sided poster; exclusive collector’s booklet; six original poster art postcards.As far as I'm aware, the Wampyre cut has some scenes shuffled round. Unfortunately, the materials aren't good enough for a Blu-ray release, but this loaded DVD will do nicely.

LET THE WRONG ONE IN

So, it seems we are on the verge of 'enjoying' either a minority government, or an administration borne out of deals struck with Nick Clegg; a man whose political party failed to build on little more than optimism.

Welcome to David Cameron: a man who believes that Great Britain was the only country in the world to be struck by recession, and who clearly intends to look after the wealthy and to hell with everyone else. I'll certainly add my voice to those who believe our electoral system needs a major overhaul and lament the fact that -for some - things are going to get a whole lot worse.

HARRY BROWN

England 2009. Gangs of feral teens rule our streets, with guns, knives and alcohol-fueled acts of violence creating abject misery for those unlucky enough to merely breathe the same air.

Meet Harry Brown: ex Marine and old aged pensioner who visits his comatose wife in hospital, and enjoys a pint with close friend Leonard (David Bradley) just to remind himself he's still alive.
We're in the East End of London here, and it soon becomes apparent that the low life scum who see the area as their 'manor' are making life hell for the residents of a squalid council estate.

When Brown (beautifully played by Michael Caine) receives an urgent call summoning him to his wife's bedside, his decision not to take a shortcut through a nearby subway costs him the chance to bid his spouse one last goodbye.
Soon, Harry's life is blighted a second time and something inside him snaps, compelling him to wage a one-man war on the hoodlums who frequent the shadowy depths of the subway, and regularly invade the homes of frightened citizens.

HARRY BROWN has, inevitably, drawn comparison with Clint Eastwood's powerful GRAN TORINO and it's a worthwhile comparison with Eastwood's film more measured but not necessarily more passionate. Scorsese's TAXI DRIVER may also be a nostalgic line of reference; particularly the scene where Brown is shown an array of weapons during a tense encounter in a drug dealers den.
While some of the characters in this film are none too well drawn - particularly the forces of law & order - HARRY BROWN is ultimately a hard-hitting account of the way things are in a country crying out for a drastic change in the way we deal with what are quite simply monsters. Michael Caine excels as the OAP vigilante, inspiring a whole range of emotions and, I strongly suspect, a widespread fervent wish that more Harry Brown's would rise up and conduct a much-needed spring clean of our streets.
Yes, the violence is explicit at times and the language is way past industrial but there's a real humanity in evidence that is extremely moving.

BACK SOON (HAHA)

Even lighter on posting than usual at the moment.
Unfortunately, Meneieres Disease has been up and about lately doing its absolute worst, and a back injury sustained at work makes doing pretty much anything very painful.

Just when things seemed to be improving very slightly, Meneiere's struck again. This time, a dizzy spell knocked my off my feet and sent me toppling backwards into the bathtub. Ouch!! End result being my back is even more f***** than it was before.

So, I'm still managing to go to work but that's about all. Back here soon as I heal up a little.

RIP Malcolm McLaren

Born on 22nd January 1946, Malcolm McLaren had his fingers in a good many pies, ranging from retail to music, television and even considered throwing his hat into the ring for the Mayor Of London 'contest'.
Of course, Malcolm will be best remembered for his role as the former manager of the Sex Pistols. In the 1970s', the music scene in the UK had become stale and monumentally boring. Without really knowing it, we were crying out for some excitement. For someone to stand up and deliver the rallying cry of "Fuck You" to politicians, musicians and the bosses who ripped us off in search of yet another holiday in the sun. A few kindred spirits sensed the mood, did the decent thing and formed bands. Others followed. Cue "Anarchy In The UK". First time I encountered this call to arms was on the late, great John Peel radio show and it damn near took my head off. A rabble-rousing introduction to one of the greatest bands ever to come out of the UK.

History records that McLaren and one John Lydon ended up in court, following accusations of unpaid revenues and sundry misdemeanours.
There'[s no doubt that McLaren was an expert at building up the hype and seemed to take pride at the fact that many local councils actually banned The Pistols from playing, thereby denying punters the chance of seeing the group onstage. Yes, he was a canny businessman - a bit to canny, I'd say - but he seemed to have a sharp mind, always searching for the next big thing and then moving on when a project went belly up. Love him or hate him, MM was there at the start and played an important part in a true musical revolution.

Malcolm died earlier today in New York and will be buried in London's famous Highgate Cemetary.

RIP I'll miss you.

DRAG ME TO HELL. BLU-RAY

This frenetic, endlessly entertaining film sees Sam Raimi going back to his roots and having an absolute ball doing what many would say he does best.
DRAG ME TO HELL opens in Pasadena, where a Mexican couple take their young son to a medium. Following the theft of jewelry from a band of gypsies, the little boy has been plagued by sights and sounds of a demonic nature, and the power from beyond the grave is sufficient to defeat his would-be saviour.
40 years later, ambitious loan officer Christine Brown (Alison Lohman) is vying for promotion with her backstabbing co-worker, and hopes to demonstrate she's as tough as nails by turning down a mortgage extension by a down-on-her-luck gypsy who begs her for another chance. Christine just about survives a terrifying assault when the gypsy mounts a revenge attack, and finds her problems have only just begun as a series of physical and visual manifestations propel her towards the medium who must once again do battle with the forces of darkness.

With a multitude of 'JUMP' moments, and a nice mixture of gross-out horror and pure slapstick, DRAG ME TO HELL scores highly on entertainment with its breathless style rampaging through a remarkably quick 99m running time. Depending on your mood, you'll either be rooting for the main players or hoping they get their just deserts as almost every member of the cast is driven by greed and self-advancement. I have to say I enjoyed every minute, and we even get a nice old school nod to the classic NIGHT OF THE DEMON towards the end.

Lionsgate's Blu-ray contains 2 versions of this film, including the 'Unseen'version which adds several snippets not seen at the cinema; mostly extra blood during the scenes where she squirts blood from her nose, and is covered by the gypsy's brain matter.
Overall, this is one of the best Blu-ray transfers I've seen to date, and it's hard to find any problems regarding picture quality. Fleshtones are wonderfully vivid, and colours repeatedly pop, while night-time scenes reveal bags of detail.
Fingers crossed it won't be too long before Raimi hooks up with horror again.

THE HURT LOCKER BLU-RAY

Kathryn Bigelow first came to my attention by way of NEAR DARK: a modern day interpretation of things that go bite in the night that - for me- is right up there with other genre heavyweights from Ferrara, Romero and Jordan.
Since then, she's moved onto far more populist areas of cinema, en route to the ultimate accolade for any director.

Set in Iraq, THE HURT LOCKER centres on bomb disposal in one of the most dangerous places on earth, with Bravo Company facing one more month in their tour of duty.
William James (Jeremy Renner) arrives to replace a colleague he never knew,who died attempting to diffuse an explosive device. James quickly demonstrates his ability and courage, whilst also exhibiting a reckless spirit that may well put more than his own life at risk.

Of course, just about every Oscar success story has its own band of detractors and while Bigelow's film has received much critical acclaim, there have been a good number of pointed fingers signaling this film is over-hyped and delivers a disappointing ending.
For me, THE HURT LOCKER is absolutely solid on the acting front, and beautifully paced with nerve-shredding situations punctuating the comaderie and tensions that exist between the troops: just like the hell hole it depicts, an attack can come at any time in Bigelow's film and careful deployment of the savage fire of conflict or the carnage caused by explosions make them hit home all the harder. As far as the ending is concerned, all the information you need has played out in the preceding 2 hours and makes perfect sense.


Having reluctantly missed this film during its theatrical run, I plumped for a rental copy of the UK Blu-ray release, and found the transfer to be first-rate. Skin tones are realistic, there's bags of detail in the night-time scenes, while colours pop when they should. In fact there's little or nothing to criticise here, but the same cannot be said for the paucity of additional material. One would hope that a more loaded special edition will surface in the not-too-distant future, and I'm sure that will indeed be the case.

More artwork from Arrow

Takes you back to the golden age of UK video sleeves.
Nice job, Arrow.

CITY OF THE LIVING DEAD: CHOOSE YOUR OWN DESIGN

Arrow's forthcoming CITY OF THE LIVING DEAD Blu-ray will offer 4 alternate cover designs. The above is my current favourite.