Mortal Kombat 4K (1995) and Mortal Kombat: Annihilation 4K (1997)

“Mortal Kombat!”

With the latest in the franchise only just out of cinemas, Arrow Films are releasing the first two films to bear the name MORTAL KOMBAT in 4K on UHD and Blu-ray with a bunch of extras. Based on a bestselling video game and featuring plenty of martial arts, the question I am best posed to answer here is: can these films be enjoyed by someone who has never played the game and has only a very passing interest in martial arts?

Let’s find out.

Disc One: Mortal Kombat (1995)

In which a group of fighters including Johnny Cage (Linden Ashby), Liu Kang (Robin Shou) and Sonya Blade (Bridgette Wilson from Bill Malone’s superior HOUSE ON HAUNTED HILL remake) are recruited to fight for humanity in a series of tournaments. If they lose some enormously evil Emperor will get to rule our realm. In order to do this the Emperor has to win ten tournaments of which he has won nine so far. Who makes these rules? And what’s to stop him from cheating?

The opening half of MORTAL KOMBAT is actually quite engrossing, with excellent Thailand locations and some impressive sets. The actual main villain seems to be Shang Tsung (Cary-Hiroyuki Tagawa) but there’s also a chap with four arms who’s much bigger and taller than anyone but still delights when he wins a fight against someone much smaller than him. 

Our heroes enter the tournament. I think. Because that’s when it all starts to get a bit unclear. However if you’ve paid your money to see lots and lots of fighting then you’ll likely be happy with what you get here. Presiding over everything on the side of good is Raiden (Christopher Lambert) who looks as if he has just stepped out of a shampoo commercial into a gig that probably paid about the same amount of money. It’s all bouncy, energetic stuff with likeable leads and hissable villains - a bit like an Empire Picture but made with a lot more money and in its favour it has to be said that it’s never dull, even if the ending is of the ‘is that it?’ variety.

Extras on Arrow’s disc include two new commentaries from director Paul WS Anderson (who starts by explaining the WS in his name) and podcaster Dave Baxter. There are new interviews with star Ashby (16 minutes), DP John R Leonetti on his career and on becoming a director (16 minutes), producer Lawrence Kasanoff (18 minutes) and special effects artist Tom Woodruff on bringing Goro to life (16 minutes).

Archival extras include a 1995 promotional featurette with most of the main cast and crew (15 minutes), who also feature in a collection of tiny minute-long soundbites. There’s also 13 minutes of behind the scenes footage, a trailer and image gallery.

Disc Two: Mortal Kombat: Annihilation (1997)

The budget goes up while the quality goes down in this infamously poorly-rated sequel that looks a lot more like an Empire production than its predecessor. We pick up where the previous film left off except Christopher Lambert has been replaced by James Remar and some of the others have been brazenly recast as well, with the film showing us the previous Sonja and then the new Sonja (Sandra Hess) and not caring two hoots that audiences would likely be scratching their heads two minutes in before staring open-mouthed as a major cast member gets killed right away.

If that suggests that MORTAL KOMBAT: ANNIHILATION isn’t fun then far from it. In fact in its own way it’s even more of a blast than the first film. Brian Thompson is the baddie this time around and he embraces his role with all the gusto of Jack Palance in HAWK THE SLAYER and just like that film, this one also deserves a cult all to itself. The plot is bonkers, some of the location shooting is amazing (the city of Petra in Jordan) and the CGI is just one step up from 1990s-era Doom, but the film isn’t dull for a single one of its 95 minutes and some of the scenes are instant ‘show this to your friends the next time they’re round’. I had no idea what was going on much of the time and I still had a blast with it.

Extras this time include a new commentary from director John R Leonetti, prompted by Gillian Wallace Horvat, and another from a returning Dave Baxter. There are new interviews with star Musetta Vander (18 minutes), composer George S Clinton (16 minutes) and stunt man J J Perry (20 minutes), with archival behind the scenes footage (15 minutes) and on-set soundbites (around 10 minutes in all). Plus of course trailers, TV spots and image galleries. Arrow’s limited edition set also comes with a booklet, two double-sided posters and a reversible sleeve.

The Mortal Kombat Kollection is out in limited edition 4K UHD and Blu-ray sets from Arrow Films on Monday 29th June 2026   

The Morrigan (2026)

“Reminiscent of Late 1980s Italian Horror”

That is not a recommendation by the way, unless you are a fan of a very particular type of exploitation cinema. Marcello Avallone’s SPECTERS (1987), the films Lucio Fulci made when he wasn’t very well, and pretty much the entire oeuvre of Claudio Fragasso (MONSTER DOG, TROLL 2) will all occur to fans of a certain age if they watch THE MORRIGAN, a film filled with non-sequiturs, name actors uttering nonsensical dialogue, and a complete lack of understanding of how radios and telephones work.

Archaeologist Fiona Scott (Saffron Burrows) wants to go to a remote island off the coast of Ireland to excavate the site where she believes The Morrigan is buried. Folklore suggests it’s an ancient and powerful demon but she thinks it’s probably just a powerful female chieftain who got a bad press. She gets to go but because of The Patriarchy her horrible boss Dr Jonathan (Jonathan Forbes) gets to lead the expedition.

To cheer herself up Fiona takes her whiny, petulant, vodka-swilling recently-expelled reprobate of a teenaged daughter Lily (Emily Flain) with her to a place with no internet or mobile phone signal. But it does have priest James Cosmo who can be contacted by radio (although he answers the phone when contacted which suggests some novel wiring, or possibly editing) as well as hotel owner Toby Stephens.

The excavations proceed! They dig a tiny tunnel. Fiona crawls to its end. The tunnel collapses. Fiona finds herself in a cavern with a sarcophagus, In the next scene this extremely heavy-looking object that could not possibly fit down a tiny Saffron Burrows-sized tunnel is back at the hotel. Lily opens it, turns into a monster and goes on the rampage.

THE MORRIGAN wastes a bunch of good actors and some decent locations. Credit is due to Emily Flain who really lets rip with her transformation into the title creature, but overall the execution is all too ramshackle, careless and clumsy, making you think of a bad Jess Franco film in its ‘couldn’t be bothered’ lack of attention to things that repeatedly draw you out of the action. One only for obsessive fans of the leads, and those of us who have to watch everything. Here’s a trailer to help you make up your mind if you want to:

THE MORRIGAN is out on Digital from Thunderbird Releasing on Monday 29th June 2026

Toomorrow (1970)

Hurrah for the BFI who, together with US boutique Blu-ray outfit Deaf Crocodile, are giving us a 4K restoration of writer-director Val Guest’s TOOMORROW, a bizarre but extremely watchable British science fiction pop musical starring Olivia Newton-John, complete with a bunch of similarly eccentric extras.

Toomorrow is a band whose music is apparently so amazing it’s going to save the universe (shades of BILL AND TED’S EXCELLENT ADVENTURE). The three guys in the band exhibit entry-level charisma but Olivia Newton-John is quite obviously a star in the making. Roy Dotrice is a clueless alien who has been reporting from Earth for 3000 years but still has to have the band pointed out to him by his bosses. Other highlights include BritHorror little girl standby Chloe Franks as Livvy’s character as a little girl and Margaret Nolan being very funny as a sexy alien who is given a crash course in how to seduce someone by being taken to see, amongst other things, Pete Walker’s SCHOOL FOR SEX. 

One for fans of really weird and obscure 1970s British cinema (which will be quite a few people reading this, I suspect), your mileage with TOOMORROW may vary but the film is never boring. Other faces familiar to enthusiasts of this period of British cinema include Tracey Crisp (Richard Gordon’s THE PROJECTED MAN) and Imogen Hassall (Freddie Francis’ MUMSY, NANNY, SONNY AND GIRLY, Robert Hartford-Davis’ INCENSE FOR THE DAMNED and, of course, Gerald Thomas’ CARRY ON GIRLS).

As mentioned above, the release is a ‘co-production’ between the BFI here and Deaf Crocodile in the US, having undergone a 4K restoration from the original camera negative and presented here in High Definition. Extras include a commentary track from Andrew Sandoval which will tell you a lot you don’t know if you’re not as up on the musical trends of the period as he obviously is. There’s also plenty of good stuff about the trouble behind the scenes of the production.

Other extras include The Val Guest Guardian interview (62 minutes) from 1998 plus a ten minute piece from ten years earlier in which the director talks about the film’s troubled production over still images from the BFI archive. New material comes in the form of a video essay about the film from Celeste de la Cabra (17 minutes). A genuine highlight of the disc, as with so many other BFI releases, is the wealth of archival and sometimes frankly bizarre short subjects they’ve been able to dig up. First we get THE NOSE HAS IT!, an eight minute 1942 short starring UK comedy legend (yes he is) Arthur Askey telling you all to sneeze into your handkerchiefs to help the war effort. It’s included because it was directed by Val Guest and it also has photography by Arthur FIEND WITHOUT A FACE Crabtree. 

Then there’s TOMORROW NIGHT IN LONDON (5 minutes) which is a short travelogue-style piece from 1969. Also from 1969 is IF I COULD TURN YOU ON (13 minutes), a black and white record of a pretty bizarre live performance from US troupe Living Theatre that could be misconstrued as horror if you’re in the wrong / right frame of mind. And then, perhaps the oddest of all (especially for overseas viewers) there’s an episode of TV series Chimp-Mates entitled Alice Goes Pop! (17 minutes), a fine example of what we were watching as kids back in 1975. Written by Frank DEMONS OF THE MIND Godwin with music by Harry Robinson (TWINS OF EVIL, HAWK THE SLAYER and a lot of other great stuff) and featuring Roy Kinnear and Godfrey James (Angel Blake’s father in BLOOD ON SATAN’S CLAW) it’s the story of an adopted chimp who learns to play the drums. The first pressing of the disc also comes with a booklet featuring new writing on both the film and Val Guest as well as an essay on manufactured pop groups. 

Val Guest’s TOOMORROW is out on Blu-ray from the BFI in a 4K restoration on Monday 22nd June 2026 

Madhouse (1974)

        One of the films from the tail end of the golden age of British horror (arguably the Golden Age of Horror full stop) is finally getting a UK Blu-ray release courtesy of Eureka. MADHOUSE stars Vincent Price, Peter Cushing and Robert Quarry and is getting a 1080p HD presentation with the original UK mono audio and a bunch of extras.

But is the film any good? Well it’s early 1970s, British, with Price and Cushing so if you’re a fan of the era then it’s a must-see. Add Linda Hayden, Natasha Pyne and Adrienne Corri to the mix and, again, if you love this era of film-making then you have to have this one in your collection. However, if you’re a little more discerning in your horror movie tastes…

Vincent Price made MADHOUSE just after appearing in THEATRE OF BLOOD, arguably the pinnacle of his career, and it cannot help but suffer by comparison. The premise is a lot of fun - at a bitchy Hollywood party horror star Paul Toombes (Price) finds his bride to be Julie Crosthwait with her head cut off. The killer is never found. Paul undergoes rehab, and then when he returns, to television rather than film, he finds that people around him are being bumped off in a variety of grisly ways. But who’s responsible?

All of that sounds marvellous, doesn’t it? The main reason MADHOUSE isn’t as lauded as THEATRE OF BLOOD or THE ABOMINABLE DR PHIBES is that this entire premise gets a bit squandered with a script (rewritten several times) that doesn’t really know how to do this sort of thing in a style writers like Brian Clemens had perfected. Amicus made this as a co-production with AIP which allows use of the AIP back catalogues (ie the Corman Poe films) for clips of Toombes’ career which we get to see on the Michael Parkinson show. If you can isolate MADHOUSE from those other classics the chances are you’ll have a better time with it. At least it’s a lot better than Angus Hall’s source novel.

Eureka’s Blu-ray comes with a nice nine minute introduction to the film from Stephen Laws who amongst other things gives you some (highly recommended) post-film reading to look up. There's an academic video essay from Mary Going that looks at how MADHOUSE fits in to the traditions of the gothic and the slasher film (26 minutes), and a commentary track from David Del Valle that's up to his usual standard. There’s also a decent eleven minute archival making of featurette from 2015 that concisely tells you a lot about the making of the film. Eureka’s limited edition (2000 copies) also comes with an O card slipcase, a new essay on AIP, and an archival interview with director Jim Clark by John Hamilton which was originally published in The Dark Side and which is well worth a read. 

MADHOUSE is getting a limited edition Blu-ray release from Eureka on Monday 22nd June 2026

Empire of the Ants (1977)

Eureka are bringing one of writer-producer-director Bert I Gordon’s later (he’d been making them since the 1950s) giant creature features to Blu-ray. This time it’s Joan Collins fighting giant ants, so that's two major 1970s cult movie boxes ticked.

Property developer Marilyn Fryser (Joan Collins) has brought a bunch of prospective investors to an isolated beach location to give them a tour of where she intends to build a new community of luxury residences. However, she has reckoned without some pesky radioactive waste that has washed up on the shore and which the local ant population have, for some reason, found irresistible.

It’s not long before the cast of late 1970s B movie veterans and familiar TV faces (Robert Lansing, Albert Salmi, Robert Pine, Pamela Susan Shoop) are fighting off creatures that have exhibited miraculous powers of growth with the aid of just a few mouthfuls of silver stuff from an oil drum.

Before you ask ‘did H G Wells ever write such daft exploitative fare?’ well no of course he didn’t, but slapping old Herbert George’s name on THE FOOD OF THE GODS had done well for Bert the previous year so presumably doing it again seemed like a good idea, even if the movie is a far cry from its alleged source material. Back in the 1970s there were three ways of doing giant monsters: Ray Harryhausen-style stop motion, giant puppets or normal creatures filmed and blown up really, really big. Bert I Gordon (known as Mr B.I.G in some circles) always tended to go for the third option but there’s some decent puppet work in here too as Joan and the gang get to grapple with things as calculating, malicious and deadly as her own Alexis Carrington from TV’s Dynasty. Perhaps she used it for a few pointers. In fact the story goes that she was so upset at the 'low point' her career had reached with this she decided to radically overhaul things and starred in THE STUD the following year. The rest, off course, is history and, in way, she and her fans have Bert and his giant ants to thank for that. 

Eureka’s transfer is 1080p HD and unsurprisingly looks better than previous DVD releases. Extras include a jolly and affectionate seven minute introduction from Chris Cooke of Nottingham's Mayhem Film Festival which you might want to watch after the feature if you don't want to know too much about it, an 18 minute talking head piece from Kim Newman on the career of Bert I Gordon, and two commentary tracks, one with the director himself where he requires quite a bit of prompting from an interviewer who doesn't really know that right questions to ask, but don't worry because the other from David Del Valle and Michael Varrati is an absolute hoot with its anecdotes and facts you probably don't know including which kinds of flowers Madonna loathes. The limited edition of 2000 copies also comes with an ‘O’ card slipcase and a booklet featuring a new essay on the film, creature features in general and the 1970s in particular.

Bert I Gordon’s EMPIRE OF THE ANTS is out on Blu-ray from Eureka on Monday 22nd June 2026

The House of Hammer: Volume One (2026)

 

        As well as bringing out their own output in 4K editions in lavish box sets, and providing some much-needed releases for some of the other British horror movies made during Hammer’s heyday, the Hammer label is now also venturing into ‘video magazine’ territory. From this initial ‘issue’, The House of Hammer looks as if it promises to be an ongoing series that will collect documentaries, talking head pieces, short films and other bits and pieces that either work better outside of being attached to a formal Blu-ray movie release, or possibly got missed off previous discs, about which more later. This first volume consists of two Blu-ray discs and a 120 page book, along with the usual luxury packaging. So let’s take a look at what we get:

Disc One

The centrepiece (and very much the highlight) of the first disc is the first part of Masques, Monsters and Madmen, what promises to be a lengthy (part one runs 111 minutes) documentary on the history of American International Pictures . Director John Hamilton has assembled quite the collection of experts (including himself) to talk about the company, and these include Jonathan Rigby, Steve Haberman, Chris Alexander, Heidi Honeycutt, Richard Klemensen, Bruce G Hallenbeck and David Pirie. Of course any history of AIP is going to have a major Vincent Price element so its good to see both Vincent’s daughter Victoria and Keeper of the Sacred Flame Peter Fuller in here too. The documentary is divided into three parts: ‘The Drive-In Empire’, ‘Made in Britain’ and ‘The American Invasion’ and covers AIP’s beginnings, their Poe cycle of movies, and there’s welcome emphasis on the relationships between AIP and UK companies Anglo Amalgamated and Tigon. In fact that’s where we cut off this time around, with discussion of WITCHFINDER GENERAL and THE HAUNTED HOUSE OF HORROR but the documentary stopping short of THE OBLONG BOX.

Also on disc one is The Land Demands Blood, a 38 minute piece about Cornwall and featuring interviews with film-makers and writers all with Cornish links, including Mark Jenkin (BAIT, ENYS MEN, ROSE OF NEVADA). It’s divided into four parts with part three looking at Hammer’s PLAGUE OF THE ZOMBIES and THE REPTILE.

Finally for new material we get Off the Leash, a 45 minute piece from Jonathan Rigby looking at the career of Michael Gough. The disc is rounded out with Ticket to Happiness, a 30 minute obscure Hammer short written and directed by Peter Bryan and starring Michael Goodliffe and Charles Lloyd Pack, and a collection of lobby cards from STOLEN FACE that were missed off the 4K release of that film.

Disc Two

Disc two kicks off with a decent thumbnail summary of the history of film censorship both in the US (Chris Alexander, Heidi Honeycutt, John Logan) and the UK (Jonathan Rigby, John Hamilton and David Pirie). Do you know what the ‘X’ stood for in the UK certification? Find out here. That’s followed by Making Monsters, a 39 minute interview with special effects artists Dave and Lou Elsey who have worked on numerous big budget Hollywood projects, often influenced by the classic horrors of old. My favourite story was how they wanted a CURSE OF THE WEREWOLF look to one of the lycanthropes in Joe Johnston’s 2010 THE WOLFMAN.

After that is the highlight of disc two for film music fans as David Huckvale spends 39 minutes looking in some detail at the scores for Harry Robinson’s TWINS OF EVIL and James Bernard’s CURSE OF FRANKENSTEIN and DRACULA, with some choice bits from THE MUMMY’S SHROUD, THE DEVIL RIDES OUT and THE MUMMY in there, too. 

To tie in with this first issues’s AIP theme there’s the archival Roger Corman at FoFF (37 minutes), recorded in 1995 and featuring Roger providing an introduction to two of his black and white pictures, taking part in a panel that also features Norman J Warren and Robin Hardy, and finally being interviewed by Stephen Laws. 

We finish off with the Q&A panel from the CURSE OF FRANKENSTEIN restoration premiere from last year in which surviving star Melvyn Hayes was joined on stage by Kim Newman, Wayne Kinsey, David Pirie and Lucy Bolton. And as a tiny epilogue there’s the UK trailer for QUATERMASS II in which Valentine Dyall urges you to ‘Run!’ in his fruity voice.

The set also includes a 120 page book which wasn’t provided for review but which will apparently contain essays on the making of CRY OF THE BANSHEE, Caralan Productions, and more AIP. Overall, how much this set is going to appeal to the average buyer is difficult to say, because on the downside, and with the absence of any kind of ‘host’ to what is essentially a video magazine, (and with not even some explanation or curation on the menu pages), it could also be described as a collection of Blu-ray extras with no actual film to act as a thematic centrepiece. It’s all absolutely worthwhile stuff but at times it’s hard to shake off the feeling that quite a lot of it was intended to be included as extras on other discs, but there just wasn’t the time or space to do it. That said, the whole thing really is an impressive set of talking head and documentary pieces, and British horror obsessives are going to love it. 

The House of Hammer: Volume One is out in a two disc Blu-ray set from Hammer Films on Monday 15th June 2026