Hellraiser 4 & 5

As far as I'm concerned, there are five Hellraiser films that are worth having in your collection.  Every single one is at least worth a watch once, as a curiosity piece; but now that I've seen, for instance, Hellraiser: Hellworld, I hope never to see it again.  And while none of the sequels are in the same league as the original, the first four I'll revisit.  And I've already covered the first three in the series, so it was only a question of opportunity as to when I'd tackle parts 4 and 5.

Now, my initial impulse was to hold off writing about these two until better HD options surfaced.  But despite the odd, overseas and overpriced media-book, it doesn't look like anything better's coming down the pipeline.  Considering the current state of Miramax and the not particularly high regard these films are held in, even by Hellraiser aficionados, We may well be living in the final chapter.  So let's at least examine what we've got.
1996's Hellraiser IV: Bloodline is a huge mess.  To give you an idea, special effects artist turned one time director Kevin Yagher took his name off this, something the man behind Hellworld didn't even do.  Although that's largely because this film involved a second director coming in and reshooting a lot of Yagher's material, substantially changing the story.  But it's still a wonderfully ambitious mess that holds a strong appeal for fans who can see the intention behind the missteps on the screen.  I once spent a long time personally re-editing this film with the workprint, trying to bring it back as much as I could do the original script.  And that did yield a better version, but so many key scenes and effects don't seem to have ever been shot, so unfortunately I don't believe a director's cut would be possible, even imaging a scenario where that could get funded.  So the film as we have it is just a tool for us to help picture screenwriter Peter Atkins' vision in our minds' eye.
Best known for being the "Hellraiser in space" movie, Bloodline almost takes on the format of an anthology, telling the ongoing saga of the L'Merchant (inventor of Hellraiser's signature puzzle box) family line over three different generations.  So one is a period piece set in 18th century France, one's in contemporary US (ostensibly taking place in the location established at the end of Hellraiser 3), and one in far flung the future, in outer space.  Unfortunately, budget cuts and studio interference lead to the film getting bogged down in the space station material, with a bunch of generic space marines wandering around bland, dark hallways, and the French stuff is given the shortest shrift.  But there's still plenty of entertaining costumes, locations and new cenobites.  And the ideas in the story are interesting, if not always fully serviced, and stay stay truer to the classic Hellraiser ethos than the previous film, which was more fun and coherent, but at the cost of taking the series somewhat of the rails.
Hellraiser 4 came out on DVD in 2000 from Dimension/ Buena Vista, and as you might expect from an Alan Smithee film, it's barebones.  As an extra bonus, it's also non-anamorphic, so it was desperately in need of an upgrade.  And that came along eventually, in the form of blu-rays from Echo Bridge, who packaged it separately, as a split release with Hellraiser 5, or as a Hellraiser 4-pack (all still on one disc), with parts 5, 6 and 8.  I went with the double feature.  Now I mentioned mediabooks, and there are some slightly intriguing import releases.  There's a German set that includes a DVD of the workprint, for instance.  But nobody's making any new masters.  Well, there is an Australian disc with a scan of a film print that reportedly looks worse than the US discs, but at least it's an effort.  Everybody else is just passing around the same old master.  But hey, maybe that master isn't so terrible.
2000 US Dimension DVD top; 2011 US Echo Bridge BD bottom.
Well, it's a much bigger improvement over the DVD than I was expecting!  Granted, the fact that the DVD is non-anamorphic handed Echo Bridge the easy win.  But even besides that, the colors are much bolder and the AR is slightly adjusted from 1.81:1 to 1.78:1 (except for a few special effects shots that are inexplicably matted to 1.82:1) but is reframed to reveal an unexpected amount of additional picture.  Detail and is clear and the film grain looks surprisingly natural.  There's no DNR, edge enhancement or any other unwanted tweaking I'd been dreading before popping this in.  It's no cutting edge 4k spectacular, but Echo Bridge's blu looks surprisingly good.  The stereo mix is even in lossless DTS-HD.  Now, there are absolutely no frills, not even a trailer or subtitles (despite the latter being present on the DVD), but it's a perfectly respectable presentation of the film itself.
Now, Bloodline is the last film Clive Barker lent his name to, and upon its release, he seemed pretty dead set against Inferno.  But now looking at the long line of films, it may not just be the best of the post-Barker sequels, but in some ways better than one or two of the Barker-produced entries.  The acting has certainly improved over Bloodline, and it manages to avoid the cornier aspects of Hell On Earth (i.e. no CD-Head equivalent).  Rather than furthering the story of Pinhead, Inferno - probably wisely - is a smaller story, one that actually harkens back to the original Hellraiser graphic novels from the late 80s and early 90s, where new characters would encounter their own gateways to Hell, and face their own inner demons.  Doug Bradley's still in it, but he's returned to a very background role, as he was in the original story.  Despite the lack of Barker's endorsement, it feels like these guys got the intentions of the original writing more than Atkins and Co.
That said, it falls short in its own ways.  It obviously suffers from a very constricted budget, and the decision to make this a police procedural isn't the worst idea for an entry in this saga, but does make it feel like typical television fare.  And casting Nick Turturro straight out of NYPD Blue didn't help.  Nightbreed's Craig Sheffer helps us feel like we're still in the Barkerverse, but at the cost of a better performance another actor would've given us.  And the fact that the Hell factor has been dialed down definitely detracts from the thrills the previous four films delivered.  It feels like episode 1 of the Hellraiser cable TV show, rather than another film, and as the first of many Hellraisers to go direct-to-video, I guess that's not too far off the mark.  The cenobites look cool when we see them, but they only get a handful of minutes' screen time.  But still, Scott Derrickson, who's gone on to commandeer Marvel's current Doctor Strange flicks, has restored a degree of quality that it's kind of a bummer Clive never recognized.
2000 US Dimension DVD top; 2011 US Echo Bridge BD bottom.
I've seen some confusion over whether Echo Bridge's blu is 1080p or 1080i and now I see why.  I was pleasantly surprised with Bloodline; I definitely wasn't expecting one film to be interlaced and one not.  But that's the case here; The Inferno blu is riddled with combing, which also gives an ugly juttering effect to camera pans and movement.  The DVD wasn't even interlaced!  The framing is ever so slightly fixed from 1.77:1 to 1.78:1, adding slivers of picture along the top and bottom.  And the blu is a little crisper than the DVD, which is slightly compressed to a softer feel.  But it's very subtle.  And the colors and everything else are unchanged.  This isn't an upscale, but it's a very slight boost in clarity, and taking into account the interlacing, this is arguably a downgrade.  Personally, I'd rate it as a side-grade.

But again, the blu is again barebones.  The DVD at least had minimal extras: a six minute interview with Doug Bradley, an even shorter featurette where Gary Tunnicliffe gives us a look at the effects for the puzzle box and Pinhead's pins, and the trailer for Hellraiser 4.  So we've also lost those.
So Echo Bridge's release is actually a satisfying and entirely valid upgrade for the Bloodline DVD.  But for Inferno?  It's a tough call if the DVD is actually better or worse, all things considered.  But again, there are import blus.  And while, like I said about Bloodline, none of them are forging new masters, but by not being interlaced, you would genuinely do better by going for the German (which has the Doug Bradley but not the Tunnicliffe interview) or Japanese (barebones) BDs.  The only question is if it's worth the trouble.  Because, boy are the US blu-rays prevalent and cheap, and they're perfectly fine for Bloodline.  But I don't see remasters for either film anywhere in our future, so it's just a question of importing to fix Inferno's combing issue.  That's a call you guys are gonna have to make for yourselves.

Any Muse Is Good Muse

Flip over another scorecard, we're now up to ⓷ Albert Brooks films on blu!  That's Lost In America in 2017, Modern Romance in 2018 and now The Muse in 2019.  At this rate, we'll have his entire collection by the end of 2023.  So Universal's new Muse is good news, even if this Muse could... definitely be better.
The biggest criticism I think you can really lay at the feet of Brooks' sixth feature is that it relies a little too heavily on celebrity cameos and pop culture references.  Brooks stars as a struggling Hollywood screenwriter, and he doesn't miss an opportunity to pack the frame with his famous friends.  But it's impossible not to derive at least some pleasure from Martin Scorsese ranting about his ranting about his upcoming Raging Bull remake.  And once you scratch past the surface, you've still got Brooks' and Monica Johnson's consistently warm and clever writing, charming performances and a genuinely inventive premise.
There also seems to be a surprisingly introspective aspect to the premise, as Brooks' character is dealing with the issue that everyone's telling him his writing is losing its edge... which seems to be the most common complaint laid at his own later work.  Sort of like everyone telling Woody Allen he should stick to writing funny movies in Stardust Memories, except Brooks seems to take it to heart and use it as a catalyst for honest introspection.  In the story, he reaches a point of desperation that he reaches out to his friend, Jeff Bridges, for some kind of assistance, and is surprised when Bridges cuts him into a deep Hollywood secret.  The nine muses of ancient Greek mythology, the daughters of Zeus, are real and at least one of them is living in California, providing the artistic inspiration that's enabled famous filmmakers like Rob Reiner and James Cameron (who yes, both cameo) to create their Oscar winning works.  Bridges agrees to set up a meeting with this muse, played with a surprising verve for comedy by Sharon Stone, who's certain to bring back his edge, so long as he manages to keep her completely happy at all times.  There's plenty more cameos I could list, but one of the reasons this movie endures is how much of this film really just plays as a touching family comedy in the home with his wife Andie MacDowell and two daughters.  It also has a robust and magical score by none other than Elton John, composing for a film for the very first (and only?) time.  He's certainly provided hit songs for Disney musicals and stuff, but I think this is his only complete, traditional soundtrack gig.
The Muse debuted nice and early on DVD in 1999 as a flipper disc with wide and fullscreen versions from a short-lived subsidiary of Universal called USA Home Entertainment.  Universal reissued it slightly repackaged in 2010, but that one DVD's basically been it all the way to this year.  Finally, Universal has now released it on blu, though it doesn't look like they've bothered to strike a new master during all that time...
1) 2000 USA HE fullscreen DVD; 2) 2000 USA HE widescreen DVD;
3) 2019 USA Universal Blu-ray.
Let's start with the good news.  The fullscreen side of the DVD is a needlessly open matte 1.33:1, while the widescreen is slightly pillar-boxed to 1.81:1.  So this blu slightly tweaks the AR to a proper 1.85:1 for the first time on home video.  And this is a genuine, HD 1080p disc, so it is visibly sharper and cleaner than the soft DVD.  The colors and contrast are fine, and just a smidgen more robust than what we had before.  The problem, as I said, is just that this appears to be the same, quite dated master.  Film grain is there, if a bit smudgy.  But they would just about get away with it as a perfectly acceptable blu, if it weren't for the garish edge enhancement.  This was clearly made to keep the old standard def compression from swallowing up detail, and its use is debatable even then.  But on the BD, it really looks bad, giving the film not just an artificial, compromised look.  But it can be downright distracting as it will randomly make a minor element like the desk lamp between MacDowell and Stone shine and attract your attention away from the people.  It's just clumsy, ugly and distracting.  Universal's clearly attempted to do everything right with this disc - it's dual-layered, the audio is lossless, etc - but it's weighed down by this clunky old master.  It's still unarguably superior to the DVD and the best edition on the market.  But for 2019, it's disappointing.

The DVD gave us a choice between a stereo and 5.1 mix, which the BD whittles down to just the 5.1, but it is in DTS-HD.  The DVD also included English, French and Spanish subtitles, which the BD boils down to just the optional English subs.
the teaser
The DVD was far from a special edition, but it wasn't quite barebones.  It had a cute, little six minute featurette with light-hearted interview clips and B-roll, including a bit with Elton.  Then there was the trailer and a teaser trailer, and that's about it apart from on-screen text stuff like cast and crew bios and a silly history of muses.  No online listings mentioned word one about extras, so I was pleasantly surprised to see the BD actually kept the featurette.  It dropped the trailers, though, which is disappointing because, rather than just your average clips from the film, the teaser was actually a funny little routine where Brooks comes out and addresses the audience and does a unique comedy bit.  Oh well.
So yeah, it's not great.  It's a shame they didn't bother to remaster this film, especially since this film clearly needed it more than plenty of titles that have gotten multiple remasters.  And it's a shame they dropped the teaser and didn't bring in Brooks for a commentary, etc.  But, you know, for a catalog title like this, it's not like anybody really expected Universal to roll out the red carpet.  It's a disappointment but still worth adding to your collection based on the strengths of the film if not the disc itself.  And it is a solid bump up from the DVD at least.  It's just... not great.  Getting The Muse at all on blu is good news, though this disc does put the test to that theory.  We just better get our next Brooks film sometime in 2020.

America's Forgotten 80s Gooey Horror Nightwish, Unearthed At Last!

Look, I can get into the cheap, trashy 80s slasher films as much as any horror fan, but I wish more 80s horror was like this: creative, stylish, special effects heavy and inventive flicks about supernatural/ sci-fi madness was as appreciated by genre lovers. Sure, much of the same weaknesses tend to carry through: questionable acting, low budgets, contrived scripts that exist just to get the characters into their highly unlikely situations. This obviously isn't the kind of profound movie to rank alongside the classics like Citizen Kane or Cries and Whispers. But I still can't understand how there isn't a fervent cult audience clamoring for a special edition release of this film.

Update 9/17/19:  Man, I love ripping the M.I.A. tag off of posts because they've been updated with proper releases, and that's just what has happened here.  Unearthed Films is releasing their 4k restoration of Nightwish on blu... today.  And it's everything you could want for this film.
A beautiful woman in a fancy red prom dress is wandering the suburban streets at night when she spots a severed arm in someone's front lawn. She comes across a few more body parts before she finds herself being chased through a stylized landscape by an bloodthirsty zombie. She's cornered and suddenly she wakes up. It turns a scientist/professor and his students are studying peoples' fears by reading their dreams as they lay in sensory deprivation tanks. Naturally. Anyway, the info they're getting is okay but frustratingly limited because "none of you has been able to project his own death!" Fortunately, the doc happens to have a haunted, radioactive cabin out in the desert someplace where they can hunt for ghosts and scare up better results. Naturally. So they all go up there, driven by Fright Night II's Brian Thompson, who seems to be a bit of a violent psycho. Well, of course things get out of hand right away, a green ghost materializes, and soon everybody's fears seem to becoming real and they start dying. Are they going crazy and killing each other? Is the ghost killing them? Is the doctor dispatching them as part of a mad experiment? Or is it all the result of a government conspiracy to cover up space aliens? Oh boy, it's all in here!
The plot twists and turns, and there's plenty of misdirections and reveals; but it doesn't necessarily wind up making any sense. It's mostly an excuse just to have a variety of different kinds of horror sequences, including big, slime-covered prosthetic effects by the great KNB team (who are the real stars of this movie), dark atmospheric moments, light shows, broad acting, underground caves, possession and a killer dog. Nudity is sparse but gratuitous. Lights are colorfully gelled. It's all played refreshingly straight, without any of that winking at the audience irony that started creeping into horror in the 90s. There's even a rocking "Nightwish" hair-metal theme song. Sure, by conventional standards it's a bad movie; but it's so awesome!
For years and years, it had never been released on DVD, let alone blu-ray, in the USA. And even what had been released in foreign countries was dodgy and very difficult to track down at best. I spent way too much time and cash tracking down two low quality import DVDs: one from France's Antartic and one from Spain's Manga Films, which we can at least use to compare to Unearthed's new release (there's also a German DVD from Laser Paradise, but that's German audio only with no subtitles), because they've finally done this film justice by releasing it as a special edition blu-ray, with a fresh 4k scan and color correction of the original camera negatives.
1) French 2003 Antartic DVD; 2) Spanish 2006 Manga Films DVD;
3) US 2019 Unearthed BD.
Oh yes, what a difference!   Let's start with the framing.  Both DVDs are 1.30:1 fullscreen.  They're clearly somewhat open matte (can you spot the boom mics?) but have also chopped a lot of information off the sides.  The framing is actually a little different between the two DVDs. In fact, a lot's different between them, but sticking with the framing for now, we see that the French disc has more image on top and the Spanish has more on the bottom. The second shot seems to be zoomed in on all four sides on the Spanish disc, possibly to mask the boom, since that tighter framing crops it out (though they missed it in the first set of shots).  Unearthed goes with an unmatted 1.78:1, which should probably ideally be a little tighter along the top to 1.85:1 - and is also what it claims on the packaging - but how can you complain when this is the first time Nightwish looks like a real movie?  And that's just the framing!

In general picture quality, the Spanish is the worse offender.  It's softer, fuzzier, and paler than even the French DVD, which was evidently taken from a different source.  The French disc has its own issue with edge enhancement, but it's all academic now that Unearthed has come and blown them out of the water.  Grain is natural, if a bit light for 4k, and the image is far clearer and more photo realistic.  The colors really pop, too, compared to the DVDs, which each suffered from varying degrees of fading, particularly the Spanish DVD.  There's sporadic flecking and dirt (the DVDs had a little, too): enough so you'll notice it, but it's never to the point where it's an irritant.
So before Unearthed came along, the French disc looked like the overall winner, right?  That's why I ordered the French disc first.  That turned out to be a mistake: you'd think an American English language movie would have its original English audio track on a DVD in any country, but nope. It was more common on older discs like this one to only offer the dub version for its native country. So in this case, the French disc only has French audio (in "Hi-Fi Stereo") and no subtitles.  That's why I then hunted down the Spanish disc, which does have the original English audio, in mono. It also has a Spanish dub and optional/ removable Spanish subtitles.

But of course, there's no need for that anymore, because Unearthed's US blu-ray obviously has the original English audio, in uncompressed/ lossless PCM 2.0.  This time there's just the one track - no "vintage" audio mix like their previous Unearthed Classics discs - and no subtitle options.
Another important reason to go with Unearthed's new blu (as if any additional justification were needed after the above comparison) is the fact that the DVDs are barebones.  Well, the French disc has a stills gallery of five shots from the movie and the poster image.  Whoopdeedoo.  Oh, and the Spanish disc has that infamous "you wouldn't steal a car, would you" autoplay commercial... but in Spanish, which was novel to see.  But yeah, that's it.  Nothing.  But Unearthed gives us a brand new  audio commentary with executive producer Paul White, again moderated by Unearthed's Stephen Biro, the same pairing from their Dark Side Of the Moon disc.  They seem to be locked into a heated competition as to who remembers less about the movie they're watching, and they spend a lot of time awkwardly reading from print-outs of their imdb pages, but it's still worth the listen for fans.

Anyway, Unearthed also has a much more robust photo gallery, which gives you some great behind-the-scenes looks at some of KNB's most elaborate effects and a really weird piece of promo art, plus the trailer and bonus trailers for Unearthed's other Classics titles (including the Unnamable that was missing from its own disc).  This is less than their previous releases, which also featured multiple on-camera interviews, so there's a bit of disappointment there; but it's obviously far more than anybody else has managed to do for this film.  The first run of 1,000 copies also comes in a slick slipcover and includes a full color, 24-page booklet with an essay by Art Ettinger of Ultra Violent magazine and a reproduction of the film's original production notes.
I originally wrapped up this post by talking about how Nightwish really needed the exact kind of release it's just gotten.  Mission accomplished, gang! This is a fun one.  Now let's support it so they can bring us Unnamable II and whatever other overlooked 80s gems they may have their eyes on.

Importing Ang Lee's Complete Father Trilogy

Ang Lee's Father Trilogy is in a difficult, but not impossible, situation on home video.  If you're not aware, his "Father Trilogy" consists of his first three feature films, which just so happen to also be the only three of his films where Lee also takes a writing credit.  They've been so dubbed most plainly because all three star Sihung Lung (he was also Sir Te in Crouching Tiger, Hidden Dragon) in a patronly role.  But also, as Lee has explained in interviews, because all three films were created as ways to prod and react to his relationship with his own father.  And it's pretty difficult to get the whole trilogy here in the US, but I've imported a couple alternatives to explore our international options.
1992's Pushing Hands starts things off small, but hides a surprisingly robust tale.  Lung is a Chinese citizen, staying at his son's house in America, where he spends most of his days with his working-from-home daughter in-law, Deb Snyder.  It's an oil and water culture clash, alleviated only by the time he spends away, volunteering as a Tai Chi instructor at a local Chinese school.  It starts as a light comedy with some heartfelt dramatic underpinnings, but goes in some unexpected directions as we discover the true depths of Lung's abilities.  This is clearly a low budget debut, and it feels unpolished compared to Lee's subsequently masterful body of work.  But everything that's important - i.e. the writing, the characters, the performances - are as mature and rewarding as the best of his ouevre.
Pushing Hands is the real sticking point when it comes to getting this trilogy on disc in the US.  There was an initial DVD from Image Entertainment in 1999 that's long out of print and very hard to come by.  What's more, it's barebones, fullscreen and looks like it's sourced from the tape transfer they used for the VHS, so it's not worth the lengths it would take going through to obtain anyway.  But that's all we've ever gotten.  So I tracked down two foreign blu-ray sets: Sony's 2013 Taiwanese "Ang Lee's Father Trilogy Remastered Version" boxed set and Koch Media's 2015 German "Ang Lee Trilogie" boxed set.  Now the German set is region B locked and not English friendly (a fact I'll keep repeating, because I'd hate to see anyone rush off after just skimming this post and getting screwed), but the Taiwanese set is all-region and subtitles everything into English.  And yes, even though this and the next film take place in America and have some English dialogue, more than half is in Chinese, so unless that's your native language, you really need those subs.
1) 1999 Image DVD; 2) 2013 Sony BD; 3) 2015 Koch BD.
So yeah, look at that DVD.  They don't make 'em like that anymore, thank goodness.  It's a fullscreen 1.32:1 (somewhat open matte, but definitely cropping the sides as well), washed and faded image with dark whites and light blacks.  Why did I leave the subtitles on in that second set of shots?  Because, oh yeah, they're burnt in.  And the blus?  They're virtually indistinguishable, clearly sharing a common master, with even the encoding appearing nearly identical.  So they're both a massive leap forward from the blu.  This was actually my first time getting to see Pushing Hands in its proper widescreen 1.85:1 ratio, and I have to say, it makes it feel more like a proper film and less like the direct-to-video flick it's always felt like.  Grain is solid and this doesn't look like it's been DNR'd, sharpened, or otherwise tinkered with.  Moments of deep shadow to look a little crushed, unfortunately, but that's really the sole flaw here.  And again, considering what we've had to live with for so long, they're a freakin' revelation.
Audio-wise, as you can probably guess, the Image DVD just has the one Chinese/ English stereo track.  Curiously, it also comes with an informative insert, defining all sorts of audio and DVD terms for us[left].  And again, the Chinese dialogue has burnt-in English subtitles.  Speaking of repeating myself, let me just reiterate that the Koch set is not English friendly, offering us the same stereo track, now boosted to DTS-HD, with only removable German subtitles.  The Taiwanese set, naturally, doesn't have German dubs or subs, but does have the original audio in lossless LPCM and optional/ removable English subtitles (as well as traditional and simplified Chinese).  It's worth pointing out that these subs transcribe both the English and Chinese dialogue, so it isn't quite as nuanced as the DVD's subs that only translate the Chinese.  But that's a tiny annoyance, all things considered.

The Image DVD had absolutely zero extras, and the Taiwanese BD isn't much better, with only a nice stills gallery.  But the German blu has a substantial, all-new featurette interviewing Ang Lee and co-producer/ co-writer James Schamus.  That also only has optional English subtitles, but the entire featurette is spoken in English, so it actually is completely English friendly.  It's also pretty terrific, well conducted and edited that provides a lot of information and insight into the story behind the film, from its inception to its release and surprise success in Taiwan (hence them getting this film restored on blu and us not).  A very pleasant discovery.
1993's The Wedding Banquet is the out and out comedy of the trio.  The set-up is similar: another young Chinese man living in a relationship, whose traditional Chinese parents (including Lung, of course) come to stay with them.  The twist, this time the son is also gay and has to hide his relationship from his family while they're here.  And the ante is upped when a young female friend is in sudden need of a green card.  What could be the ideal solution to these issues?  Why, a sham wedding, to fool the government and the family, of course!  So, this spills into classical screwball comedy of errors territory here, with everybody keeping secrets, playing roles and telling increasingly convoluted lies that are naturally bound to blow up in their faces sooner or later.
The Wedding Banquet isn't nearly such a disaster here in the states.  The 2004 DVD from MGM is actually quite respectable, with an anamorphic widescreen presentation and even a nice little featurette for an extra.  And unlike Pushing Hands, this has been released on blu, by Olive Films, with the featurette from the DVD and everything.  I don't have that disc, though, since I've already got the film in my 2013 and 2015 boxed sets from Taiwan and Germany.  And no, the German disc of this film isn't English friendly either.
1) 2004 MGM DVD; 2) 2013 Sony BD; 3) 2015 Koch BD.
So yeah, now everything's in roughly the same aspect ratio.  The DVD is actually slightly off at 1.83:1, which the blu-rays correct to 1.85:1, finding at least a sliver of additional information along all four sides.  The colors are a little bit cooler, but only so's you'd notice in a direct comparison like this.  Again, both blus are virtually identical, and for the most part are a very satisfactory HD presentation, although the shadows might be ever so slightly crushed (not so much in either of the comparison shots, but scroll up a little higher to the shot of them eating dinner together).  But considering now nice and uncrushed other scenes appear, like the black tuxedos above, it's a minor issue.  Detail is strong and film grain is natural, though, and overall the blus are discs quite satisfactory.

Except of course, that the German blu isn't English friendly.  Gotta keep pointing that out.  MGM has the original mono track in 2.0 with optional English, French and Spanish subs.  Koch's blu has the same mono track, but bumped up to lossless DTS-HD.  Unfortunately, it only has German subs, and a lot of the film is spoken in Chinese.  Fortunately, Sony's blu solves that with the same audio track in LPCM, and optional English (which again translate both the English and Chinese parts), plus traditional and simplified Chinese.
Extras-wise, MGM has that nice featurette, which runs just about 20 minutes long, and cuts back and forth between Lee and Schamus, in a light but informative little feature.  It also has the trailer.  And again the Taiwanese set only has a photo gallery.  But Koch comes along to stomp over all that came before them with their extras.  They have all new on-camera interviews with Lee and Schamus which run twice as long, and get more than twice as in-depth, as MGM's.  And they have another 20+ minute interview with co-star Mitchell Lichtenstein.  They've gone and given this a proper special edition.  They also have the trailer, but it's dubbed in German.  Their interviews, however, are completely done in English, with removable German subs.  I've got to hand it to Koch, they've really done a nice job with their special features here.
Finally, we end with the strongest film in the series, 1994's Eat Drink Man Woman, this time co-written by Hui-Ling Wang.  There are light touches, but this far less overtly comic than The Wedding Banquet, instead telling the touching, interconnected stories of a father (you know who) and his three daughters.  I remember a big deal in the marketing and the reporting for this film about the on-screen cooking; and yes, a series of master chefs were hired just to play Lung's hands as he prepared various, complex dishes.  Then movies like Big Night and Tortilla Soup started coming out in its wake, and the press started acting like "food movies" were becoming a genuine genre of filmmaking.  So it's funny to hear Ang Lee talk about this film and explain that originally Lung's character was going to be a master tailor, rather than chef, because all the food stuff is just superficial trappings for the heartfelt stories being told between its characters.  Lee has also become a bit more polished and stylish over the last couple years, and the production values just feel naturally higher by virtue of the fact that the film is now taking place, and being filmed in, China rather than NY.
And at first, the Eat Drink Man Woman situation feels much like The Wedding Banquet's situation.  We've got a perfectly respectable widescreen DVD with another interview featurette, this time released in 2002.  And again, it has been issued on blu in the US by Olive, although this time barebones and with forced subtitles for whatever reason.  A little disappointing, but who cares?  I've got my 2013 Sony and 2015 Koch blu-ray sets.  But this time... something's a little different.
1) 2002 MGM DVD; 2) 2013 Sony BD; 3) 2015 Koch BD.
This time the blu-rays are different!  And not just, like, minor encoding distinctions, they're clearly based on quite different transfers.  This time the DVD is a 1.80:1, with more noticeable pillar-boxing along the left-hand side.  And the Koch BD corrects this to 1.85:1.  Just the Koch, because Sony's Taiwanese blu actually goes for a more open 1.78:1 framing, with even more picture along all four sides.  So it's better?  Well, I wouldn't go that far.  Grain is decent on both blus, but more consistent on the Koch.  And the colors are all over the place on these discs, with essentially three different sets of color timing.  Like, just what color is this woman's shirt, anyway?  At some points you can chalk it up to an unknowable matter of individual preference.  Unless Ang Lee or his DP walk into the room, we can only take guesses and apply our personal judgment as to which colors are more correct.  Except, midway through the Sony blu, one scene gives us a pretty big clue.
1) 2002 MGM DVD; 2) 2013 Sony BD; 3) 2015 Koch BD.
Now, admittedly the DVD is a too dark in its own right, but the saturation levels in the shadows in this dark office scene are way off the charts on the Sony blue... I mean blu.  Now, the whole movie doesn't look like this.  You can see in the earlier cooking shot, the Sony blu has genuinely black blacks.  But here it's not a matter of taste; something's clearly just wrong.  Then you go back to the other shots, which aren't way off like this, but you still see plenty of signs of this blue for black push, more subtly in other scenes.  It's only this and one or two brief other moments that basically take place in the same office location at night that are off like this, but it really says, "hey, go with the Koch!"

But the problem with that, of course, is that the Koch isn't English friendly!  MGM's DVD features the original Chinese stereo track with optional English, French and Spanish subtitles.  Koch has the original Chinese audio in DTS-HD, but with only German subtitles, while the Sony again has the original track in LPCM, with optional English, traditional and simplified Chinese subtitles.
So MGM has another nice little featurette with Lee and Schamus, plus the trailer and a teaser.  They talk more about the food stuff on here.  Again, Sony only has a photo gallery.  Koch has two more new interviews with Lee and Koch, where they get a little deeper into the film.  This is the one where they explain how the father was going to be a tailor, etc.  And they have another dubbed trailer, but their interview pieces are once again in English with removable German subs.

Both sets are nicely packaged.  The Koch comes in a nice slip box with a separate slim digipacks for each film.  But the Sony's even nice, with a harder, thicker box housing three blu-ray cases, each in its own slipcover.  And there's an outer... obo sort of art piece on the exterior, with embossed gold lettering.  Genuinely fancy stuff.
So, it's a little more complicated than I'd like it to be; but the good news is, at the end of the day, we can own the complete trilogy on blu in very solid editions... with a nice selection of extras, too, if you're willing to spring for multiple editions.  The Taiwanese set is a nice way to get all three films in solid blu-rays, even if their Eat Drink Man Woman is a little weird.  If it bothers you, you can always just pick up the Olive disc to round everything out.  And if you want some nice extras, the German set is surprisingly good, although again, it isn't viable for the films since it doesn't subtitle them into English(!).  It's only good for the extras.  But as a companion piece, it's sweet as.