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Ozploitation Rarities Volume 2
[Blu-ray]
Blu-ray ALL - Australia - Umbrella Entertainment Review written by and copyright: James-Masaki Ryan (13th March 2025). |
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The Film
 "Ozploitation Rarities Volume 2" Umbrella Entertainment has been doing incredible work with the Ozploitation genre, giving a number of Australian exploitation films from the 1970s and 1980s a newfound interest by film fans all over the world with DVD, Blu-ray, and 4K releases. But a number of films in the genre have fallen through the cracks. Umbrella's line "Ozploitation Rarities" is rescuing some long forgotten films and this second volume has some fascinating works that are making their debuts on the Blu-ray format. Interestingly, they were shot on film but none of them had theatrical releases, and one film in the set never even had a legitimate Australian release on home video. The three film set collects these three obscure works from down under: "Desolation Angels" (1982) Jilly (played by Kim Trengove), Joanne (played by Kerry Mack), and Liz (played by Marie O'Loughlin) are three high school girls that decide to take a trip to Portsea secretly for the weekend. But while on route, mysterious black cars continue to follow them, sometimes even seemingly trying to push them off the road. Though they arrive at their destination unscathed, their time alone becomes a time of unsettling terror. Meanwhile, there is Pamela (played by Karen West) who is hiding out in the home next door to where the girls are staying. Stealing cash from her criminal boyfriend, her weekend will be just as, if not more terrifying. "Desolation Angels" plays the cliches of the women in distress features, but in this case there is no bravado male to come to the rescue, as basically every male character in the story is sleazy or violent. There are some funny moments of the teenage girls talking and bonding during their weekend and also bonding with the older woman next door on the run. While it is interesting to see the two stories criss cross at the start of the story, the convergence does not seem to have much to do with each other. The production has some good driving sequences as well with the black cars chasing the girls and the final stunt as well, with the cars representing the male extension and gaze at its worst, preying on the women in disgusting and dangerous ways, eventually through some deadly sequences. West has some nude scenes in this film, though they may have been expected as she was an Australian Playboy Playmate. Without much acting roles to her credit, she does a fair but not spectacular job with the character. This also goes for the teen girls played by Trengove, Mack, and O'Loughlin who are fair, though not placing any substantial weight in their performances. The script was written by Christopher Fitchett and Ellery Ryan who were also the director and cinematographer respectively, and while they did a good job directing the action and using the outdoor and indoor locations wisely, the lack of character depth and fairly thin plot make it an average film to say the least. It certainly holds up well in the exploitation genre with its nudity and violence, "Desolation Angels" does not have an edge over its similar counterparts. The film was produced by Winternight Productions which was their first and only feature. The film unfortunately was not picked up for theatrical distribution in its native Australia or overseas, going straight to video in various markets including the United States, in which they retitled the film as "Fair Game" for release in 1983, which is not to be confused with the 1986 Australian film "Fair Game", a much better known Ozploitation feature. The film never had an official release in Australia except for a screening at the AFI in 1982. No theatrical, no home video release for all these years until now, with Umbrella Entertainment restoring the film and giving it its first official home video release in the country and its Blu-ray debut worldwide. "Coda" (1986) Kate (played by Penny Cook) is distraught when her neighbor Anna (played by Vivienne Graves) is thrown out of a window and critically injured by an assailant. The main suspect happens to be Kate’s ex-husband Mike (played by Patrick Frost) who was found at the scene, though claims his innocence. Detective Sergeant Turner (played by Olivia Hamnett) is assigned to the case, and Kate is also looking for answers, along with friend Sally (played by Liddy Clark), and music professor Dr. Steiner (played by Arna-Maria Winchester). But the body count rises with the investigation getting closer to the truth… "Coda" takes many cues from Alfred Hitchcock's "Psycho" and Brian De Palma's "Dressed to Kill", as well as John Carpenter's "Halloween", especially with the killer's mask resembling the Michael Myers mask. Maybe the homages might be too on the nose, as the originality in the script might be lacking. What is very unusual is that the cast is almost entirely female led, with the victims, the investigator, and (spoiler!) the killer as well. There are a few male characters such as with the ex-husband but most of the heavy duty comes from the female characters and it is a refreshing touch to see. Again there is no macho male to the rescue in this feature, but women in powerful positions, whether in law enforcement or in academics. There is the bumbling character of Sally who is very oddly introduced midway into the story for no straight reason except for some comedic happenings and giving Kate some dialogue and banter. The story has some gory sequences and good makeup effects, but the scares and the death scenes aren't particularly well done. The opening sequence with the woman thrown out the window and the "Coda" window scenes have terrific stuntwork, the editing and timing do not, especially when comparing to the three films mentioned above that had great scares and jumps while also bringing in tension for the audience. Some of the killings are awkwardly paced and cut, and there could have been some fine tuning to these scenes to give better effect. On the other hand, the dialogue scenes and other sequences are well done with fine performances, great direction and editing. But for audiences looking for a serial killer feature, this aspect comes off as a disappointment. There are also issues with the logic behind much of what happens, such as the mysterious key that is featured from the beginning seemingly being a red herring as it never answers what it was for, some of the killer's actions being almost too convenient, and the aforementioned issue of bringing in another main character in the middle of the feature. Music is a supposed highlight as it has a great opera sequence and some music scenes due to one of the characters being a music teacher, it does not feel particularly necessary to the plot altogether. A lot of good ideas were placed together but they lack a cohesive bond. Overall, "Coda" is surely entertaining, but it is not the best in conveying terror, but more for character. Co-written and directed by Craig Lahiff, the production was produced for having either theatrical or television distribution, but unfortunately it went directly to home video in its native Australia, as well as in other countries. It was only available on VHS for decades and long out of print, but it has finally been brought back for a new generation, restored and released on the Blu-ray format by Umbrella Entertainment. "The 13th Floor" (1988) When Heather (played by Lisa Hensley) was a child, she witnessed her powerful businessman father Robert Thompson (played by Tony Blackett) carry out an order to electrocute and kill the young son of a business rival, which has traumatized her into her adulthood. Twelve years later at twenty years old, she is looking to escape from her father’s grip, running away and squatting in the abandoned 13th floor of a high rise with her best friend Rebecca (played by Miranda Otto). John Burke (played by Tim McKenzie) works in social security in the building and spots the girls in hiding, as does the janitor Bert (played by Jeff Truman), though they try to help the girls by keeping their whereabouts secret. But the 13th floor is where Heather’s trauma starts to return, as it was the place where the young boy was killed all those years ago, and his ghost is still haunting the place… There are many things to unpack in "The 13th Floor", with the center being Heather who is decently played by Hensley but seems to lack a lot of depth, even if she is the character with the most background information. The daughter of a wealthy and powerful mogul, a traumatic incident from childhood, there are many things to work with but the story presents her fairly two dimensionally. The characters around her have some interest, such as Rebecca and the romantic hints that are placed towards Heather, but also her heroin habit that ultimately overtakes her. But the character is literally and figuratively wasted, by not having enough to attract attention. The character of Bert seems like a fun person at the start, though he turns out to be a male pig that seems cliché especially in the poolside scene. John is the only seemingly nice guy out there, but it doesn’t go into why he risks his job and his life to help Heather, unless you count the sexual emphasis which is the obvious direction. With Robert Thompson on the other hand going from powerful business mogul to politician, these days it might seem like a logical outcome but not much is mentioned about the time in between and how much power he has. In addition, as to why he desperately needs to find his daughter is not entirely clear. The supernatural element is also wasted, with a few scenes here and there and culminating in an ending that does not make any logical sense. Did the boy give his powers to Heather? Is Heather given the ability to teleport? There could have been a lot more to place the relationship between the boy and the traumatized girl together, and having her overcome her past in a gradual sense rather than an easy disposal. There is an obvious connection to the ghost of the boy and the girl that saw his death, but it is not given any emotional connection. Instead it is just hints of his electrical control that is able to help Heather in certain situations. There are numerous examples of ghosts of children and their spirits haunting for vengeance, but "The 13th Floor" is not a great one. It is fun, yes in a campy fashion, but with so many holes in the logic and too many coincidences to get from one point to the other, it makes audience question the motives of not just the characters, but the filmmakers as well. It is still a fun watch with the insane effects scenes, the set pieces, and the creative work done on a low budget. The combination of the teen runaway, cat and mouse, and supernatural elements are a bit of a stretch to combine together cohesively, though it is never dull as the pacing keeps things moving throughout. Here is another example of the male characters being shown mostly in a negative light, from Heather's father and his goons, the horny janitor, etc. The character of John is the only saving light and he actually is a helpful one even if he is technically breaking the law. (Going through the films in this set back to back, it was actually honestly refreshing to see a male character that wasn't a complete dick.) The film was the first and only film directed by Chris Roache, who was also the writer of the screenplay. His career subsequently went towards writing and producing for Australian television, and it is interesting to see where he started. The film has notable actors including Hensley and Otto who have had lengthy successful careers, and again it may not be their strongest in their filmographies, but fascinating nonetheless. The film was screened at the Cannes Film Festival for international sales, and was picked up for distribution in the United States, the United Kingdom, Germany, etc. Unfortunately the film never received a theatrical release, both in its home country or internationally, as every distributor that licensed the film opted to release it straight to home video instead. It was long forgotten about as it was stuck on VHS for decades, it has now been restored and remastered by Umbrella Entertainment for the film's worldwide Blu-ray debut. Note this is a region ALL Blu-ray set
Video
Umbrella Entertainment presents "Desolation Angels" and "The 13th Floor" in the 1.78:1 aspect ratio in 1080p AVC MPEG-4, and "Coda" in the 1.33:1 aspect ratio in 1080p AVC MPEG-4. All three releases have been remastered from the best known film elements, and Umbrella Entertainment have done a stellar job on all three, though there are still some imperfections to be found. "Desolation Angels" was shot on 16mm and blown up to 35mm, and a 35mm source was used for the restoration which was done in 2K resolution and approved by cinematographer Ellery Ryan. Due to the source, there is heavy grain and thick colors, though they have been stabilized very well here, with colors not fluctuating and grain being managed well. Colors can sometimes look a little faded especially with reds and some depth can be lacking in the darker portions. Damage has been thoroughly cleaned to remove scratches and debris while keeping its filmic look. For "Coda" is an open matte transfer, scanned and restored from a 35mm source in 2K resolution and approved by cinematographer David Foreman, who framed it particularly for the television format and possible theatrical screenings which would have matted the top and bottom slightly. The image looks quite good with colors being nicely presented which are bright in the light sequences while darkness is well rendered in the dark scenes. The image has been cleaned very well by removing scratches and debris, while not touching the film grain. The framing is stable as are the colors, and there is not much if any to fault with the transfer here. "The 13th Floor" is remastered and restored in 2K resolution from a 35mm source and approved by director Chris Roache. This is the best looking of the three features, with bold and bright colors, excellent depth, and the special effects lighting is also rendered nicely. Colors and the image are stable throughout and there are no signs of major damage to be found. Excellent work on the restorations of all three films by Umbrella Entertainment. The runtimes for the remastered films are as follows: "Desolation Angels" - 85:40 "Coda" - 99:35 "The 13th Floor" - 91:45 Found in the bonus features for the latter two films labeled "The VHS Experience" are transfers of videotape sources for the films. For "Coda" the aspect ratio is also in 1.33:1 like the remastered version, and "The 13th Floor" is also presented in 1.33:1, being open matte. For these presentations, they are from 25fps PAL sources transferred to 1080p at 24fps. They have the obvious deficiencies of the format, with tape errors, washed out colors, blurrier images, and issues with the sound in comparison to the remastered versions. They are not the ideal way to experience the film, but they are nostalgic pieces for people who happened to watch them via video rental back in the 1980s or 1990s, and are a fun way to see how they were experienced. The runtimes for the "VHS" versions are as follows: "Coda" - 99:35 "The 13th Floor" - 89:59
Audio
English Dolby Digital 2.0 mono All three films feature a lossy Dolby Digital track in the original mono. This is an odd choice as Umbrella almost always includes lossless DTS-HD Master Audio tracks for their releases, and even the packaging has DTS-HD Master Audio logos printed. This is a disappointment (especially as their Volume 1 boxset had lossless audio), but there are other issues to report as well. For "Desolation Angels" the mono track is fairly flat, though dialogue is well balanced against the music and effects throughout, and there is no noticeable damage to be heard. "Coda" sounds very good, especially as it showcases music with the theme of the film as well as for the soundtrack cues. Dialogue here is also well balanced, easy to hear and without any damage or issues to speak of. The VHS transfer's audio is a bit flatter and has some hiss and damage that is noticeable in comparison to the remastered version. "The 13th Floor" is oddly mastered at a much lower volume, so having to crank up the audio will reveal at times some hiss and crackles at point. While dialogue and sound are fairly good, it is sometimes lacking depth. As for the VHS transfer's audio, it actually sounds at a better volume than the remastered. Although here the hiss and damage is more noticeable. There are optional English HoH subtitles available for all three remastered films, in a white font. There are no subtitles offered for the two films with the VHS transfers. The subtitles are well timed and easy to read, but there were some examples of subtitles disappearing quicker than expected and a typo here and there, such as in "Coda" there was one subtitle saying [tinct], which is a mystery.
Extras
Each film is on its own disc with each disc having its own extras. DISC ONE "Desolation Angels" Audio commentary from director Chris Fitchett and cinematographer Ellery Ryan (2024) This new and exclusive commentary has Fitchett and Ryan recalling about the film's production and behind the scenes information. They discuss the homage to the opening narration, the two separate verging storylines, the toxicity of males seen, the low $300,000 budget and how it was raised, the influence of Roger Corman, Fitchett getting treated for gout and Ryan having to become the director for a few days time, information on various cast and crew members, the locations, their experience trying to sell the film at Cannes, and more. in English Dolby Digital 2.0 without subtitles "The Car as a Villain in Australian Cinema" 2024 visual essay from screenwriter and author Stephen Vagg (9:55) This new and exclusive visual essay by Vagg has the comparisons between American and Australian car films and their themes, the car as an object of terror through its demonization, and gives thorough examples with clips from the film, "Long Weekend", "Snapshot", "Razorback", and many more. While it might not be centered on "Desolation Angels" it is still a fascinating look. in 1080p AVC MPEG-4, in various ratios, in English Dolby Digital 2.0 without subtitles 1983 AFI Awards trailer (3:21) This is not a trailer for the film itself, but a promo for the 1983 Australian Film Institute Awards, featuring numerous clips of films including one from the ending of “Desolation Angels”. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles Aussie Car Movie trailer reel (31:30) Presented here is a trailer reel of films in the Australian "car" genre, with "The Cars That Ate Paris", Sidecar Racers", "The F.J. Holden", "Mad Max", "The Chain Reaction", "Road Games", "Mad Max 2: The Road Warrior", "Freedom", "Running on Empty", "Midnight Spares", "Mad Max 3: Beyond Thunderdome", "Fair Game", "Malcolm", "Dead End Drive In", "The Big Steal", and "Metal Skin". The trailers differ in quality, with some such as "The Cars That Ate Paris" and "Metal Skin" looking absolutely pristine from film sources, while others like "Sidecar Racers" coming from videotape sources, or oddly "The Road Warrior" having a choppy look with the framerate. 1080p AVC MPEG-4, in various ratios, in English Dolby Digital 2.0 without subtitles DISC TWO "Coda" Audio commentary with production designer Anni Browning, assistant director Gus Howard and actress Liddy Clark (2024) (remastered version) This new and exclusive commentary has Browning, Howard, and Clark recorded together to recall the production. Discussed are about the cast and crew, Lahiff's direction on set, Lahiff being a music buff, the various Hitchcock and De Palma references, the locations, about the characters, some of the odd moments in the plot that don't seem to make much sense, and more. Sometimes the three get silent, though they do keep things going fairly well throughout. in English Dolby Digital 2.0 without subtitles 2024 Interview with cinematographer David Foreman (29:28) This new and exclusive interview with Foreman has him talking about working with Lahiff, his reaction to the script, the location scouting for a university, gathering the talent, the homages to Hitchcock and De Palma, the use of dolly shots and other camera movements, the stunwork, the aspect ratio, and more. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles "So Nice…They Tried to Kill Her Twice" 2024 Interview with actress Liddy Clark (12:00) This new and exclusive interview with Clark has her discussing about the production, with many being first timers on a film, everyone being excited for the production, a rarity of completely female led production, the bad fashion of the characters, being sad that the production went straight to video, and more. in 1080p AVC MPEG-4, in 1.78:1 / 1.33:1, in English Dolby Digital 2.0 without subtitles "Labyrinth" 1979 short film by Craig Lahiff (18:40) This short film by Lahiff features a former Nazi on the run in the postwar world, seen and heard through internal monologues by the main character. Though the production was shot on film, the master for this transfer comes from a videotape source, and unfortunately has tape errors, dark colors, damage marks, fuzzy audio, and some unclear dialogue. Thankfully, it is in a fairly watchable state for the most part, but it can be hard to decipher the dialogue. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles "The Jogger" 1980 short film by Craig Lahiff (9:45) In contrast to the previous existential film, this is a dialogue free comedy short by Lahiff, featuring a male runner with a Superman like emblem on his shirt, as he runs across the city, and seemingly the world. This was also shot on film, and the transfer is from a videotape master. The colors are on the brighter side, though there are some damage marks to be found at times. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles Original Trailer (2:09) The original trailer with plenty of spoilers is presented here, looking just as clean as the remastered feature. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles Craig Lahiff trailer reel (11:19) Presented here are trailers for "Coda", "Fever", "Ebbtide", "Heaven's Burning", "Black and White", and "Swerve". Some are excellent looking such as the trailer for this film which is identical to the presentation above, while some like "Fever" and "Ebbtide" come from lower quality videotape sources. in 1080p AVC MPEG-4, in various ratios, in English Dolby Digital 2.0 without subtitles DISC THREE "The 13th Floor" Audio commentary from writer/director Chris Roache (2024) (remastered version) This new and exclusive commentary has Roache discussing all aspects of the production, from the opening sequence and the use of special effects, finding the high rise location, the casting process, shooting on 35mm, the music score, information on the cast and crew, and much more. Even solo, Roache is very talkative and has a lot of information to recall. in English Dolby Digital 2.0 without subtitles 2024 Audio interview with actress Lisa Hensley (9:31) This new and exclusive interview has Hensley interviewed by TV historian Andrew Mercado. She recalls being cast at 19 years old in the lead, her thoughts on script, the special effects on a low budget, having to do some reshoots with a different director including the love scene, the disappointment that it didn't get a theatrical release in Australia, though having a lot of excitement for the new Blu-ray reissue. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles "Women in Peril" 2024 visual essay from author and TV historian Andrew Mercado (15:44) This new and exclusive visual essay is a discussion about all three films in this set. He talks about the importance of the female characters shown, The oddities with the scripts as well as praises for the camp and fun sides, and much more. There are some great thoughts placed in here which have a lot of spoilers for all three films. in 1080p AVC MPEG-4, in various ratios, in English Dolby Digital 2.0 without subtitles A (Slightly) Alternate Ending (4:48) Presented here is an ending from a VHS source, which has a timecode running at the bottom of the screen. It has the final death sequence though it is cut in a much quicker fashion, though the outcome is exactly the same. in 1080p AVC MPEG-4, in 1.33:1, in English Dolby Digital 2.0 without subtitles Original Theatrical Trailer (2:20) The original trailer is presented here, which has more pronounced grain and slightly faded colors in comparison to the feature presentation on this disc. It has been remastered and looks and sounds very good throughout, actually better than the film itself with the volume sounding normal. in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles The official trailer for the collection, courtesy of Umbrella Entertainment
Packaging
Each film is packaged in a clear keep case. The inner portion of the inlays have artwork but the inlays are not reversible. The keep cases are housed in a soft slipcase for the standard edition. It is also available in a Collector's Edition exclusively at the Umbrella Web Shop which also includes: - A 48 page book with behind-the-scenes, experiences and art - Rigid case artwork by Fräntz Kantor - 8 poster cards - 2 x A3 reversible posters The book includes "Lie, Cheat and Steal", a written introduction by Paul Harris on all three films. Then there is new writing by Chris Fitchett on the making of and release of "Desolation Angels". This is followed by reprinted Playboy stills and information of Karen West for vintage nudie fans.. There is also another written piece by Paul Harris, on the life and career of director Craig Lahiff. There are also two vintage written articles from 1988: "Movie Man Eschews Art: Jeff Waters gets the story on some new teen movies being produced in Sydney" from the Canberra Times and "Return to Oz: Guy Saebar speaks to Aussie movie maestro David Hannay about what it takes to be big down under" from Video - The Magazine. Finally, there are stills and vintage press materials for all three films. The 8 artcards have various stills and poster art for all three films. There are some errors with the packaging. For "Desolation Angels" the packaging mistakenly states the aspect ratio as 2.35:1, the runtime as 78 minutes. It also mistakenly lists the credits for the film "Crosstalk" on the packaging, which was from the first volume of the series. For "The 13th Floor", the packaging mistakenly states the runtime as 88 minutes. For all three keep case inlays, they mistakenly have the DTS-HD logo when there is only Dolby Digital 2.0 audio for all three films. On the slipcase's back card, it mistakenly states there are DTS-HD 5.1 and 2.0 options. 
Overall
"Ozploitation Rarities Volume 2" collects three films that are subpar at best in terms of filmmaking quality. Sometimes the scripts are wonky, other times the logic is confusing. But they have the genre charm of low budget filmmaking and to be able to see these long lost features in fully restored form is a miracle altogether. Umbrella Entertainment has done a fantastic job packing the set with great restorations and a great selection of extras. There are issues to note, with the lossy audio for all films in the set, the audio issue with the presentation of the third film, as well as some of the quality control with the inlays having some incorrect information. The set still comes as highly recommended. Umbrella Web Shop link to "Ozploitation Rarities Volume 2
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