All The Sins Of Sodom/Vibrations (both 1968/Film Movement Blu-ray)/The Devil's Honey (1986/Severin Blu-ray)/Fifty Shades Freed (2018/Universal 4K Ultra HD Blu-ray w/Blu-ray)/Lady Libertine (1983)/Love Circles (1985/InterVision Blu-ray)

4K Ultra HD Picture: A- Picture: B/B-/B+/B Sound: B/B-/A-/C+ Extras: C+/B-/B/C Films: C+/B-/C-/C+

Here's a new set of films that try to be erotic, but...

It should tell us something that two of the offerings are double features. That has us starting with the oldest offerings, two films from sexploitation pioneer Joesph W. Sarno (Butterfly) comes two X-Rated (at the time of release) provocative films that explore the subjects of sex, seduction, and love. All The Sins of Sodom (1968) which centers around a fashion photographer who falls in love with his favorite model, Leslie. Things go along smoothly until, Joyce appears and puts a wrench in the plans and things get out of hand quickly.

In Vibrations (1968), Barbara is a frustrated writer who is also sexually frustrated, and seeks to recharge her life by moving into a Manhattan apartment. Living modestly, she earns money typing up manuscripts for other writers whilst next door, a sexy young lady plays a variety of erotic games involving multiple partners. When Julie, Barbara's hot-to-trot sister shows up, she reluctantly allows her to stay, there's tension between the sisters who were a little 'close' growing up. When Julie gets an interest at what things are happening in the next room over, she soon joins in with the neighbors and soon pulls Barbara into it too. Complications arise with Barbara, who can't decide if she loves her own sister, herself, or others.

Special Features include...

Interview with Writer/ Director Joseph W Sarno

Commentary with Sarno and Film Historian Tim Lucas

Insert booklet featuring linear notes by Tim Burton

These two films weirdly compliment in each and were both made by the Director in the same year. They are interesting to watch but not too hardcore and with beautiful cinematography. The Blu-ray presentations are nice and for the target audience this is a good grab.

By the mid-1980s, U.S. erotic film production started looking like bad music videos imitating New Wave music styles and the more hardcore work had moved onto more disposable analog videotape, but Japan and Europe made more such films on 35mm film and directors not known for such work were trying out the subgenre. The Devil's Honey (1986) was Horror maestro Lucio Fulci tried his has at, an S&M-filled sex film with so much debauchery, it might as well still be some kind of horror film.

The big deal also here is that Fulci got the still very sexy, sensual Corinne Clery, best know as the other sexy Bond gal in Moonraker, but also for her much-talked about turn in an odd adaptation of The Story Of O (both reviewed elsewhere on this site), so casting her alone not only screamed sex symbol, but also insinuated XXX sex that was forbidden and that you might see some of it because of her past work. Brett Halsey just holds his own as the lead and 'the guy' et al, but Fulci is definitely trying to find new things to do with Clery.

Unfortunately, this is one of those films with too many false notes and though it is hard not to watch Clery do anything (she could do two hours of Windex ads and more would watch non-stop then they'd ever admit to) is always worth a look, but Fulci is in territory that is not necessarily his and it shows. The result is not very memorable and also proves trying to film anything about S&M rarely translates well on screen. At least they all tried.

Extras include The Devil's Halsey: An Interview with Actor Brett Halsey, Wild Flower: An Interview With Actress Corinne Clery, Producing Honey: An Interview With Producer Vincenzo Salviani, The Devil's Sax: An Interview With Composer Claudio Natili, Stephen Thrower on The Devil's Honey, Fulci's Honey: An Audio Essay by Troy Howarth - Author of Splintered Visions - Lucio Fulci And His Films, an Alternate Opening and an Original Theatrical Trailer.

Jamie Dornan and Dakota Johnson return in the (hopefully) final entry in the Fifty Shades of Grey series, Fifty Shades Free (2018). Based on the bestselling book series by E.L. James, the Fifty Shades movies became a hit (and a no brainer to open in theaters on Valentine's Day) and isn't unlike the Twilight series in many ways. Aside from the sexual content, the film is a sappy and dramatic bore with a cringeworthy new age soundtrack that will make you want to pull your hair out. Unless you're a fan of this series, in which case, there's plenty of extras here and the film looks great on the 4K UHD format.

The film also features Arielle Kebbel, Tyler Hoechlin, and Brant Daugherty. The film is directed by Jim Foley (who also directed Fifty Shades Darker).

After sealing the deal and getting married Christian (Dornan) and Ana (Johnson) enjoy each other in their picturesque and expensive lifestyle. But as the two of them start to get comfortable, new characters from the past reemerge (including Jack Hyde) and shake things up between them.

Special Features (from the press release) include...

4K BLU-RAY EXCLUSIVE BONUS FEATURES:

An Intimate Conversation with EL James and Eric Johnson - A casual conversation between EL and Eric discussing the film, favorite moments, themes, etc.

Music Videos:

"For You (Fifty Shades Freed)" - Liam Payne & Rita Ora

"Capital Letters" - Hailee Steinfeld & BloodPop

"Heaven" - Julia Michaels

BLU-RAY SPECIAL FEATURES:

Deleted Scene

The Final Climax: Fans can follow not only Ana and Christian, but also both new and familiar characters behind-the-scenes throughout their journey of Fifty Shades Free.

The Wedding: Take a closer look at the beautiful wedding scene with the production and costume designers - from the breathtaking venue, gorgeous gown and the custom-designed floral arrangements.

Honeymoon: Travel along with the newlyweds and soak up the sun in the gorgeous French Riviera. Discover the challenge production faced with accessing locations, and the search for the perfect honeymoon yacht.

Mr. & Mrs. Grey: After the wedding and the honeymoon, what is it really like to be married? Find out how life in the penthouse changes once Ana moves in.

Ana Takes Charge: Director James Foley and Costume Designer Shay Cunliffe explore Ana's transformation and growth into a powerful businesswoman.

Ana & Mr. Hyde: Go behind the scenes and find out the secrets about what makes Jake Hyde tick.

Aspen in Whistler: Take a look at how the filmmakers and set decorator used Whistler, Vancouver as a stand-in for snowy Aspen, and discover the famous musician whose home was transformed into Christian's mansion.

Ana's Revelation: Ana and Christian face their biggest challenge yet. Author E.L. James takes us through the choice that Ana must make and how the couple's power dynamic shifts.

Resolution: The final showdown between Ana and Jack brings the two face-to-face and Ana will do whatever it takes to protect Christian, his family, and her future.

The Meaning of Freed: The cast and filmmakers share what being FREED really means for both Ana and Christian.

Christian & Ana By Jamie & Dakota: Revisit the previous films and learn how both Ana and Christian have changed... and how both actors have lived through the experience.

While personally I wasn't thrilled by the film, it certainly has it's audience and was a big hit for Universal. I'm sure the franchise hasn't completely being put to rest here, especially since it's so lucrative.

Finally, our other double feature is of Gerard Kikoine's two films, Lady Libertine (1983) and Love Circles (1985), the first of which was co-produced by Playboy Magazine about a cross-dressing woman, the latter a bizarre attempt to cheaply update La Ronde. Both were produced by the prolific Harry Alan Towers, usually known for his interesting action thrillers, but stretching out to make some bucks on the aforementioned Euro-Sex cycle. Nothing particularly stands out in either film, though they are tired together by voyeurism and I think Towers wanted to imitate a little bit of the two Jackie Collins films with Joan Collins: The Stud and The Bitch, in sty;le

That does not hurt the look, which can be a time capsule, but Kikoine and Towers to achieve making these look and play a bit classier than other such B-movies of the moment. The women are pretty attractive for the most part here and anything Towers produces is at least worth seeing once, so those interested should check them out.

Extras include an on-camera Kikoine interview and clip of Kikoine at the Fantasia Film Festival.

Presented in 1080p high definition with 1.78:1 widescreen aspect ratios and PCM 2.0 Stereo tracks that feature new 2K digital restorations of both Sodom and Vibrations. In beautiful black and white, the films are nicely shot and not without cinematic style despite their subject manner. There is so grain and sign of artifacts on the print, but it's a great look back into the past with HD clarity.

The 1080p 1.85 X 1 digital High Definition image on Honey is a little aged, rough and inconsistent needing a little more restoration work, though some flaws may be inherent to the shoot. Color can be a bit off too, but this is good for the most part. The PCM 2.0 Mono has the usual post-dubbing and is as good, with less chance of being improved than the image, but will do.

Presented in 2160p HEVC/H.265, HDR (10; Ultra HD Premium)-enhanced Ultra High Definition image with a widescreen aspect ratio of 2.40:1 and an English DTS:X 11.1 track, Freed looks simply stunning on the new format with great sound. Character skin tones and details are remarkable and very lifelike. There's also a DTS-HD MA (Master Audio) 7.1 lossless mixdown and various others in various languages. The colors are rich and presentation is free of any noticeable issues and is a noticeable improvement over the also included 1080p Blu-ray disc, which has a more compressed image and a digital copy.

The 1080p 1.33 X 1 digital High Definition image transfers on the Lady and Love can show the age of the materials used, but this is far superior a transfer to all previous releases of the film and are on the clean side without looking phony. This also looks 'soft matte' enough, so you can zoom in to a 1.78 X 1/16 X 9 image and not lose much, but both were shot TV safe just the same and I think I like them a bit better 1.33 X 1. Oddly, both only offer lossy Dolby Digital 2.0 Mono sound that are passable, but in an age increasingly with lossless sound so common, does not invite as many repeat viewings.

- Nicholas Sheffo and James Lockhart (Sodom, 4K)

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