Clive Barker’s Underworld is the type of unexpected piece of cinema that works on all fronts. A great detective horror mashup that any fan of Barker’s literary work will see the connective tissue even this early in his career.
After Nicole (Nicola Cowper) is kidnapped from the brothel she works in, one of her obsessed clients Motherskille (Steven Berkoff) hires former fixer/operator Roy Bain (Larry Lamb) to find Nicole. Bain Nicole’s former lover takes on the case and finds this is no normal kidnapping. In fact, the crime leads Bain down a rabbit hole of experimentation with new drugs, horrifying mutations, and drug addiction that is all tied to Nicole and the drug’s inventor – Dr. Savary (Denholm Elliot).
Director George Pavlou’s debut feature is an accomplished one. Visually astute with an understanding of how to shoot Creature FXs on a budget. The film looks like a studio-produced movie, not the lower-budget independent feature it is. From the dream-like opening to the action-filled finale, Underworld manages to consistently pass the litmus test of creatively produced and edited feature that pushes beyond its constraints.
The film is aided greatly by its game and accomplished cast. Beginning with Denholm Elliot as the deranged and obsessed Dr. Savary, the cast is uniformly great. Steven Berkoff, Art Malik, Ingrid Pitt, and Irina Brook do supporting work that isn’t just “favors” but some genuinely solid elevated work. Even Miranda Richardson shows up in an early role is an unexpected surprise that doesn’t feel telephoned in.
However, it’s star Larry Lamb that solidifies the cast. Lamb’s Roy Bain isn’t the standard hardboiled gumshoe archetype. Bain is slick which is both an advantage and disadvantage and Lamb’s performance makes it interesting in a way that you feel the danger when it matters. Though his work with Cowper feels distant in a way that they should as former lovers. The single weak link is Cowper who feels like a non-entity not just with Lamb but the entire film. She is to be a woman that drives men mad – which is the single fault of the film as this never feels like the case. One wonders if Cowper and Brook were recast in each other’s roles would Underworld be even better.
Those few minor quibbles aside, many a horror or neo-noir fan will find Underworld a true surprise in the best way.
The Transfer
The all-new HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative is a beautiful representation of this little seen film. The transfer is a sharp handsome representation of the 35mm image. The HDR/Dolby Vision encoding creates a darker glowingly beautiful image. The black levels are the highlight here, the transfer never heading into the dreaded crushed blacks. Kino Lorber continues to create masterful new 4K UHDs from new OCN masters.
The Extras
They include the following;
Disc 1 (4KUHD):
NEW Audio Commentary with Director George Pavlou, Moderated by Stephen Thrower, the Author of Nightmare USA: The Untold Story of the Exploitation Independents
Disc 2 (BLU-RAY):
NEW Audio Commentary with Director George Pavlou, Moderated by Stephen Thrower, the Author of Nightmare USA: The Untold Story of the Exploitation Independents
Image Gallery of Stills, Storyboards, Make-Up Tests and Clive Barker Designs
Rawhead Rex Trailer
The all-new Audio Commentary with Director George Pavlou, Moderated by Stephen Thrower, the Author of Nightmare USA: The Untold Story of the Exploitation Independents begins with Thrower asking how he became involved with the project and specifically got to know Clive Barker. Some of the other details include his first reaction to reading the manual script for Books of Blood – before they were published; how Underworld the story came about and why they chose this, an original idea, rather than pulling from Books of Blood; the casting and cast of the film and how it came together – along with some interesting casting what if’s; The Antagonist – a short that he directed before Underworld; what inspired the visual look of the film; the work of Stephen Berkoff; the production and how much was stage bound and what and where they shot on location; working with Ingrid Pitt; the limitations placed on the production by the production house and how that eventually was all for naught getting an 18-Certificate (British equivalent of an R-rating in America); the development of the screenplay – including a discussion of the 10-page treatment Barker wrote, the screenwriters that were involved, and the troubles they with the version Barker wrote and how impossible that was to bring to screen; working with Denholm Elliot – which leads to a larger discussion of the various great actors that were cast like Miranda Richardson, Art Malik, Phil Davis, and others; and much more. The commentary track is a low-key affair with Thrower and Pavlou in discussion about this film. The track is informative and enlightening to the making of the film.
Transmutations (103:03) – this alternate cut interweaves both the restored footage from the Underworld version with the Standard Definition alternate takes from the Transmutations version of the film. So the film plays out in 1080p but the versions that differ the quality because its pulled from a VHS dub is lower in quality. Though there is extended scenes, this Transmutations version feels lesser in every way. Some of the mystery and unexplained that makes this such a wonderful film is gone. The drive and force at which the film works is replaced with a leisurely pace. Unlike Barker’s own Nightbreed where the Cabal cut is definitely preferred, this is an instance where either or is up to you and your preference.
Archival Behind-the-Scenes Footage (4:03) – this featurette is actually a Film85 Newcast segment that looks at the Makeup FX work done for the film. Featuring interviews with Miranda Richardson and Denholm Elliot and some great B-Roll footage of the making of the film.
Artwork and Stills (2:01) – a gallery of the various poster art for the film and production stills. The gallery runs automatically but can be paused.
Storyboards (3:37) – featuring storyboards with descriptions at the bottom shows the finale of the film. Note after the storyboards you can watch the filmed scene and storyboards. The gallery runs automatically but can be paused.
Makeup Tests and Clive Barker Designs (1:40) – the gallery consists of 20 photographs of the various makeup appliances and Clive Barker’s own hand-drawn design sketches. The gallery runs automatically but can be paused.
Rawhead Rex Trailer (1:05)
The Final Thought
Kino Cult continues to surprise with their titles. Clive Barker’s Underworld is no exception. They’ve filled the set with excellent special features and a revelatory 4K transfer. Highest Recommendations!!!
The underseen Clive Barker’s Underworld gets a new 4K Scan of the OCN. New label Kino Cult continues to surprise and delight with its releases.
The Film
Clive Barker’s Underworld is the type of unexpected piece of cinema that works on all fronts. A great detective horror mashup that any fan of Barker’s literary work will see the connective tissue even this early in his career.
After Nicole (Nicola Cowper) is kidnapped from the brothel she works in, one of her obsessed clients Motherskille (Steven Berkoff) hires former fixer/operator Roy Bain (Larry Lamb) to find Nicole. Bain Nicole’s former lover takes on the case and finds this is no normal kidnapping. In fact, the crime leads Bain down a rabbit hole of experimentation with new drugs, horrifying mutations, and drug addiction that is all tied to Nicole and the drug’s inventor – Dr. Savary (Denholm Elliot).
Director George Pavlou’s debut feature is an accomplished one. Visually astute with an understanding of how to shoot Creature FXs on a budget. The film looks like a studio-produced movie, not the lower-budget independent feature it is. From the dream-like opening to the action-filled finale, Underworld manages to consistently pass the litmus test of creatively produced and edited feature that pushes beyond its constraints.
The film is aided greatly by its game and accomplished cast. Beginning with Denholm Elliot as the deranged and obsessed Dr. Savary, the cast is uniformly great. Steven Berkoff, Art Malik, Ingrid Pitt, and Irina Brook do supporting work that isn’t just “favors” but some genuinely solid elevated work. Even Miranda Richardson shows up in an early role is an unexpected surprise that doesn’t feel telephoned in.
However, it’s star Larry Lamb that solidifies the cast. Lamb’s Roy Bain isn’t the standard hardboiled gumshoe archetype. Bain is slick which is both an advantage and disadvantage and Lamb’s performance makes it interesting in a way that you feel the danger when it matters. Though his work with Cowper feels distant in a way that they should as former lovers. The single weak link is Cowper who feels like a non-entity not just with Lamb but the entire film. She is to be a woman that drives men mad – which is the single fault of the film as this never feels like the case. One wonders if Cowper and Brook were recast in each other’s roles would Underworld be even better.
Those few minor quibbles aside, many a horror or neo-noir fan will find Underworld a true surprise in the best way.
The Transfer
The all-new HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative is a beautiful representation of this little seen film. The transfer is a sharp handsome representation of the 35mm image. The HDR/Dolby Vision encoding creates a darker glowingly beautiful image. The black levels are the highlight here, the transfer never heading into the dreaded crushed blacks. Kino Lorber continues to create masterful new 4K UHDs from new OCN masters.
The Extras
They include the following;
Disc 1 (4KUHD):
Disc 2 (BLU-RAY):
The all-new Audio Commentary with Director George Pavlou, Moderated by Stephen Thrower, the Author of Nightmare USA: The Untold Story of the Exploitation Independents begins with Thrower asking how he became involved with the project and specifically got to know Clive Barker. Some of the other details include his first reaction to reading the manual script for Books of Blood – before they were published; how Underworld the story came about and why they chose this, an original idea, rather than pulling from Books of Blood; the casting and cast of the film and how it came together – along with some interesting casting what if’s; The Antagonist – a short that he directed before Underworld; what inspired the visual look of the film; the work of Stephen Berkoff; the production and how much was stage bound and what and where they shot on location; working with Ingrid Pitt; the limitations placed on the production by the production house and how that eventually was all for naught getting an 18-Certificate (British equivalent of an R-rating in America); the development of the screenplay – including a discussion of the 10-page treatment Barker wrote, the screenwriters that were involved, and the troubles they with the version Barker wrote and how impossible that was to bring to screen; working with Denholm Elliot – which leads to a larger discussion of the various great actors that were cast like Miranda Richardson, Art Malik, Phil Davis, and others; and much more. The commentary track is a low-key affair with Thrower and Pavlou in discussion about this film. The track is informative and enlightening to the making of the film.
Transmutations (103:03) – this alternate cut interweaves both the restored footage from the Underworld version with the Standard Definition alternate takes from the Transmutations version of the film. So the film plays out in 1080p but the versions that differ the quality because its pulled from a VHS dub is lower in quality. Though there is extended scenes, this Transmutations version feels lesser in every way. Some of the mystery and unexplained that makes this such a wonderful film is gone. The drive and force at which the film works is replaced with a leisurely pace. Unlike Barker’s own Nightbreed where the Cabal cut is definitely preferred, this is an instance where either or is up to you and your preference.
Archival Behind-the-Scenes Footage (4:03) – this featurette is actually a Film85 Newcast segment that looks at the Makeup FX work done for the film. Featuring interviews with Miranda Richardson and Denholm Elliot and some great B-Roll footage of the making of the film.
Artwork and Stills (2:01) – a gallery of the various poster art for the film and production stills. The gallery runs automatically but can be paused.
Storyboards (3:37) – featuring storyboards with descriptions at the bottom shows the finale of the film. Note after the storyboards you can watch the filmed scene and storyboards. The gallery runs automatically but can be paused.
Makeup Tests and Clive Barker Designs (1:40) – the gallery consists of 20 photographs of the various makeup appliances and Clive Barker’s own hand-drawn design sketches. The gallery runs automatically but can be paused.
Rawhead Rex Trailer (1:05)
The Final Thought
Kino Cult continues to surprise with their titles. Clive Barker’s Underworld is no exception. They’ve filled the set with excellent special features and a revelatory 4K transfer. Highest Recommendations!!!
Kino Cult’s 4K UHD Edition of Clive Barker’s Underworld is out now.
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