THE BLOOD ISLAND COLLECTION: TERROR IS A MAN (1959)/BRIDES OF BLOOD (1968)/MAD DOCTOR OF BLOOD ISLAND (1969)/BEAST OF BLOOD (1970) Blu-ray
Directors: Eddie Romero and Gerardo de Leon
Severin Films

Having previously taken on Italian zombies in Manila, Severin Films takes a vacation detour to terror with their Blu-ray set of THE BLOOD ISLAND COLLECTION.

Before the memorable "Blood Island" trilogy of the late 1960s and the story of exploitation minor Hemisphere Pictures (1963-1982), the story begins with former American G.I. Kane Lynn who made the acquaintance of screenwriter Eddie Romero in the Philippines and their decision to make motion pictures for the American market. Romero had been writing films for prolific studio filmmaker Gerardo (Gerry) de Leon before the Japanese occupation and had directed over twenty features himself – including THE KIDNAPPERS with Burgess Meredith – and their first trio of films were distributed by Valiant Films and American International: a pair of war films and the first foray to "Isla de Sangre" TERROR IS A MAN. When an engine room explosion sinks a freighter, engineer William Fitzgerald (Richard Derr, WHEN WORLDS COLLIDE) washes up amidst the wreckage on the shore of Blood Island and finds himself convalescing in the home of Dr. Girard (Francis Lederer, THE RETURN OF DRACULA) and his wife Frances (Greta Thyssen, JOURNEY TO THE SEVENTH PLANET) with no radio or transportation to the mainland coming soon. He learns from houseboy Tiago (Peyton Keesee) and his sister Selene (Lilia Duran) that the island was inhabited by their people until the night before when the panther Dr. Girard is using for experimental purposes escaped again and killed some of the natives (including the siblings' housekeeper mother). Snooping around the house, Fitzgerald discovers that Girard's test subject is something not quite animal but also not quite human.

A modern take on H.G. Wells' "The Island of Dr. Moreau" scripted by THE KIDNAPPERS' actor/screenwriter Paul Harber and helmed by de Leon, TERROR IS A MAN is rather tame compared to the violence and sensuality of the later unrelated Blood Island films but demonstrates the common observation among Hemisphere actors and crew throughout the set about the contributions of Romero and de Leon, with the latter's emphasis on visuals lending the film a slick, almost film noir style to the lighting and the framing of actors not only in terms of composition but the tension between them, and Romero's emphasis on characterization that evokes sympathy for the creature even before it is seen through the observations of the characters without making Girard entirely inhuman while also giving Frances more of a reason to feel distant from her husband than the introduction of a younger, handsomer rival, and distinguishing Fitzgerald from the good doctor in that he sees a human soul in the eyes of creature the human-like traits of which Girard believes he is entirely responsible for creating. Even the violence and alcoholism of Girard's assistant Walter (Oscar Keesee, THE RAIDERS OF LEYTE GULF) seems born as much out of fear as sexual frustration. The ending is somber not only for the fates of the creature and the doctor, but also for seeming to suggest an insurmountable gulf of understanding between Frances and Fitzgerald TERROR IS A MAN was given a scant release in the United States by Valiant Films in a double bill with Romero's war film THE SCAVENGERS and then sold to television, whereupon Hemisphere continued with their run of war films that were successful abroad but barely make a ripple stateside. Hemisphere's marketing consultant Sam Sherman – later of Independent-International – saw with the success of Romero's and de Leon's THE BLOOD DRINKERS that horror films were the way to go and convinced Lynn and stateside Hemisphere executive Irwin Pizer to retitle TERROR IS A MAN as BLOOD CREATURE and re-release it in 1964 with one of Lynn's gimmicks (the warning bell that sound like a ringing telephone and may be mistaken for it since viewers may have forgotten the opening text screen when the gimmick is actually used so late in the film). Before returning to Blood Island, Hemisphere would test the waters further by picking up the British THEATRE OF DEATH (in a package deal with a drama they would retitle SEX IS A WOMAN) which they would release as BLOOD FIEND, de Leon's second vampire film CURSE OF THE VAMPIRES, the Texas-lensed THE BLACK CAT, the earlier PSYCHO-A-GO-GO incarnation of what Al Adamson would later rework into BLOOD OF GHASTLY HORROR for Independent-International, and most memorably THE TORTURE CHAMBER OF DR. SADISM under the title BLOOD DEMON. After his second contract with American International ended with a run of Beach Party movies, John Ashley (FRANKENSTEIN'S DAUGHTER) went to the Philippines to appear in Eddie Romero's war film MANILA, OPEN CITY. Ashley formed a friendship with Romero which lead to a number of collaborations with Ashley both in front of and behind the camera, including the Filipino take on the werewolf legend BEAST OF THE YELLOW NIGHT and a return to Moreau territory with THE TWILIGHT PEOPLE.

Ashley would also headline what would come to be known as the "Blood Island Trilogy" although only the latter two films were in fact directly related. In BRIDES OF BLOOD, Dr. Paul Henderson (Kent Taylor, THE CRAWLING HAND) and his catty younger wife Carla (Beverly Hills, THE COMEDY OF TERRORS) come to Blood Island in the company of Peace Corps representative Jim Farrell (Ashley), arriving just in time to witness the funeral procession of a woman torn limb from limb. While Farrell is there to help the local tribe, Henderson is researching the effects of WWII-era atomic testing on the island's plant and animal life and are offered an invitation to stay at the plantation of handsome Esteban Powers (Mario Montenegro) via his scarred and mute servant Goro (Bruno Punzalan, WONDER WOMEN). Upon discovery of butterflies and insects that seem to change shape before their eyes and attacks from the vines and branches of sentient trees, Henderson determines that side effects from nuclear exposure seems to have effected everything but the human life on the island. When the American trio witness another strange rite in which young virgins draw lots, Alma (Eva Darren), daughter of the village chief Arcadio (Andres Centenera, THE BIG BIRD CAGE), reveals to their shame that the villagers have reverted to their primitive ways in offering up sacrifices to "The Evil One." When Jim incurs the wrath of the locals by rescuing Alma from sacrifice, he and Henderson suspect that at least one human has also undergone "drastic mutation."

A colorful and at time surprisingly grisly jungle adventure, BRIDES OF BLOOD is not a prequel to the better-known MAD DOCTOR OF BLOOD ISLAND and its direct sequel BEAST OF BLOOD, but it does set up certain thematic aspects that carry over to the other films. With Hemisphere believing that an all-Filipino cast would not attract audiences and that American stars would be required, it was perhaps the choice of writer Romero that Hills' blonde should be relegated to scream queen and Ashley to the heroics while the more dramatic and tragic aspects of the story showcase the acting of Montenegro and Darren; indeed, in the latter case, the two subsequent Blood Island films would feature much more assertive Filipino secondary female characters while the screaming and stripping was primarily left to the American beauties. That is not to say that Hills is given nothing to do, as she has plenty of bitchy dialogue and suggestive come-ons. The creature make-up is more mask-like and less elaborate than the other two films in which the gore quotient would be further amped up, but BRIDES must have been strong stuff in the 1960s and even on television shorn of nudity and perhaps some of the gore. The Powers mansion would also return as the Lopez estate in the next two films, offering up a striking contrast of stone fortress-like exteriors and villa interiors of gleaming carved wood and seemingly authentic antique furniture (the film's production value being more evident than before in high definition). Like the follow-up film, there is a typical horror movie conflagration, but this one is staged on a smaller scale before a lengthy coda in which order restored is represented by a lengthy native dance.

This time, Ashley is United Nations scientist Bill Foster who has arrived on Blood Island to investigate the case of a native adrift who turned into a raving lunatic when rescued and bled green when he was shot. Also along for the ride is Sheila Willard (Angelique Pettyjohn, BIOHAZARD) who is searching for her estranged father whose last known whereabouts was Blood Island, and Carlos Lopez (Ronaldo Valdez, LADY UNTOUCHABLE) who is returning home from school in hopes of convincing his mother to leave the island. Upon arrival, Sheila discovers that her father (Tony Edmunds) is a wino, while Carlos discovers that his mother (Tita Muñoz, COVER GIRLS) is playing hostess to Dr. Lorca (Ronald Remy, THE BLOOD DRINKERS) who treated his father leukemia-stricken father Don Ramon who memory seems to have a hold on his mother, even to the extent of tolerating the presence of Carlos' childhood friend Marla (Alicia Alonzo) who was her husband's mistress as a teenager and now sleeping with Lorca (and apparently has designs on Carlos). After Sheila is attacked by a "monster" that tears apart a hunter who tries to rescue her, Foster learns of a series of similar killings that Lorca suggests are the work of a maniac; however, when another lost fisherman turns up with what Lorca diagnoses as chlorophyll poisoning, Foster, Willard, and Carlos – who has discovered a letter from his father dated three years after his supposed death – come to suspect that the doctor's cancer experiments might have produced a monster.

The best-known of the series, as much because of its title (and multiple theatrical reissues under different titles) as well as its wider availability on home video, MAD DOCTOR OF BLOOD ISLAND makes the audacity of its concoction of monsters, sex, and gore evident from the start with a stalk and kill sequence of a naked islander from the headache-inducing zoom lens POV of the creature, and not waiting much longer past the opening credits to show the "chlorophyll monster" in all his repulsive glory, tearing off limbs and strewing innards of victims across the screen. The plot is even more eventful but drags a bit in the middle, mostly because there really is no mystery as to the identity of the villain, along with the mechanics diverting the heroes from direct confrontation. While Ashley and Pettyjohn are rather flat characters, the familial backstory of the film provides some complexity of character, with Alonzo's Marla being both fetching and conniving without losing audience sympathy. A surprise death of a sympathetic character in the third act is particularly brutal while the climax employs pyrotechnics in its conflagration. Since the direct sequel was not released until two years later, one is uncertain whether the surprise ending was actually intended for a continuation (which probably would have been shooting in 1969) or was just intended a final wink.

Six months after THE MAD DOCTOR OF BLOOD ISLAND, Foster returns to track down and destroy the chlorophyll man once and for all in BEAST OF BLOOD. He is dogged at every turn by comely Honolulu Clarion reporter Myra Russell (Celeste Yarnall, THE VELVET VAMPIRE) who sees a story in between the lines of the sanitized report on the previous Blood Island mission. Foster is unwelcome this time around by the locals, as chief's daughter Laida (Liza Belmonte, THE WOMAN HUNT) explains that he was touched by "The Evil One" who then took her father after he rescued Foster. When Myra is nearly killed by a man with green skin, Foster, ship's captain (Beverly Miller), and the locals give chase but stop short of the Lopez mansion which is now rumored to be haunted according to Laida's grandfather Ramu (Alfonso Carvajal, BLACK MAMBA). After spotting Lorca's henchman Razak (Bruno Punzalan), Foster suspects that Lorca (now Eddie Garcia, DEVIL WOMAN) is up to his old tricks, but what has become of the chlorophyll man?

BEAST OF BLOOD is the less gory of the series, replacing limb-ripping with jungle action, including a finale filled with gunfire and grenades. Ashley has a lot more to do, but Yarnall is kidnapped and dragged through the jungle and quicksand; however, Belmonte is the fiercest of Blood Island's secondary heroines, slashing bad guys with a machete or throwing knives (when not throwing herself at Ashley who demurs from her overtures for his lost love from the first film before bedding down with Yarnall during the climax). Garcia is quite fun as the scarred Dr. Lorca with the film's best lines ("The donor is dead, reactivate the artificial head") including his admission to Yarnall's reporter that if he fails in his endeavors he will be seen as a madman and a murderer or a selfless scientist if he succeeds (and that the evidence will bear out either interpretation). De Leon's absence is felt here, with Romero's favoring more frenetic editing over pretty lighting and striking compositions which makes some scenes feel more static than they actually are. BEAST OF BLOOD would be the last of Hemisphere's Filipino horror films – Romero and Ashley's next efforts would be independently-produced and distributed by Woolner Brothers and New World Pictures while Hemisphere would further diversify into British and German sexploitation along with a handful of memorable genre pickups like Sidney Hayers' back-to-back ASSAULT and REVENGE along with the Italian/Belgian THE DEVIL'S NIGHTMARE and Jess Franco's THE DEMONS, many of which were reissued numerous times under different titles.

On the PD circuit, TERROR IS A MAN was available under its BLOOD CREATURE reissue version on DVD from Madacy in a double-bill with an equally hazy version of WEREWOLF IN A GIRLS' DORMITORY before an official release came from Image Entertainment in 1999 featuring a newer transfer restoring the original title courtesy of Sam Sherman's Independent-International who acquired most of Hemisphere's assets. The same master was later issued by Wellspring in 2003 around the same time that they also licensed Romero's war movies THE RAIDERS OF LEYTE GULF, THE RAVAGERS, and THE WALLS OF HELL. This edition included an interview with Romero and the film's trailer. Mastered in 4K from a fine-grain 35mm print found in the UCLA archives, Severin's 1080p24 MPEG-4 AVC 1.33:1 pillarboxed fullscreen transfer looks quite stunning – apart from the opening warning buzzer card, which appears to have been inserted as a still – with little damage and restoring the gloss to the noir-ish look of the film. Day-for-night tinting is variable from shot to shot and seems to be absent from one or two shots. The DTS-HD Master Audio 2.0 mono track boasts clear dialogue, scoring, and that damn warning bell. Optional English SDH subtitles are included.

BRIDES OF BLOOD was released to television as ISLAND OF LIVING HORROR – the title suggesting that the UK tape release is the American TV version – but played in the theaters as late as 1979 as one of the many titles Motion Picture Marketing called GRAVE DESIRES. It was released on VHS from Regal Home Video as BRIDES OF THE BEAST and would pop up on Rifftrax as DANGER ON TIKI ISLAND. Sam Sherman licensed the film to Image Entertainment in 2002 for the five-disc THE BLOOD COLLECTION with MAD DOCTOR OF BLOOD ISLAND, BEAST OF BLOOD, THE BLOOD DRINKERS, and CURSE OF THE VAMPIRES (retitled BLOOD OF THE VAMPIRES). The print source was better than what came before but still a little murky, and the title card had been cut out to facilitate replacement with the TV title card so BRIDES OF BLOOD had to be digitally-recreated. Extras included a Sherman commentary, an interview with Romero, a teaser and trailer, image gallery, and trailers for the other films. Mastered in 4K from the film's 35mm interpositive, BRIDES OF BLOOD looks miles ahead of the DVD with healthy skintones (dig that first close-up of a screaming Hills), red blood, green vegetation, and the beast make-up looking more BLOOD FREAK-esque without the murk of the earlier transfers. As with all the films in the set, day for night tinting varies, but some of the night exteriors now call to attention the use of purple gel lighting that provides some unnatural accents to the ceremonial scenes. The English DTS-HD Master Audio 2.0 mono track is in good condition with the loosely-synched dialogue faring better although still sounding a little unnatural while the score's faults are in the orchestration and recording. Optional English SDH subtitles are included.

Although it was released to television as TOMB OF THE LIVING DEAD snipped of some M-rated nudity and gore, MAD DOCTOR OF BLOOD ISLAND continued to play in theaters until the late 1970s. The film was released on a clamshell VHS from Magnum Entertainment under its original title – although it had to be recreated via video burn – while a tape from Regal titled THE REVENGE OF DR. X with video-generated credits for the film turned out to be the Ed Wood-scripted THE DOUBLE GARDEN while MAD DOCTOR's TV print would turn up on VHS from Sinister Cinema. Image's Blood Collection DVD also had to recreate the title card which has been restored to Severin's 1080p24 MPEG-4 AVC 1.33:1 pillarboxed fullscreen transfer which was mastered in 4K from the original 35mm camera negative recently discovered in a French lab. From the start, the image is sharper, more colorful, and detailed than before, looking almost immaculate apart from the credits and a few opticals. It is no exaggeration to describe it as the best-looking of the films in the set with TERROR IS A MAN a close second. Besides a good condition English DTS-HD Master Audio 2.0 mono track, there is also a lossless French dub and optional English SDH subtitles.

BEAST OF BLOOD was released to television as BEAST OF THE DEAD which was also the title of one of the UK pre-cert editions suggesting it was the same in content (no idea about the edition titled BLOOD DEVILS) as well as the US tape releases from VCI and sell-through label Liberty Home Video. Sinister Cinema also released a cassette in the late 1990s which was presumably a 16mm TV print. Image Entertainment's DVD not only required its title card to be recreated but also a card with the "dialogue supervision" credit and film processing which was also missing along with a piece of Bob Le Bar animation that gave away what had happened to chlorophyll man long before it is revealed onscreen. While not exactly the runt of the litter, all that could be found of BEAST OF BLOOD was a 16mm CRI which was scanned in 2K for Severin's 1080p24 MPEG-4 AVC 1.33:1 pillarboxed fullscreen transfer. While the titles are restored and the image is crisper and clearer than the DVD – noticeable right away during the pre-credits sequence which has more of a blue-gray day-for-night tint – the decrease in definition compared to the other discs is also readily apparent with the already somewhat soft cinematography looking softer, backlight shots blooming in the highlights, and shadow detail lacking. Although it is certainly not atrocious, Severin's feelings about it are perhaps telling in that they have made it an exclusive to the boxed set. The English DTS-HD Master Audio 2.0 mono track is in fair condition and optional English SDH subtitle are also included.

The bulk of the film's extras are either ported over from the Image DVDs or excerpted from Mark Hartley's documentary on Filipino exploitation MACHETE MAIDENS UNLEASHED! TERROR IS A MAN includes "Man Becomes Creature" (5:50), an interview with Hemisphere marketing consultant Samuel M. Sherman in which he discusses the founding of Hemisphere, his suggestion of getting away from war films to horror, the re-release of the film as BLOOD CREATURE, the creative dichotomy of Romero and de Leon, and the personalities of Hemisphere's Lynn and Fizer. In "Dawn of Blood Island" (5:12), Romero recalls de Leon reading the stories he wrote for magazines and asking him to write screenplays for him and then step into the director's chair. "Terror Creature" (2:23) is an interview with Pete Tombs, co-author of "Immoral Tales" and the man behind DVD/Blu-ray label Mondo Macabro. He suggests that the film also owes a debt not only to "The Island of Dr. Moreau" but also "The Most Dangerous Game" and also suggests that Al Adamson's BRAIN OF BLOOD was meant by Hemisphere to be another entry into the Blood Island saga even though it was filmed in the United States. In "When the Bell Rings" (2:15), critic Mark Holcomb also discusses the film in terms of Hemisphere's founding as well as the bell gimmick. The film's theatrical trailer (1:12) and a poster and stills gallery (3:08) are also included on the disc.

BRIDES OF BLOOD carries over the audio commentary by Sherman – he notes that it is the second of a sequential series of discussions started on Image's THE BLOOD DRINKERS and continuing through the Blood Island films and BRAIN OF BLOOD – in which he covers the early days of Hemisphere, Ashley getting involved with Romero, and his own preference to stay in Los Angeles rather than coordinate productions in the Philippines. Most interesting are his recollections of the disagreements between Lynn and Fizer over the gimmicks, with Lynn wanting to give away dime store rings and a fake marriage license at showings while Fizer was wary of litigation that might make them responsible for paying for the upbringing of a child that might be the product of two teenagers watching the film and signing the fake marriage license. He also discusses the ring teaser that he eventually conceived for the film. The track only lasts forty-four minutes but is stacked with detail. "Jungle Fury" (13:46) is an interview with Romero which appears to be excerpted from the same interview featured on VCI's Blu-ray/DVD combo of THE TWILIGHT PEOPLE, covering his early days as a screenwriter, going to London during the Japanese occupation, working in Hollywood on some movies and a television pilot, and returning to Manila and directing comedies before getting involved with Lynn. "Here Comes the Bride" (21:44) is another interview with Sherman in which he notes the influence of BLOOD FEAST on Lynn's decision to push more violence and gore, and Romero's contrasting notions that he was not making B-movies and his intellectual approach to characterization in the film. "Beverly Hills on Blood Island" (7:09) is an interview with actress Beverly Powers (then Beverly Hills) who recalls wanting to do the film because of the opportunity to travel, doing her attack scene with the monster, and trying to arouse Taylor on-camera with her hairdresser husband behind the camera. The disc also includes the original BRIDES OF BLOOD ISLAND title sequence (before Sherman recommended dropping the passive "island" from the title) and the alternate JUNGLE FURY title card. Sherman's ring teaser trailer (0:37) is included along with a more conventional theatrical trailer (1:59), as well as a poster & stills gallery (5:58).

MAD DOCTOR OF BLOOD ISLAND carried over the Sherman commentary in which he recalls writing the "Green Blood Oath" opening which was shot by Romero with Caucasian-looking teenagers who were the children of officers stationed at the local military base, remixing the film's audio (while also noting that the sync was better than on BRIDES), and begging Lynn to get a recording of Tito Arevalo's score so that they could use it on the film's trailer. Lynn brought back with him the original master tapes which Sherman would continue to use in other Hemisphere and subsequent Independent-International productions and promotional materials. He also mentions his dislike of Hemisphere insisting on continuing with double-billing which meant double the shipping fees, and noting that Hemisphere turned down some Mexican horror films that would have been suited to them like the film that Jerald Intrator augmented with gore footage that became NIGHT OF THE BLOODY APES. A new audio commentary features film historians Nathaniel Thompson and Howard S. Berger who note that the more graphic and adult elements of the film went over their heads when they saw the film as youths, how the M-rating was unevenly applied and sometimes censored discussion of sex and violence while sometimes allowing gore which might have seemed like juvenile entertainment. They also note the differing concerns of Romero and de Leon to the project and how Romero's subsequent films also carried over his concerns about character and backstory but lacked the visual style of de Leon. He also recalls his reaction to MGM's retitling GAMMA III to THE GREEN SLIME which he felt was taking away from their release and his response to the competition. The track lasts roughly fifty minutes of the film.

"Tombs of the Living Dead" (8:40) is another interview with Mondo Macabro's Pete Tombs in which he discusses the tension between the content of the film and the rough edges of the production, the use of the Philippines for production value with less concern over cultural representation, and the exploitation of the exchange rate and the willingness of Filipino performers to do anything for a buck (the latter also observed by Robert Vincent O'Neill with reckless Filipino stuntmen on WONDER WOMEN). "A Taste of Blood" (12:11) is another interview with critic Holcomb discussing the relationship between Lynn, Romero, and de Leon, Romero's prolific career as a writer and director, and how de Leon benefited from the Philippines' government subsidized studio system and his latter day observations about filmmaking without such support. "The Mad Director of Blood Island" (6:38) is another interview with Romero in which he is a bit more frank about his opinions about the Blood Island films, noting that horror was the "path of least resistance" while also recalling his partnership with "player" Ashley, and working with Corman as line producer on some of the women-in-prison films shot in the Philippines. The disc includes not only the Brother Theodore-narrated theatrical trailer (2:53) but also a "Chiller Carnival of Blood" shock show trailer promoting a triple bill of THE MAD DOCTOR OF BLOOD ISLAND, THE TORTURE CHAMBER OF DR. SADISM (as BLOOD FIEND), and CURSE OF THE VAMPIRES (2:04), as well as a poster & stills gallery (5:43). Also housed in the MAD DOCTOR OF BLOOD ISLAND case is a thirty-four track CD soundtrack (50:43) featuring Arevalo's soundtrack sequenced according to the tracks' appearance in the film rather than how they were numbered, as well as several alternate takes. This CD is exclusive to the boxed set.

BEAST OF BLOOD carries over the audio commentary by Sherman – covering the first fifty-five minutes of the film before reverting to the feature audio – in which he recalls replacing Romero's original title sequence background, Bob Le Bar's animated title sequence, noting that Arevalo reworked some of his cues with different instrumentation while Sherman himself would substitute some cues with tracks from MAD DOCTOR OF BLOOD ISLAND in the final mixing. He also notes the presence of Beverly Miller, a distributor for Hemisphere and Independent-International titles in the Midwest who played the sea captain as well as was given credit for the film's story, and whom he credits with the more action-adventure turn the film took away from the previous two films, and comparing the film's scenario to that of the Bond film DR. NO. "Celeste and the Beast" (12:25) is an interview with actress Yarnall who learned that she was pregnant before leaving for the Philippines, having a makeup room in the men's latrine, the danger of the quicksand stunt in which her face was split open by a rifle barrel on the shoulder of the stuntman who was supposed to drag her out of the mud, her surprise at the explicitness of the love scene with Ashley (which she believed was intended for the Japanese market), and her amusing impression of the chlorophyll man ("Lorcaaaa!"). "Dr. Lorca's Blood Devils" (3:08) is a short interview with actor Garcia who recalls his friendship with Ashley, and the creative abilities of Romero and de Leon. "Blood Devils" (15:35) is a Super 8 digest version of the film that focuses on the last half-hour. The film's theatrical trailer (3:01) is included along with two radio spots, and a poster and stills gallery (5:02). TERROR IS A MAN has a reversible cover with the BLOOD CREATURE artwork while the others reproduce the British Horror Time Video covers with the ISLAND OF LIVING HORROR, TOMB OF THE LIVING DEAD, and BEAST OF THE DEAD titles. All of the covers state that the discs are encoded as Region A, but this is only true of TERROR IS A MAN and BRIDES OF BLOOD. (Eric Cotenas)

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