PICTURE: Anamorphic Widescreen. The print is fairly clean, and pretty much free of any spots or dirt. It still has some wear and unfortunately the films budget and age do still show, therefore things like grain, contrast, and overall definition suffer a bit. But, for a film of its genre, the presentation is quite good and colors and sharpness are in great shape.

Bottom line is, it isn't going to look spectacular, because it wasn't spectacularly filmed. Rest assured, fans of the film should be very pleased with the vastly improved image quality. I still have my 2019 vhs, so I got a pretty good laugh when I popped it in and compared it. The difference is so great, it makes you wonder just how in the Hell we ever thought vhs was okay. Well, I know, we were just clueless.

SOUND: Dolby Digital 2.0 Stereo or 5.1 Surround. Ehhh. Really these remixes never impress me too much. Yes, they add some punch and sometimes some decent faux stereo effects, but the cheesiness of the original soundtrack on films like this just cannot be covered up. That is always a thankful thing, the voice acting in the English dubbing and the 80's synthesizer score all add to the fun. Even with all of the modern coddling, the soundtrack still has some distortions resulting in a little hiss and muffle on the dialogue track. But, once again, in comparison to my vhs, it is still light years away in terms of improvement, so genre fans will be happy.

EXTRAS: Chapter Selections--- Intro by actor Micheal Sopkiw (plus an Easter Egg outtake of this intro can be found in the extras section)--- Art Gallery of Italian lobby cards.--- Original Theatrical Trailer--- Interviews with director Sergio Martino (14:12), and actors George Eastman (5:14) and Hal Yamanouchi (4:32). Martino's interview isn't the longest because he is asked more questions, but because he answers questions and goes off on barely related name-dropping tangents (like when asked about working with the actors in the film, he quickly veers off into discussing how he was one of the first people to work with Nicole Kidman). Still he does provide some nice insights into what they accomplished on the small budgets and why the Italian film industry got left behind by not embracing new fx in the late 80's/early90's, spelling death for Italian fantasy/science fiction films. Eastman is the most down to Earth and matter of fact, whereas Yamanouchi stretches by talking about it was the existential themes and Shakespearean quality of the post-apocalypse films that attracted him.

CONCLUSION: If you are a fan, Media Blasters delivers. The transfer is pretty darn good, and the extras are interesting. So, if you are in need of a fix of some desert wastelands, cheap models, Renaissance Fair dressed Ape-men, helpful dwarves, super junkyard cars, and lantern jawed heroes, then this film will meet your every need.