Death Machine Blu-ray Movie

Rating summary

Movie		3.0
Video		3.5
Audio		4.5
Extras		5.0
Overall		3.5

Death Machine Blu-ray Movie Review

Reviewed by Dr. Svet Atanasov June 17, 2024

Stephen Norrington's "Death Machine" (1994) arrives on Blu-ray courtesy of Kino Lorber. The supplemental features on the release include archival program with composer Crispin Merrell; archival program with editor Paul Endacott; new audio commentaries with Stephen Norrington; vintage promotional materials; and more. In English, with optional English SDH subtitles for the main feature. Region-A "locked".

Death Machine borrows material from a lot of different films like it. However, it is a waste of time to speculate whether it does so intentionally or unintentionally because by the early 1990s it was impossible to shoot that kind of genre film without borrowing from somewhere. For example, while substantially larger, the vicious metal creature that emerges in Death Machine shares the electronic genes of the vicious metal creature that wreaks havoc in Hardware. The over-the-top action in Death Machine is also extremely similar to the one Split Second produces. Any similarities with Saturn 3? Yes, plenty. Examine the behavior of its metal creature and its human targets. From here, it is pretty easy to begin noticing the trails leading back to The Terminator, Blade Runner, and Alien, even It! The Terror from Beyond Space.

An awareness of these similarities makes it virtually impossible not to discover flaws in Death Machine, which makes for a very awkward viewing experience. Why is this situation not replicated when you view Split Second or Hardware? Because in this diverse group of genre films Death Machine is the only one that struggles to establish a proper identity. Before I explain why, here is a quick summation of its plot:

When an unhinged inventor (Brad Dourif) attempts to take over a giant corporation that has employed him for years, the new female CEO (Ely Pouget) immediately fires him. However, the inventor unleashes his masterpiece, a massive, practically indestructible killing machine, which he can direct with a remote control, to eliminate the CEO and anyone threatening his secret lair. At approximately the same time, several heavily armed pacifists enter the corporation to destroy its underground labs, including the inventor’s lair, which leaked reports have revealed are used to transform children into perfect soldiers.

The short prologue and a few more meaningless sequences make it impossible to declare that Death Machine is set entirely inside the giant corporation. However, the playing field where director Stephen Norrington goes to impress is the classic closed environment that all films like Death Machine like to explore. This playing field is perfect for a high-octane hunting game featuring an exotic hunter and one or several seemingly doomed targets.

Regrettably, Norrington’s playbook is too small and predictable, so his ability to organize impressive plays is underwhelming. On top of this, Norrington intentionally salutes the opposing team by naming key characters Jack Dante, John Carpenter, Sam Raimi, Scott Ridley, etc. As a result, Death Machine very quickly creates the impression that it is seriously uncomfortable in its own skin.

Does this mean that Death Machine cannot be entertaining? No, it does not. Several sections feature very nicely shot action material and the vicious metal creature has a solid presence. However, Norrington and Death Machine have an awful time reading the playing field -- there is too much tasteless comedy where there should be darker material; there is too much loud overreacting where there should be spooky ambience; there are too many silly lines where lines are not needed at all. As a result, even though Death Machine could send you to bed smiling, your experience with it will not be identical to the one you always have with a proper genre film.

Norrington worked with cinematographer John De Boorman, whose best work remains in the Oscar-winning comedy The Full Monty.

Kino Lorber’s two-disc set features three different versions of Death Machine: Director’s Cut (01:45.47), U.S. Version (01:39.42), and International Cut (02:02.16).

Death Machine Blu-ray Movie, Video Quality 

Presented in an aspect ratio of 2.35:1, encoded with MPEG-4 AVC and granted a 1080p transfer, Death Machine arrives on Blu-ray courtesy of Kino Lorber.

Kino Lorber's two-disc set features three different versions of Death Machine: Director's Cut (01:45.47), U.S. Version (01:39.42), and International Cut (02:02.16). I viewed the International Cut and sampled the other two.

The technical presentation is inconsistent. While most of the film can look decent, in some areas even good, it is easy to identify unnaturally soft visuals. Some of these visuals can trick the eyes and mind to process them as material that an older interpositive might have produced, but on a larger screen other minor flaws reveal that the current presentation simply isn't an optimal one. For example, in various darker areas darker nuances often appear fuzzy, so depth is clearly impacted. Elsewhere, highlights can be managed better, too. There are no traces of sharpening adjustments, which is great news, but the natural sharpness of the visuals is underwhelming. Color balance is good and stable. However, many primaries, like blue and black, and plenty of supporting nuances should be better saturated and healthier. Currently, many areas of the film, and especially the ones with very dark material, convey anemic colors. Image stability good. I did not notice any large and distracting cuts, debris, warped or torn frames to report. My score is 3.25/5.00. (Note: This is a Region-A "locked" Blu-ray release. Therefore, you must have a native Region-A or Region-Free player in order to access its content).

Death Machine Blu-ray Movie, Audio Quality 

The three versions of Death Machine can be viewed with different audio tracks. The International Cut can be viewed with English DTS-HD Master Audio 5.1 and English DTS-HD Master Audio 2.0 tracks. The U.S. Version can be viewed with an English DTS-HD Master Audio 2.0 track. The Director's Cut can be viewed with English DTS-HD Master Audio 7.1 and English DTS-HD Master Audio 5.1 track. Optional English SDH subtitles are provided for the main feature.

I viewed the International Cut with the DTS-HD Master Audio 5.1 track. While I would say that the action material sounded quite nice, in several areas I felt that dynamic intensity should be better. Currently, in these areas, it just feels like the audio is not thick enough. (I am sorry. This is the only way I can describe what I heard). The dialog was stable and clear. Crispin Merrell's industrial score sounded very good. I did not encounter any encoding anomalies to report in our review.

Death Machine Blu-ray Movie, Special Features and Extras 

DISC ONE - INTERNATIONAL CUT

• Conducting Chaos - in this archival program, composer Crispin Merrell recalls how he became associated with Death Machine, his initial discussions with Stephen Norrington about the type of music that will be appropriate for it (which was supposed to be a blend of synthetic rock and Terminator-esque harmonies), and his work on the soundtrack that ended up in the film. In English, not subtitled. (26 min).

• Cutting Edge Action - in this archival program, editor Paul Endacott explains how he met Stephen Norrington and recalls the exact time he was approached with an offer to work on Death Machine. Mr. Endacott also comments on Norrington's directing methods and the instructions he was given before cutting the latest new footage. In English, not subtitled. (19 min).

• Cyberpunk on a Budget - in this archival program, designer Stephanie Collie recalls her involvement with Death Machine and some of the more specific work she did on the costumes several key characters wear in it. In English, not subtitled. (18 min).

• Looking Death in the Eye - in this archival program, producer Ray Burdis (The Krays) discusses the genesis and shoot of Death Machine. There are some particularly interesting comments about the management of the metal killer. In English, not subtitled. (17 min).

• Mechanical Mayhem - in this archival program, co-producer and stunt coordinator Stuart St. Paul explains how he became acquainted with Stephen Norrington and the original metal killer he built sold Death Machine to him. Also, there are some interesting comments about the evolution of the film before and during the production process. In English, not subtitled. (22 min).

• Vintage Promo - presented here is a vintage BTS promo for Death Machine from a Japanese LD release. Presented with music. (7 min).

• Artwork & Design Still Gallery - presented with music. (4 min).

• Behind the Scenes Still Gallery - presented with music. (10 min).

• Trailer One - a vintage German trailer for Death Machine. In German, not subtitled. (3 min).

• Trailer Two - a vintage Japanese trailer for Death Machine. In English, not subtitled. (4 min).

DISC TWO - DIRECTOR'S CUT AND U.S. VERSION

• Commentary One - this exclusive new audio commentary was recorded by Stephen Norrington and film historian Michael Felsher. It is placed on the Director's Cut of Death Machine.

• Commentary Two - this exclusive new audio commentary was recorded by Stephen Norrington and creature creator and make-up artist Alec Gillis. It is placed on the Director's Cut of Death Machine.

• Commentary Three - this exclusive new audio commentary was recorded by Stephen Norrington. It is placed on the Director's Cut of Death Machine.

• Commentary Four - this exclusive new audio commentary was recorded by critics James G. Chandler and Ash Hamilton from Horro-Fix.com. It is placed on the U.S. Version of Death Machine.

• Trailer - presented here is a vintage U.S. trailer for Death Machine. In English, not subtitled. (2 min).

• Isolated Score - presented as DTS-HD Master Audio 2.0.

• Cover - a reverisble cover with vintage poster art for Death Machine.

Death Machine Blu-ray Movie, Overall Score and Recommendation 

Some of the people that worked on Split Second also teamed up on Death Machine. While there are some attractive visuals in the latter, the former is a vastly superior film, especially when it comes to creation and management of atmosphere. Death Machine borrows from various genre films, which I do not think is a problem, but it visibly struggles to establish a proper identity. You should not ignore it. However, before you see it, book a date with Split Second and Hardware, even Runaway. Kino Lorber's two-disc set presents three different versions of Death Machine, with plenty of exclusive new and archival bonus features. RECOMMENDED to the fans.