Humanoids from the Deep 4K Blu-ray Movie

Rating summary

Movie		3.5
Video		4.0
Audio		2.5
Extras		3.0
Overall		3.5

Humanoids from the Deep 4K Blu-ray Movie Review

Two previous editions of Humanoids from the Deep (1980) have been reviewed on our site. My colleague Marty Liebman covered Shout! Factory's 2010 BD-25 under the Roger Corman's Cult Classics banner, while I wrote about Scream Factory's 2019 SteelBook, which is struck from a 4K scan. For our impressions of those releases, please refer to the linked reviews.

A humanoid runs amok.

Humanoids from the Deep 4K Blu-ray Movie, Video Quality 

Scream Factory's latest "Collector's Edition" of Humanoids from the Deep comes with a slipcover in the initial pressing, which duplicates the case's artwork. The two-disc set includes a BD-50 (actual size used: 47.2 GB) for the 4K Ultra HD Blu-ray and a BD-50 for the standard Blu-ray. Both the Unrated Cut and the Theatrical Cut are included. Even though Scream chose not to use at least a BD-66 for the 4K, the UHD boasts a healthy encode. The rough average bitrate for the feature runs at about 76.20 Mbps. It is presented in Dolby Vision (HDR10 compatible). The encode on Scream's 2025 1080p Blu-ray is not as good as the one used on the 2019 remastered disc video. The older one boasts a mean video bitrate of 36000 kbps while this year's averages 29967 kbps. The film appears in its original theatrical exhibition ratio of 1.85:1.

Humanoids has had a long history on physical media. Warner Home Video first issued it on videocassette in the early to mid '80s. The movie did not reappear again on the marketplace until after the eponymous remake in 1996. New Horizons Home Video worked on the LaserDisc and VHS editions that year and released the disc and tape the following year. The LD features an open-matte presentation, which I watched twice and also studied shot by shot (as I did for the 4K and an older 2K transfer, too) for this review. New Horizons put out a DVD in 1999, which the label reissued two years later (also featuring a 1.33:1 transfer). I was fortunate to obtain a three-disc set courtesy of German label OFDb FILMWORKS. Koch Media/PLAION PICTURES later re-released it here, also in a DigiPack. (While out of print, copies are still available on Amazon.de Marketplace.) In addition, I also watched the 88 Films Blu-ray, which is sourced from the same 4K restoration as the Scream transfer from six years ago.

The great news about Scream's UHD is the D.V. and HDR10 accent the blue, red, and pink hues on the film's limited color palette. Keep in mind that Humanoids was shot on low-contrast stock with filming days featuring either an overcast or nighttime conditions. I did direct comparisons between the 4K and Scream's recently pressed Blu-ray and the former shows noticeably better depth cues in long shots. Colors stand out more on the 2160p than they do on four of the film's 1080p transfers I examined. It should be noted that editor Mark Goldblatt remarked on the color improvements for even the 2K restoration completed ca. 2010. In his commentary with Michael Felsher on the OFDb BD/DVD, Goldblatt revealed the film was printed on Color reversal intermediate (CRI) and the colors appeared "pumped up." Goldblatt continued: "...the picture looks almost as good as it did in the first answer print that was off of the original negative." (It's unknown if Goldblatt has seen the 4K yet.)

When Scream Factory worked on the 4K restoration in the late 2010s, some color tweaks and grain management were applied. The color re-timings actually occurred dating back to when the 2K scan completed in 2010. For example, look at how much darker the sky appears behind the main title on the LD (Screenshot #16) compared to the same shot in the later transfers (#s 17-20). I surmise what happened is that because the rest of the main titles were shot in daylight hours (with an overcast and some sun), the restoration team brightened the image a bit for the sake of consistency. Moreover, notice in the scene where the boy Jackie is shown under water by second unit camera operator Ted Boehler, how the colors shift from a murky blue on the LD (#36) to shades of green and light teal on the Blu-ray and 4K transfers (frame grab #s 37-40). On the plus side, the short vertical lines that marred the LD and 2K-sourced transfer (#s 36-37) have been removed on the BD discs released since 2019. In addition, I noticed some color fluctuations with how one of the Humanoids is shown during the scene where Dr. Susan Drake (Ann Turkel) takes a snapshot with her camera. On the LD, the Humanoid's skin from the forehead down has a more natural green that blends in with the seaweed (#21). However, in the later transfers, its color is more muted. It assumes a grayish-green look with brighter tones on the transfers Scream did this year.

While grain is present on the 4K and its 1080p counterpart in Scream's recent release, it is thicker with more varying levels from scene to scene. There's a shot of a large ship during the opening credits on the OFDb transfer (#32). Grain is visible in the upper left. But on the 88 Films and Scream transfers, the grain has either been minimized or expunged. Similarly, one can see grain on and directly behind brothers Jim Hill (Doug McClure) and Tommy Hill (Breck Costin) on the OFDb in capture #27. But in the transfers done some years later, grain and texture have been reduced. Humanoids contains scenes that were part of re-shoots and also stock footage inserts. On the 2K-sourced transfer, grain is not only thicker, but coarser as well. Grain is still fairly thick on the 4K-sourced transfers but some filtering has been done so it doesn't stick out as much. For instance, a shot of a woman running on a beach as seen on the OFDb transfer definitely has a coarser appearance compared to Scream's last two image transfers.

Note: on the OFDb transfer, there were damage marks beginning at the 57-minute, 33-second mark. They pop up on the image for a good minute. Fortunately, most of these markings have been cleaned up on the 88 Films and the two Scream transfers.

My video scores for the 4K UHD and 2025 Blu-ray are 4.25/5.00 apiece.

Screenshot #s 1-15, 20, 25, 30, 35, & 40 = Scream Factory 2025 4K Ultra HD BD-50 (downsampled to 1080p)
Screenshot #s 16, 21, 26, 31, & 36 = New Horizons Home Video 1997 LaserDisc
Screenshot #s 17, 22, 27, 32, & 37 = OFDb FILMWORKS 2016 BD-50 (from a 2K scan)
Screenshot #s 18, 23, 28, 33, & 38 = 88 Films 2021 BD-50 (from a 4K restoration)
Screenshot #s 19, 24, 29, 34, & 39 = Scream Factory 2025 4K Ultra HD BD-50 (from a 4K restoration)

The standard twelve chapters accompany the 79-minute feature on both discs.

Humanoids from the Deep 4K Blu-ray Movie, Audio Quality 

Scream has supplied a DTS-HD Master Audio Dual Mono mix (1293 kbps, 24-bit), which is the sole sound track for the film on both discs. Unfortunately, this is the same monaural track as the one included on the 2019 remastered Blu-ray. Only this time, it's been given a weaker encode. Scream's prior DTS-HD MA boasted a standard bitrate of 1567 kbps. I have listened to the original mono mix for Humanoids from the Deep on five different releases. The LaserDisc's digitally-encoded PCM track (16-bit) is quite loud. In fact, it reached such high frequencies and pitch levels that I had to turn my receiver down seven decibels than normal because James Horner's score blared and hummed. But all in all, the LD track is outstanding. It delivers a tremendous bass response in places. It sounds like a totally uncompressed studio master. There was a line spoken by Dr. Drake on a boat that I could clearly hear. However, on the Scream discs, that bit of dialogue is basically inaudible. When the mono was restored on the magnetic tracks, dynamic range compression and noise reduction must have been incorporated during the remastering process. The main audio track on the LD is so much more detailed, although it does have noticeable static in places.

The audio tracks on Scream's discs sound very similar to the English LPCM Dual Mono (1536 kbps, 16-bit) on OFDb FILMWORKS' 2016 Blu-ray. The DTS-HD MA 2.0 Mono (1804 kbps, 24-bit) on 88 Films' 2021 Blu-ray sounds brighter along with a little more punch and range than the mixes on the other BDs. It sports the best encode of all the Blu-rays. (88 Films' back cover incorrectly lists the track as "Mono 1.0.")

Fun fact: Goldblatt divulged in his audio commentary with Felsher on the German discs that ADR was used in post (despite the fact no ADR technicians are listed in the credits). Goldblatt states that the comedian Sam Patrello (aka Sammy Petrillo) did all the dubbing for the actor who plays Mayor Thorpe.

I watched Humanoids with the optional English SDH turned on. In transcribing the dialogue and some f/x, they are thorough, complete, and accurate.

Humanoids from the Deep 4K Blu-ray Movie, Special Features and Extras 

Scream Factory has produced one new extra to accompany its supplements on the 2010 and 2019 releases, which are carried over in the new set. I have also discussed the unique bonus features included on the British and German BD releases, respectively.

DISC ONE: 4K UHD – Theatrical Cut (1:19:30; 2160p); Unrated Cut (1:19:35; 2160p)

• NEW Audio Commentary by Film Historian Russell Dyball – a pop-culture historian, Dyball discusses the historical context in which Humanoids was made, paying particular attention to how Indigenous communities were viewed at the time of the film's release. He had access to a revised draft of the screenplay, which he makes some references to. Dyball's commentary is occasionally screen specific. He briefly examines Horner's score at the start. He also looks at the acting work of Doug McClure, Vic Morrow, and other performers. Dyball appreciates the remake more than Kim Newman does in his commentary track on the UK Blu-ray. In English, not subtitled.

• NEW Audio Commentary by Film Historian Russell Dyball – a pop-culture historian, Dyball discusses the historical context in which Humanoids was made, paying particular attention to how Indigenous communities were viewed at the time of the film's release. He had access to a revised draft of the screenplay, which he makes some references to. Dyball's commentary is occasionally screen specific. He briefly examines Horner's score at the start. He also looks at the acting work of Doug McClure, Vic Morrow, and other performers. Dyball appreciates the remake more than Kim Newman does in his commentary track on the UK Blu-ray. In English, not subtitled.

• Deleted Scenes (5:45, 1080p) – some excised scenes contain the original sound. Others, unfortunately, have lost the audio track. The scenes are in remarkably good condition.

• Theatrical Trailers (4:37) – three trailers of Humanoids from the Deep. The first is presented in the movie's original aspect ratio, the second and third in 1.33:1. The first two are the American trailers while the last is the German. They each contain film-related artifacts.

• TV Spot (0:34, 1080p) – a spot of the film that presented in 1.85:1 anamorphic widescreen.

• Radio Spot (0:35) – contains voice-over, music, and some sound effects.

• Still Gallery (8:22, 1080p) – a total of 98 separate stills from various marketing campaigns that were used to promote Humanoids from the Deep. The first 19 images comprise black-and-white publicity stills from New World Pictures and United Artists's press kits; the next dozen are high-res color pictures taken on the set; the remaining 67 images consist of poster sheets, lobby cards, scans of program booklets, and newspaper ads in US and international markets. This gallery apparently has more stills than what's included on Shout!'s 30th anniversary edition, which has a shorter slide show.

• Alternate Opening Title Sequence (2:28, 1080p) – this is the main title sequence that displays MONSTER in all block letters with a furry-like font style and has Humanoids From The Deep centered below it in a much smaller font. These alternate titles were projected in various European countries and also appeared on the 2010 US Blu-ray and the German discs released in the late 2010s.

• Leonard Maltin Interviews Roger Corman on the Making of the Film (3:27, native 480i upconverted to 1080i) – this first appeared on New Horizon's LD as an intro preceding the feature. Corman sits down with the film historian to briefly discuss Humanoids from the Deep and other films of this ilk. In English, not subtitled.

• The Making of Humanoids from the Deep (22:45, 1080i) – this retrospective featurette produced by Reed O. Kaplan initially appeared on Shout! Factory's 2010 Blu-ray and DVD releases. It features interviews with uncredited special effects artists Chris Walas, editor Mark Goldblatt, uncredited executive producer Roger Corman, second unit director James Sbardellati, actor Cindy Weintraub (Carol Hill), special makeup effects assistant Kenny Myers, actor Linda Shayne ("Miss Salmon"), and composer James Horner. The program delivers a solid overview of which scenes Peeters directed and others helmed by Sbardellati. The piece moves relatively fast. I would have liked to heard more details, especially the scenes Jimmy T. Murakami directed. The actors share their recollections on what went on during filming. Salas and Myers give some fine anecdotes, too. All participants speak in English, not subtitled.

• Audio Commentary by Film Critic Kim Newman and Filmmaker Sean Hogan – Newman shares lots of his memories seeing Corman's films. He also has a deep knowledge of New World Pictures productions that he demonstrates here. While Newman's track is partly historical in scope, it leans more heavily on the critical side. He claims that Jerry Goldsmith's score for Alien was likely temp-tracked and used as a model for the musical design of Humanoids. While Alien may have been used as a temporary score in the sound-mixing room, Horner certainly did not copy it directly. I recently re-listened to Goldsmith's complete score for Alien and outside of the trumpet figures in the main titles, I only hear stylistic similarities at times in the two works. Hogan is a small contributor here, occasionally chiming in. Newman is entertaining as always. Both speak in English, not subtitled.

• Audio Commentary by Critic and Author Samm Deighan – an absolutely superb feature-length track from Deighan, who's thoroughly prepared to talk about Humanoids. What's great is that she discusses the film's authorship dilemma and brings in archival quotes from Barbara Peeters. Deighan deftly counterbalances her opinions about Humanoids (which are mostly positive) with the movie's dissenters. She objectively weighs the pros and cons of each camp's arguments. She supplies nuanced observations about the picture's status as a multi-genre hybrid and explains the different ways it can be received and interpreted. The track's only "flaw" (if one wants to call it that) is she mispronounces Rob Bottin's surname. The correct pronunciation is bo-TEEN. In English, not subtitled.

• Audio Commentary with Editor Mark Goldblatt Moderated by Michael Felsher (2016) – a terrific track with the longtime editor. Goldblatt gives a nice overview of his career in cinema discussing a wide variety of films he worked on in addition to Humanoids. Goldblatt is sometimes technical (appreciably so) and has a sharp memory of working on Humanoids. His remarks expand on the ones he made in Felsher's 2010 retrospective featurette. While Felsher asks his fair share of questions, he often lets Goldblatt talk on his own. Felsher and Goldblatt each speak in English. The track isn't subtitled.

• Audio Commentary with Film Historians Marcus Stiglegger and Kai Naumann (2016) – an outstanding track with Stiglegger and Naumann, which I translated from German into English. It's fascinating to hear them mention some of the alternate titles for Humanoids from the Deep: e.g., The Grey from the Depths and Horror from the Depths. They cite Jaws pretty often in their comparisons. (In Germany, it's called The White Shark; The German title for This Island Earth, which is also referenced in the track, is Metaluna 4.) Stiglegger is an expert on animal horror, nature horror, and swarm horror; he has published books and essays on these subgenres of horror cinema. Stiglegger and Naumann discuss the real mudhead masks used in the film and the portrayal of hybrids and genetic mutations. The historians often compare Humanoids to Frankenheimer's Prophecy, Orca (with Charlotte Rampling and Richard Harris, Ann Turkel's husband at the time), and Grizzly. One error I caught is they state Horner lifted cues from Wolfen (1981) into Humanoids. But Horner actually worked on the werewolf picture afterward and composed an original score that replaced Craig Safan's, which was rejected. Overall, Stiglegger and Naumann deliver an excellent genre analysis. In German, not subtitled on the Blu-ray or DVD.

• The Deep End with Creature Effects Artist Steve Johnson (2016) (21:46, 1080p) - Felsher sits down with the makeup effects artist, who delivers an in-depth autobiography of his work in film since he was age 17 and began studying under the great Rick Baker. Johnson shares hilarious stories about how he and Rob Bottin got into the Humanoids suits Bottin created. Johnson frequently gestures with his hands and arms to act out how Bottin and him performed as the creatures during filming. Johnson's talk with Felsher also covers The Fog and The Howling. In English, with optional German subtitles.

• The Corman Sound with Sound Editor David Lewis Yewdall (2016) (14:39, 1080p) - Felsher interviews the prolific sound designer, who discusses the first picture he worked on for Corman (an uncredited gig on Grand Theft Auto). Yewdall speaks about working with Joe Dante on Piranha (and how Dante directs actors), as well as other pictures he did sound work on for Corman productions. An interesting anecdote is when he mentions lifting sound effects from Deathsport (1978) and inserting them into Humanoids from the Deep. Yewdall also discusses the foley effects he created expressly for Humanoids. In addition, Yewdall describes some of the sound f/x he came up for on Battle Beyond the Stars and Galaxy of Terror. In English, with optional German subtitles.

• The Directors: The Films of Roger Corman (1999) (58:33, 576i) - this program produced by Robert J. Emery originally appeared on the Winstar DVD and VHS releases. It features interview extracts with Corman as well as Corman alums James Cameron, Bruce Dern, Nancy Sinatra, Ron Howard, Jonathan Demme, Diane Ladd, Martin Scorsese, and Carl Franklin. Corman shares an unforgettable on-set story from The Godfather Part II. This extra is included on the third disc of the Humanoids set ("Bonus" DVD). All interviewees speak in English, with optional German subtitles.

Humanoids from the Deep 4K Blu-ray Movie, Overall Score and Recommendation 

After re-watching Humanoids from the Deep several times since my 2019 review, I realized that I underrated it the first time! It deserves all of the renewed attention it has received the last fifteen years. The HDR grade on Scream Factory's 4K Ultra HD Blu-ray is very good. I have some reservations about a few of the color tweaks and grain management applied dating back to the 4K restoration that was initially done some years ago. The mono mix leaves a lot to be desired as it needs to be restored so it retains the original sonic qualities as heard on the LaserDisc, which has by far the best track of all the releases. In addition, I feel that the UK and German BD releases have HQ supplements that surpass Scream's own. The 88 Films Blu-ray is a very strong release. (If you're interested in getting these European releases, please use our purchasing links.) So, I feel that the definitive package is yet to come. Still, I have been wanting a 4K version very much for several years and this one earns A SOLID RECOMMENDATION.