NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Masters of Cinema Blu-ray (May 2025): Masters of Cinema has transferred six German Edgar Wallace or his son Bryan Edgar Wallace Krimi films from 1963-64 to four dual-layered Blu-rays. The package consists of The Curse of the Yellow Snake, The Phantom of Soho (as a bonus,) The Strangler of Blackmoor Castle, The Mad Executioners, The Monster of London City, and The Racetrack Murders. It is cited, "All five films presented in 1080p HD from 2K restorations of the original film elements undertaken by CCC Film". It is clearly stated, "This presentation of The Phantom of Soho is sourced from a standard-definition master as no high-definition source was available at the time of this release. We hope this doesn't negatively impact your enjoyment of the film." The transfer for The Phantom of Soho is in 1080P and is moderately softer. See captures below. The Racetrack Murders has moments where the image borders on saturation.

The visuals are such a huge stylistic part of the Krimi cycle, and the HD presentations are gorgeous. The Curse of the Yellow Snake's shadowy, fog-laden London settings and claustrophobic interiors to evoke a sense of dread, with German studio sets mimicking British gothic aesthetics, is delicious. The Phantom of Soho leans heavily on studio-bound sets with smoky, neon-lit Soho streets crafted to evoke sleaze and danger. Low-key lighting and chiaroscuro effects create a noirish mood, while the killer’s mask and bowler-hatted detective add iconic Krimi flourishes. The Strangler of Blackmoor Castle maximizes its gothic setting with shadowy corridors, flickering candelabras, and misty exteriors. It's shot in crisp black-and-white to enhance its eerie tone. The manor’s labyrinthine design with secret passages and looming portraits amplifies eeriness, while the strangler’s hooded silhouette is a chilling visual motif. The Mad Executioners' visual palette is grim with rain-slicked docks and dim alleys captured in stark monochrome, evoking classic noir. The vigilantes’ hooded robes and the killer’s shadowy presence create striking, almost theatrical imagery, while gruesome crime scenes push Krimi’s horror elements. The Monster of London City contrasts the theater’s opulent interiors with London’s grimy streets, using soft-focus stage scenes and harsh, high-contrast exteriors to mirror its thematic duality. The Ripper’s cloaked figure and gaslit alleys evoke Victorian horror, while stage blood and knife glints add pulpy flair. Lastly, The Racetrack Murders trades London’s fog for pastoral gloom with the stately home’s manicured grounds and ornate interiors shot in muted tones to suggest decay beneath polish. Murders scenes use stark lighting and quick cuts for impact, though the film’s polish lacks the grit of urban Krimis. These restorations deliver crisp, detailed visuals that enhance the gothic and noirish aesthetics of the Krimi genre. Black-and-white cinematography (for all films) is rendered with excellent contrast, deep blacks, and nuanced greyscale, bringing out the foggy streets, shadowy manors, and moody interiors. I would have liked more grain, but what is here is fine and film-like. Inordinate softness is rare -- more noticeable in The Mad Executioners. These wonderful 2K restorations showcase the Krimi cycle’s atmospheric visuals. As Tim Lucas states in one of the package's extras: "These presentations are a revelation." Agreed.

NOTE: We have added 330 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE.

On their Blu-rays, Masters of Cinema uses linear PCM mono dual-tracks (24-bit) in the original German with each film offering an English language DUB. In The Curse of the Yellow Snake, distant gongs and chiming bells, evoking orientalist motifs, punctuate scenes set in the cult’s shadowy lair, heightening the sense of an alien presence in the British setting. These elements, while problematic in their cultural stereotyping, align with the film’s sensationalist tone and contribute to its otherworldly menace. These ambient cues, paired with muffled footsteps on cobblestones, create a claustrophobic atmosphere, especially during nighttime chases or stalking sequences.  The soundtrack of The Curse of the Yellow Snake, composed by Raimund Rosenberger, mixes jazzy undertones with eerie, dissonant strings, creating a pulpy atmosphere. Percussive cues punctuate action sequences, while Asian motifs in the score reinforce the film’s problematic framing. Martin Böttcher’s score for The Phantom of Soho blends sultry jazz -- mirroring Soho’s nightclub vibe -- with staccato brass and ominous organ chords, heightening suspense. Sound design emphasizes creaking doors and muffled screams, immersing viewers in the district’s gritty ambiance, though dialogue dubbing occasionally disrupts the mood. The score of The Strangler of Blackmoor Castle by Oskar Sala uses haunting woodwinds and low, rumbling percussion to underscore the manor’s menace with sharp stingers marking kills. Ambient sounds (howling wind, creaking floors) heighten immersion, though some effects feel dated, reflecting the film’s low-budget roots. Rosenberger’s score for The Mad Executioners blends martial drums for the executioners’ rituals with shrill strings for the strangler’s kills, creating a bifurcated tone. There is dripping water, distant foghorns. It grounds the film in its riverside setting, though overdubbed dialogue occasionally undercuts the atmosphere. Martin Böttcher’s score for The Monster of London City mixes theatrical flourishes -- sweeping strings for stage scenes -- with discordant jazz for murder sequences, creating unease. Sound effects, like echoing footsteps and stage applause, blur the line between performance and reality, though some dubbing feels stilted. Rosenberger’s score for The Racetrack Murders leans on elegant piano motifs for the estate’s facade, undercut by brassy stabs during kills, balancing sophistication and menace. Sound design (hoof beats, rustling leaves) evokes the rural setting, but sparse effects and uneven dubbing slightly dull the tension. The mono mixes lack dynamic range but are clean and suit the films’ vintage aesthetic with dialogue intelligible and music cues punchy. The English DUBs, typical of Krimi exports, are functional but occasionally stilted with mismatched lip-sync and less nuanced performances. NOTE: For The Phantom of Soho, "the English language DUB for this film had some short sections of the film missing which had to be replaced with audio from the original German track." The audio restoration ensures minimal hiss or distortion, though The Phantom of Soho’s presentation has a slightly lower fidelity. The sound design complements the visuals, immersing viewers in the foggy, menacing Krimi world. Masters of Cinema offer optional English subtitles on their Region FREE Blu-ray.

The Masters of Cinema Blu-ray offers expert commentaries: The Curse of the Yellow Snake and The Phantom of Soho by Kim Newman (author of Classic Monsters Unleashed) and Barry Forshaw (author of "British Crime Film", "British Gothic Cinema".) These tracks feature two crime fiction experts dissecting the films’ narratives, cultural subtexts, and genre influences. Newman’s horror expertise and Forshaw’s Wallace knowledge make these lively and insightful with The Curse’s commentary tackling its Asian tropes and Soho’s noirish sleaze. The Strangler of Blackmoor Castle, The Mad Executioners, and The Racetrack Murders have commentaries by Kevin Lyons (The Encyclopedia of Fantastic Film and Television) and Jonathan Rigby (author of English Gothic: A Century Of Horror Cinema.) Lyons and Rigby, known for their genre scholarship, deliver detailed analyses. Expect discussions on Strangler’s proto-slasher elements, Executioners’ dual-threat plot, and Racetrack’s rural intrigue, enriched with production anecdotes and Krimi context. Excellent. The Monster of London City has a commentary by Kim Newman and Stephen Jones (author of The Art Of Horror Movies: An Illustrated History.) This track explores the film’s Jack the Ripper parallels and censorship themes with Newman's and Jones’s horror expertise adding depth. All commentaries are new, ensuring fresh perspectives and high engagement for fans and scholars. Magnificent additions. There are video extras starting with the 6-minute piece, What is Krimi? This concise featurette by our favorite genre expert Tim Lucas (Throat Sprockets) serves as an accessible primer on the Krimi cycle. Lucas outlines the genre’s origins, its blend of murder mystery and horror, and its cultural significance in 1960s West Germany. It’s a focused introduction, ideal for viewers unfamiliar with Edgar Wallace adaptations or CCC Film’s contributions. The brevity ensures that it is informative without overwhelming, setting the stage for the films. Lucas also provides detailed intros for each film, totaling over an hour of content. These segments delve into production history, thematic context, and the films’ place within the Krimi cycle, leveraging Lucas’s expertise. For example, The Curse of the Yellow Snake’s intro addresses its “Yellow Peril” pulp roots, while The Phantom of Soho’s shorter intro reflects its bonus status. Ranging from 7 to 12 minutes, the intros are substantial, offering critical insights without spoiling plots. They’re essential for appreciating the films’ historical and stylistic nuances. Thank you, Tim! Included is a new 10-minute interview with Alice Brauner, producer and managing director of CCC Film and daughter of Artur Brauner. She offers a personal perspective on the Krimi cycle’s production covering Bryan Edgar Wallace’s contributions and CCC’s rivalry with Rialto Film. It provides valuable behind-the-scenes context. It’s a succinct but meaningful addition, grounding the set in Brauner’s legacy. Alexandra Heller-Nicholas’s (The Giallo Canvas: Art, Excess and Horror Cinema) 20-minute video essay, Passing the Knife – From Krimi to Slasher, explores the Wallace Krimi’s influence on Italian giallo and American slasher films, tracing stylistic and thematic threads, like masked killers and labyrinthine plots. This scholarly piece highlights specific Krimi elements (e.g., Strangler’s branded victims) that prefigured later genres, making it a standout for cinephiles interested in genre evolution. Terror in the Fog is an 84-minute discussion between Tim Lucas and film historian Stephen Bissette (author of SR Bissette's Brooding Creatures) playing to The Racetrack Murders. It is a centerpiece extra, offering an in-depth exploration of the Wallace Krimi cycle. Covering how they were both first exposed to Krimi, cast, crew, the genre’s cultural impact, stylistic hallmarks, and CCC Film’s role, it’s a masterclass for dedicated fans. The lengthy runtime ensures comprehensive analysis, including comparisons to Rialto adaptations or discussions of Krimi’s gothic atmosphere, making it a must-watch for scholars. There are trailers, including German, US, and international versions, which offer a fascinating glimpse into the films’ marketing. The German trailers emphasize gothic horror, while US versions lean into sensationalism. Ranging from 1-3 minutes, they’re vibrant artifacts that highlight Krimi’s global appeal, though Strangler’s trailer is curiously absent. The hardbound slipcase (see below,) featuring new artwork by Poochamin, is a collector’s delight, with evocative designs capturing the Krimi’s foggy menace. The 60-page collector’s book includes a new introduction by Howard Hughes (Cinema Italiano: The Complete Guide from Classics to Cult,) an essay on Edgar and Bryan Edgar Wallace by Barry Forshaw ("British Gothic Cinema",) and film notes by Holger Haase (KRIMI! #0 How Jess Franco Killed (Bryan) Edgar Wallace: The Magazine for Continental European Crime Cinema Culture.) These scholarly pieces provide historical and critical context, making the book a substantial companion to the films.

The plots of the six Krimi films in Masters of Cinema's Terror in the Fog Blu-ray collection weave a captivating tapestry of suspense, gothic horror, and pulp intrigue, each delivering a unique twist on the Wallace legacy that keeps viewers guessing until the final frame. The Curse of the Yellow Snake (1963) ensnares with its exotic conspiracy as a Chinese cult’s pursuit of a cursed artifact in foggy London, which blends high-stakes adventure with venom-laced terror. Its labyrinthine twists, evoking Edgar Wallace’s knack for global menace. The Phantom of Soho (1964) plunges into London’s sleazy underbelly, where a masked killer’s murders near a nightclub unravel a web of elite corruption. The plot’s relentless pace and deceptive identities makes it a noirish thrill ride. The Strangler of Blackmoor Castle (1963) grips with its chilling whodunit as masked strangler’s branded victims in a gothic manor. It reveals buried sins, the intricate red herrings, and claustrophobic stakes, crafting a proto-slasher masterpiece. The Mad Executioners (1963) dazzles with its audacious dual narrative, intertwining a vigilante tribunal’s execution with a serial killer’s gruesome spree along the Thames. The converging mysteries fuel a morally complex rollercoaster. The Monster of London City (1964) mesmerizes with its psychological depth. As a theater actor’s Jack the Ripper role blurs with real murders, the plot’s exploration of art and violence deliver a haunting, ambiguous puzzle. Finally, The Racetrack Murders (1964) captivates with its rural intrigue, where a prized racehorse sparks a deadly conspiracy of greed and betrayal. The serpentine twists, ensuring a satisfyingly unpredictable climax. Together, these films showcase the Krimi genre’s genius for blending atmospheric dread with ingenious plotting, cementing their status as cult classics. The Masters of Cinema Blu-ray presentations are delightful. The extras are a treasure trove, blending scholarly commentary, historical insights, and genre analysis. Standouts include Lucas' and Bissette’s 84-minute discussion, Heller-Nicholas’s video essay, and the comprehensive commentaries. The limited-edition packaging and collector’s book add significant value, making this a must-own for Krimi fans, giallo scholars, noir devotees, and collectors of obscure genre cinema. It’s a lovingly crafted tribute to a pivotal yet underseen chapter of film history and has our highest recommendation. Perhaps 'the boxset of the year'.

Gary Tooze