The Suicide Squad (Warner Bros., Blu-ray + DVD, R, 132 min.; also on 4K and DVD). Going in, I did not know much about the Suicide Squad other than seeing the somewhat obnoxious 2016 film of the same name minus the “The.” So, I was blown away by the exuberant violence and comedy that writer-director James Gunn (two “Guardians of the Galaxy” films) successful mixes in this wickedly funny, over-the-top extravaganza.

Among the many highlights are a beach invasion scene that wipes out most of a first-team Suicide Squad, including certainly the most useless-powered superhero ever in T.D.K. (Nathan Fillion of TV’s “Firefly,” “Castle”), whose power is the ability to detach his arms from his torso; an attack on a guerilla camp that sees Bloodsport (Idris Elba of TV’s “Luther”) and Peacemaker (John Cena of “The Marine,” many a “WrestleMania” event) try to one-up each other in their number of kills; and Harley Quinn’s (Margot Robbie reprising her role from “Birds of Prey”) deadly escape from a palace on a South American island, during which she literally spouts stars, flowers and other brightly-colored glitter effects, while using a machine gun and other weapons to mow down military guards.

This is adult-level violence, but with B-movie humor, and most of it works very well. One of the antiheroes is King Shark, voiced by Sylvester Stallone (the “Rocky” films), who just about wants to eat anything that comes his way, including people, while the big baddie is Starro, a giant, brightly-hued alien starfish that can launch mini-versions of itself that affix themselves to human faces and take over their bodies with its hive-mind. The latter is not an absurdity dreamed up for the film, but actually comes from DC Comics and the Suicide Squad’s six-issue run in “The Brave and the Bold” in 1960.

The film opens without long character introductions, as Task Force X head Amanda Waller (Viola Davis, a holdover from the earlier film and the true villain of the piece) sends the dregs of the super-endowed criminal world to storm the island of Corto Maltise. Each has a chip implanted in their head so that it can be exploded if they misbehave. Leading this first wave is Col. Rick Flagg (Joel Kinnaman of TV’s “The Killing,” “For All Mankind”). Others are Harley Quinn, Capt. Boomerang (Jai Courtney), superego Javelin (Flula Borg), Weasel (Sean Gunn, the director’s brother), Mongal (Maykling Ng) and Savant (Michael Rooker, a regular in Gunn’s films).

Flagg and Quinn eventually hook up with team two, which consists of Peacemaker, Bloodsport, King Shark, Ratcatcher 2 (Daniela Melchior) and Polka-Dot Man (David Dastmalchian). Their job is to destroy a Nazi-like prison, where the Thinker (Peter Capaldi of TV’s “Doctor Who” with bolts sticking out of his head) uses prisoners for experimentation, and Starro. Along the way, Quinn gets embroiled with the island’s royalty (Juan Diego Botto as Presidente General Silvio Luna) as a possible marriage partner.

Extras include audio commentary by writer-director Gunn; seven deleted or extended scenes (17:27), including Quinn meeting Luna’s servants, the gross end of Thinker and a couple involving King Shark; and a funny, but swear-filled gag reel (10:23). Two of the best featurettes look at bringing King Shark to life, with Steve Agie doing the motion-capture performance (5:40) and a look at the squad and its costumes and props (11:37). Another piece looks at director Gunn (7:50) and there are four scene breakdowns covering the war movie aspect, for which a beach was built on stage (6:37), the Bloodsport vs. Peacemaker one-uppance, including creating a jungle on stage (5:44), Quinn’s great palace escape (7:16) and the fall of the Jotunheim tower (5:38). There also is a look at Starro the Conquer and how the film’s 150-foot-tall Kaiju was created (6:17) and three retro-style trailers, presenting the film as a war movie (3:24), a horror movie (1:23) and a buddy-cop movie (1:17). Grade: film 3.5 stars; extras 4 stars

Rating guide: 5 stars = classic; 4 stars = excellent; 3 stars = good; 2 stars = fair; dog = skip it

High Sierra (1941, Criterion Collection, 2 Blu-rays or 2 DVDs, NR, 100 min.). Directed by Raoul Walsh and co-written by John Huston and novelist W.R. Burnett, this is the film that helped make Humphrey Bogart a star, showing off the actor’s ability to also have a softer side, after playing a succession of hard-nosed gangsters in mostly B pictures at Warner Bros. The other film that launched Bogart into stardom was “The Maltese Falcon,” also in 1941, the first of six films directed by Huston that Humphrey starred in. The two were drinking buddies.

This special edition of “High Sierra” includes Huston’s remaking of the film as a western, “Colorado Territory” in 1949. Major elements remain the same, but the aim of the heist is a train safe with payroll rather than the hotel safety deposit boxes in “High Sierra.” Despite both films being good and Bogart in “High Sierra,” I give the nod to “Colorado Territory” as the more satisfying film.

“High Sierra” starts with criminal Roy “Mad Dog” Earle (Bogart) being pardoned from prison after eight-plus years. His immediate first stop is a park, where children are playing. However, he has been sprung by Big Mac (Donald MacBride), who is waiting in California for Earle to arrive and take charge of a resort hotel heist, the haul from which should set up everyone for life. Reportedly, the character of Earle was patterned after John Dillinger.

Earle now longs for a simpler life – perhaps to go back to the farming his family had when he was a youth (he stops at the farm on the way west) – but owes Big Mac this one last job for getting him out of prison. Along his way west, Earle encounters a trio of characters: Pa (Henry Travers), a farmer from Ohio who has lost his farm; his wife (Elisabeth Risdon as Ma), and his granddaughter Velma (Joan Leslie), who has an untreated clubfoot. Earle becomes enamored of Velma and, after he meets the family again in the city, he decides to help them, including paying for Velma’s operation. Velma, though, has a beau back home and her personality turns from sweet to selfish after the operation.

Meanwhile, Earle has been saddled with two co-robbers – Alan Curtis as Babe and Arthur Kennedy as Red, who end up fighting over a woman (top-billed Ida Lupino as Marie Garson) Babe has brought from a downtown dance hall. Marie talks Earle into letting her stay and she eventually develops feelings for Earle. An unfortunate element of the film is the stereotypical African-American servant role filled by Willie Best. Best’s Algernon is followed around by a small dog, Pard, which seems to be a harbinger of death and soon latches onto Earle.

The film’s robbery, of course, goes south when Earle has to shoot a guard and the job’s inside man eventually squeals on him to the police. The robbery sequence is OK and there is a good fast car chase up into the mountains, albeit with no crashes.

Extras include a 2003 featurette on Warner Bros. gangster films and this film, which helped paved the way from the gritty gangsters movies of the 1930s, when gangsters became sort of folk heroes during the Great Depression, to the romantic fatalism of 1940s film noir (15:06); the 1997 documentary “Bogart: Here’s Looking at You Kid” with Bogart’s son Stephen and widow Lauren Bacall, shown on “The South Bank Show” and which covers Bogart’s life and career (51:07); a new video essay using 1976 material with Dennis L. White on writer Burnett, who also wrote the source novel for “Little Caser” (14:24); film historian Miriam J. Petty’s appraisal of Best’s career and the stereotypical roles he was confined to (14 min.); and an audio-only presentation of the April 17, 1944 Screen Guild Theater condensed version of the story with Bogart and Lupino (28:26).

The second disc contains Huston’s “Colorado Territory” (1949, NR, 94 min.). Henry Hull, who played Doc Banton in “High Sierra,” plays farmer Fred Winslow in “Colorado Territory,” the father of Julie Ann (Dorothy Malone of “Basic Instinct”), the girl our antihero falls for after meeting her on the stagecoach heading west to Colorado. Our antihero is Wesley McQueen (Joel McCrea of “Sullivan’s Travels,” “Foreign Correspondent”), who early on is broken out of jail when an old woman, claiming to be his aunt, smuggles in some string as part of a sock, so a hacksaw could be lifted through the window of his cell. This takes place in Clay County, Missouri.

Soon McQueen is headed west, but first stops at the former family ranch. When on the stagecoach, McQueen helps protect Fred and Julie Ann Winslow when six horsemen attack. Ironically, the local authorities think McQueen is the only would-be robber who escaped. Ominously, McQueen’s fellow train robbers have holed up in an abandoned village in the so-called Canyon of Death. They are Duke Harris (James Mitchell) and Reno Blake (John Archer of “Destination Moon,” “White Heat”), with Reno being the one who has picked up a woman. She is Colorado Carson (Virginia Mayo of “White Heat,” “Captain Horatio Hornblower”). Train conductor Homer Wallace (Ian Wolfe) is the inside man, who immediately sells them out pre-robbery for the $20,000 reward money on McQueen’s head.

The ending is a bit “Bonnie and Clyde.” Both the attempted stagecoach robbery and the train robbery are well done, exciting scenes. Later, there is a posse horse chase. Director Huston uses the western scenery extremely well and all of his shots have deep focus, so everything is clear, including the often-interesting backgrounds. This version of the film is from the original negative, but has not been restored.

There are two extras. One is a new conversation about Huston and his films between programmer Dave Kehr and critic Farran Smith Nehme, who point out Huston made five films with Mayo (19:49). The other is a 2014 documentary on Walsh’s career, “The True Adventures of Raoul Walsh” (95 min.), with Johnny Crear doing voice-over narration from Walsh’s own writings. Marilyn Ann Moss directed this excellent effort, which she wrote with Joel Bender. Walsh directed 140 films between 1912 and 1964 and for him, “cinema is action.” He was especially good on action films, involving soldiers, pirates, cowboys and gangsters. He acted in 42 films as well, and discovered John Wayne and Rock Hudson. In his own life, he even rode with Pancho Villa, the bandit who became a general in the Mexican Revolution. Grades: High Sierra 3.25 stars; Colorado Territory 3.5 stars; extras 5 stars

Yokai Monsters Collection (Limited edition with 4 films) (Japan, 1968-69, 2005, Arrow Video, 3 Blu-rays, NR, 361 min.). Yokai are ghosts and monsters from ancient myths and legends, mostly in Japan but also some from China. The first three films, from the 1960s, were made at Daiei Studios, which also was the home of the recently-reviewed Daimajin films.

The first film is “100 Monsters” (1968, NR, 79 min.), also known as “Yokai Monsters: 100 Monsters” and “The Hundred Ghost Stories.” In the film, a greedy slumlord (Takashi Kanda as Reimon Tajimaya) tries to forcibly evict his tenants and tear down a nearby shrine so he can build a brothel. He already has bribed the local zoning official to approve his plans. Tajimaya has taken control of the tenant building from Jinbei (Tatsuo Hanabu) as Jinbei borrowed 30 gold pieces from Tajimaya to pay for medicine for his wife.

During a dinner for the magistrate, Tajimaya and others, the “Hundred Ghost Stories” are told, including one about a fisherman who fails to heed a monk’s warning and his wife’s neck elongates. Tajimaya fails to do the cleansing ritual with candles’ being extinguished, thus causing some yokai to surface. In one sequence a painting by Tajimaya’s adult, but mentally-challenged son comes alive via animation and then there is a puppet of the umbrella yokai. At least in this initial film, it all looks a bit silly. Yasutaro (Jun Fujimaki), a masterless samurai, comes of the aid of the tenants and fights Tajimaya’s men with a bit of swordplay. Other yokai show up, including faceless people and the slashed-mouth woman.

The film has a weird mixing of tones. The director was Kimiyoshi Yasuda, who made six Zatoichi films and directed four “Zatoichi monogatari” TV episodes. Yasuda also co-directed the third film in this set, “Along with Ghosts,” and “Daimajin.” Extras include an image gallery and a good history of yokai, including the longstanding oral tradition and the work of manga artist Shigeru Mizuki (41:11). Even Pokemon could be considered a branch of yokai.

The second film is “Spook Warfare” (1968, NR, 79 min.), also known as “The Great Yokai War.” It was directed by Yoshiyuki Kuroda, who went on to co-direct “Along with Ghosts,” as well as directing “Lone Wolf and Cub: White Heaven in Hell,” and nine TV episodes of “Zatoichi monogatari.” The writer was Tetsuro Yoshida, who also wrote all three Daimajin films and “100 Monsters.”

In “Spook Warfare,” an evil Babylonian vampire (Chikara Hashimoto as Diamon) is accidentally awakened by treasure hunters in the ruins of Ur. He makes his way to Japan on a sailing ship and once there, takes over the body of a benevolent lord, whose daughter is Lady Chie (Akane Kawasaki). People start to suspect something is wrong when the lord starts destroying all the shrines in his home. Kappa, the turtle-like water imp, can see the truth though and asks the other yokai to help him defeat the vampire. The other yokai refuse to believe him at first, but ultimately have a big battle with Diamon’s clones. Diamon is so nasty, by the way, that he prefers children’s blood to that of adults. Lady Chie is helped by Shinhachiro Mayama (Yoshihiko Aoyama of two Zatoichi films and “Daimajin”).

The yokai are more integrated in the story this time and, thus, the overall film is better. The special effects are still somewhat primitive and some of the costumes are weak. The only extra is an image gallery.

The third film, also on disc two, is “Along with Ghosts” (1969, NR, 78 min.), also known as “Yokai Monsters: Along with Ghosts.” Where the film takes place, there are several areas in which the Omizuka spirits will curse anyone who spills blood there. A group of five men are planning to rob two travelers, who are carrying papers that prove their boss has bribed officials. The quintet kills the old man who warned them and then the two travelers, but the paper they were after floats away from them. The scene does provide an early swordfight.

Meanwhile, the old man’s granddaughter, Miyo (Masami Burukido), sets out to find her real father, Tohachi. Along the way she is saved by Hyakasuro (Kojiro Hongo), who is haunted. It takes 33 minutes for the first yokai spirit to appear. Overall, the film has more swordplay than yokai. They only appear three times. Again, the only extra is an image gallery.

The best of the four films is director/co-writer Takashi Miike’s “The Great Yokai War” (2005, NR, 124 min.), ostensibly a homage to 1968’s “Spook Warfare,” but dome more as a children’s film, despite occasional violence, and with very good special effects and a solid story. The film centers around teenager Tadashi (Ryunosuke Kamiki, then 11, afterwards a voice actor in “Your Name,” “Spirited Away,” “Summer Wars”), who, six months after his parents divorced, is living with his mother and grandfather in the countryside. Tadashi is bullied by his new classmates, but during an annual local festival, he is chosen as the Kirin Rider, the champion who preserves world peace. According to the folklore, the Kirin Rider must climb the Great Goblin Mountain outside of town and obtain the Great Goblin Sword, which proves to be magical.

Tadashi’s first attempt at the climb is a failure, but he makes friends with a cute yokai on the bus home. It is the sprite Sunekosuri. In a nice nod to the past, Tadashi visits the Shigeru Mizuki Museum, which displays much of the real-life manga artist’s yokai-based work. There, Tadashi first meets a young reporter (Hiroyuki Miyasako as Sata), who pops up later during the all-out warfare.

On the side of evil is Agi (Chiaki Kuriyama) of the beehive hair and whip, who imprisons yokai for Lord Yasunori Kato (Etsushi Toyokawa of “Midway,” “Sword of Desolation”), who then traps the yokai souls in killing robots that he controls. Kato also uses the revengeful spirit of thrown-out things, Yomotsumono, to attack Tokyo in the grand finale. The mechanical monsters Miike and crew come up with are terrific.

On his second attempt up the mountain, Tadashi meets several yokai, including the very long-necked woman, the Kappa (turtle) Kawataro (Sadao Abe), the river princess Kawahime (Seiko Iwaido) and the Azuki-bean Washer (Takashi Okamura). When chosen Kirin Rider, Tadashi was given a special cloth and azuki beans. During this segment, there is a nod to “Indiana Jones” as a giant boulder rolls down a cave portion. It turns out that once Tadashi has the sword, it enables him to fly and defeat some of Kato’s attacking mechanical creatures.

The film is both wild and comic, and the more familiarity one has with yokai, the more one will appreciate the special little touches. Despite his young age, Kamiki is a wonderful actor, making the viewer root for him from the beginning. All in all, this is a wonderful, highly entertaining movie from Miike, who also brought us “13 Assassins,” “Dead or Alive,” “Ichi the Killer,” “Sukiyaki Western Django,” “Jo-Jo’s Bizarre Adventure: Diamond is Unbreakable – Chapter One,” “First Love” and, just this year, “The Great Yokai War: Guardians.”

Bonus features are many, including an audio commentary by Tom Mes and a fine documentary that follows Kamiki making the film (27:19). There are nine cast interviews: Miyasako (5:42); Maswaomi Kondo, who plays Shoujou, the red water imp (5:59), as with several others it shows his extensive makeup being applied; Abe (6:41); Takahashi (6:44); Bunta Sugawara as grandfather Shuntaro Ino (4:44); Kuriyama (6:28); Kiyoshiro Imawano as Nurarihyon (3:20); and Toyokawa (4:49). There are seven crew interviews: Miike (12:16); yokai designer Junya Inoue (5:52); yokai designer and mold-maker Tomo Hyakutake (4:25); yokai makeup person Yuichi Matsui (4:25); art director Hisashi Sasaki (4:24); yokai designers Yasusushi Nirasawa and Takayutu Takeya (3:30); and CGI director Kaori Otagaki (6:27).

Additionally, there are two rather weak episodes of “Dreams of Yokai” that take place after the film; one has three frogs arguing over a bean-jam bun (6:03 and 7:45). There is another story of Kawataro being interrogated by two policemen (10:25). Other featurettes include a World Yokai Conference (13:07), the film’s announcement event (7:40), the film’s press conference (3:43) and the film’s premiere (6:09). The set comes with a foldout poster yokai guide, illustrated by Jolyon Yates; postcards featuring newly-commissioned artwork for each film by Yates; and an illustrated 60-page book with new writing on the series by Stuart Galbraith IV, Raffael Coronelli and Yates. Grades: 100 Monsters 2 stars; Spook Warfare 3 stars; Along with Ghosts 3 stars; The Great Yokai War 4 stars; extras 4 stars

Frankenstein’s Daughter (1958, The Film Detective, Blu-ray, NR, 85 min.). Donald Murphy plays Dr. Frank, the grandson of Victor Frankenstein, who secretly is working to reanimate a female corpse with the help of his father’s assistant Elsu (Wolfe Barzell). His day job is working as the assistant to Prof. Carter Morton (Felix Locher), who is trying to develop a formula that would stop the destruction of flesh tissue. Morton may not be an absent-minded professor, but he is too absorbed to notice that Frank (short for Frankenstein, of course) and Elsu have a secret entrance to Morton’s home laboratory. The setting is Los Angeles.

Dr. Oliver Frank has been secretly trying out small portions of his formula on Morton’s live-in niece Trudy (Sandra Knight), who sleepwalks through the neighborhood as a hideous creature, as the treatment causes temporary facial disfigurement. Soon the neighborhood monster makes the newspapers.

Much of the film deals with Trudy’s romance with Johnny (John Ashley) and their friendship with Suzie Lawler (Sally Todd) and Don (Harold Lloyd Jr., who gets to sing a couple of songs). The plot is very meat-and-potatoes. The whole thing was made in six 10-hour days. Some of the continuity is funny, as the only shirtless male dancer at the pool party changes the color of his shorts.

The extras actually are better than the film. There is audio commentary by historian Tom Weaver and filmmaker Larry Blamire. Note that on the box it is misidentified as two separate audio tracks and, on the disc, it is misidentified as being an audio track by Jason A. Ney. There is a documentary on director Richard E. Cunha, in which Cunha videotaped his answers to questions mailed him by Tom Weaver and producer Art Jacobs takes part as well (36 min.). Very good is a look at the career of Ashley with C. Courtney Joyner (10:15). Ashley, who was first spotted by John Wayne as an Elvis Presley type, went on to become the best friend of Frankie Avalon’s character in several beach movies, then produced films in the Philippines, including being associate producer on “Apocalypse Now,” and then worked into television production, including for “The A Team.” Grade: film 2.5 stars; extras 3.5 stars

Apocalypse Now: Final Cut (2019, Lionsgate, 4K Ultra HD + Blu-ray, R, 183 min.). Speaking of “Apocalypse Now,” there is this new steelbook 4K edition, available via Best Buy, of Francis Ford Coppola’s classic film, a retelling of Joseph Campbell’s “Heart of Darkness” set during the Vietnam War. The film, which stars Marlon Brando as Special Forces Col. Walter E. Kurtz and Martin Sheen as Capt. Benjamin L. Willard, who goes searching upriver for the missing Kurtz, has been fully restored from the original 1979 film for the first time ever. The original film won Oscars for cinematography (Vittorio Storaro) and sound, and was nominated in six other categories, including best film, best director and supporting actor (Robert Duvall). The special feature is a final cut introduction by Coppola. Grade: film 5 stars

The Amazing Mr. X (1948, The Film Detective, Blu-ray, NR, 78 min.). Turhan Bey (“The Mummy’s Tomb”) plays Alexis, a scam artist who claims to communicate with the dead, particularly for his rich, widowed clients. His newest mark is depressed Christine Faber (Lynn Bari of “The Bridge of San Luis Rey”), whose husband Paul has been dead for two years. Christine, who is dating lawyer Martin Abbott (Richard Carlson of “Creature from the Black Lagoon,” “It Came from Outer Space”), believes she hears Paul’s voice calling to her and his piano playing.

Both Martin and Christine’s younger sister Janet (Cathy O’Donnell of “Ben-Hur”) believe Alexis is a charlatan, but Janet soon falls under his spell and even considers a possible romance. One nice part of the film, directed by Bernard Vorhaus, is it shows how some of Alexis’ effects are accomplished, including a spirit box that retreats into the next room and two-way mirrors.

The film, in a new 4K transfer restored from the original 35mm film elements, succeeds most with its great atmosphere, as Christine’s house is high above the water’s edge and John Alton’s cinematography is brilliant and beautiful throughout. The film has a good twist as well.

Extras include audio commentary by professor and film scholar Jason A. Ney and an original documentary on the cinematic world of spiritualism with Lisa Morton and C. Courtney Joyner (20:27). There is an illustrated booklet with an essay on Bey’s career by Don Stradley. Grade: film 3 stars; extras 2.75 stars

Corridor of Mirrors (Great Britain, 1948, Cohen Film Collection, Blu-ray, NR, 96 min.). This is another atmospheric film from 1948. It opens with Mifanwy, a seemingly happy mother of three, taking the train to London to meet her secret lover. Most of the film that follows is told in flashback and covers many months, if not years. Mifanwy is played by Edana Romeny (“The Strangler”) in her debut. Also making his film debut here, as Charles, is the great Christopher Lee (the “Hobbit” trilogy, the “Lord of the Rings” trilogy, four “Dracula” films).

The flashback begins seven years earlier, when Mifanwy first meets painter and art critic Paul Mangin (Eric Portman of “A Canterbury Tale,” “49th Parallel”), She was unmarried at the time and Mangin first encountered her at a nightclub. Their romance, such as it is, is a very slow burn. Mifanwy finally learns that Mangin believes he has been reincarnated, as has Mifanwy, and they were lovers in the past. He even has an old painting from 1486 that looks exactly like Mifanwy to prove it.

Mangin lives in an enormous house, which contains the corridor of mirrors of the title. It also contains a mysterious woman (Barbara Mullen as Veronica) Mangin has been hiding, and she warns Mifanwy to be leery of Mangin. The film concludes at Madame Tussauds Wax Museum in London, and only the last five minutes are truly interesting. There are no bonus features. Grade: film 2 stars