So the Blu-ray seems to have been mastered from U.S. print materials (unless they tricked it), as the on-screen title apparently is spelled with the U.S. re-title "I COME IN PEACE":
http://www.dvddrive-in.com/reviews/a-d/darkangelblu90.htm
Previously released on MGM’s Limited Edition (burn on demand) collection – as well as from MGM on DVD in a couple European territories – with the onscreen title DARK ANGEL, Shout’s “Scream Factory” Blu-ray features a 1080p24 MPEG-4 AVC-encoded widescreen (1.78:1) transfer that is satisfyingly grainy and detailed in the night sequences (the grayish shadows in some scenes appear to be an effect of THE FLY cinematographer Mark Irwin’s lighting attempting to strike a balance between the darkness and the frequent explosions without overexposure, as mentioned by the director in the disc’s featurette). The print source carries the I COME IN PEACE title onscreen (the original DARK ANGEL title card is on view in the featurette) and runs about twenty-odd seconds shorter than the Japanese DVD’s timing (presumably the earlier MGM master had opening and closing logos which are not present on the Blu-ray). Audio is available in a DTS-HD Master Audio 5.1 upmix, but the additional 2.0 rendering of the Ultra Stereo mix was fine to begin with. Optional English subtitles are also included.
Although the back cover and bonus features menu screen list “A Look Back at DARK ANGEL” (24:18) as featuring the participation of Baxley and Lundgren, it also features an equal amount of input from co-star Benben. Baxley reveals that the screenwriter credit for Leonard Maas Jr. was actually a pseudonym for David Koepp (who has since written JURASSIC PARK and STIR OF ECHOES among other mainstream hits), and that he signed onto the project – mounted by actor Mark Damon’s company Vision p.d.g. (WILD ORCHID) – when it had a twenty-two million dollar budget only to then be informed that the budget would be five to seven million. Lundgren and Benben credit Baxley for what he was able to achieve with the low budget while Baxley credits special effects coordinator Van Zeebroeck, cinematographer Irwin, and the stunt team (as well as casting director Karen Rea). All three of the participants utter the over-familiar “this was all before CGI” line in discussing the effects; however, it’s more valid here since it is uttered in the context of how difficult it would have been to insert doubles into shots, the confidence the actors had in Baxley and his stunt coordinator father and stuntman brothers to keep them safe, and the enthusiasm of co-star Hues (an Olympic athlete) to do his own stuntwork (Baxley does reveal which shots were doubled and how one bit was photographed in reverse because he was worried Hues would hurt himself). All three are justifiably proud of the film without overrating it (Lundgren even chuckles over his cheesy final quip to the alien), recalling the unique experience and what they were able to achieve. The clips from the film may have been sourced from SD as they compare poorly to the feature transfer. Besides a poster and still gallery, the only other extra is the film’s theatrical trailer (2:42); however, the reverse cover art does feature the I COME IN PEACE title and poster art if viewers want the cover to match the title on the feature presentation.
http://www.dolph-ultimate.com
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