Reminiscence (Warner Bros., Blu-ray or DVD, PG-13, 116 min.). The first time I tried to watch “Reminiscence,” I gave up after 20 minutes. I made it through the second time, months later, and was impressed by the sets and the partial sinking of Miami due to rising ocean waters in the year 2050, but the story still left me cold. The film is an ambitious first feature effort by writer-director Lisa Joy, who has had much success with HBO’s “Westworld” series. However, it overreaches and, in particular, I do not buy the central concept due to the way it is portrayed.

Hugh Jackman, in one of his less stellar roles, plays Nick Bannister, a man whose business is to recall peoples’ memories so they can relive them. For example, a regular is a former soldier who has lost both legs and who lives to relive the memory of playing fetch with his dog. The drawing forth of memories is accomplished by placing the subject in an isolation water tank, applying a drug and attaching leads to the head. The memories also are displayed to Bannister, and his partner Watts (Thandiwe Newton of “Westworld,” underused here except for one of the film’s best, unexpected scenes), as a hologram image which Bannister can walk around.

However, the images show more than a person would remember. They are more like a movie, with the person in them, which is particularly unbelievable when the man is playing with his dog or when another client is singing in a nightclub. The only time the process is used “realistically” is when, looking through the memories of a gangster, it actually looks like one is looking at the memories from his viewpoint and his own person, other than a bit of his face, is not shown. Thus, unable to buy the film’s central conceit, it just became a chore to get through.

Getting back to that singer, she is Mae, played by Rebecca Ferguson, the other central figure of the story, as Bannister becomes obsessed with her, starts a months-long affair with her and then feels utterly abandoned when she just up and disappears one day. By the way, Mae’s draggy singing is sleep-inducing. Most of the movie is spent with Bannister trying to track Mae down, a search that brings him in contact with a corrupt cop (Cliff Curtis), a New Orleans drug lord (Daniel Wu in a good bit of casting) and a Miami land baron who has bought up most of the dry land. Throughout the film, which is basically a noir, there are visual references to classics of the genre, among them Ridley Scott’s “Blade Runner” and Alfred Hitchcock’s “Vertigo.”

There are five short extras, the best of which looks at the creation of the Sunken Coast (7:05). Others look at creation the holographic “memories” (8:24), a look at the film’s characters, plots and presentation of memory as an addiction (4:07), a piece showing how Joy’s previous collaborators on “Westworld” contributed to this effort (8:14) and a music video of “Save My Love” by Lonr (whom I have never heard of), featuring Kylie Shia and some stupid-looking dancers (4:41). Grade: film and extras 2 stars

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

The Chinese Boxer, aka The Hammer of God (China, 1970, 88 Films, Blu-ray, NR, 90 min.). This film, presented by the legendary Shaw Brothers, is from the golden age of Kung Fu movies. It was written and directed by star Jimmy Wang Yu, and heavily influenced Bruce Lee’s “Fist of Fury” (1972) and Quentin Tarantino’s “Kill Bill” (2003). In turn, the film has its own heavy Akira Kurosawa influence, particularly his first film, “Sanshiro Sugata” (1943), about a judo fighter, and its follow-up, “Sanshiro Sugata, Part Two” (1945), Kurosawa’s third film.

Wang plays Lei Ming, a leader of the Ching I Martial Arts School, which is viciously attacked by Master Diao Erh (Hsiung Chao) and three Japanese swordsmen he has imported for the attack. Diao’s karate techniques also are new to Lei’s students. The attack kills many of Lei’s students, as well as head teacher Master Li (Mien Fang), who also was the guardian of Li Shao-ling (Pinh Wang), Lei’s betrothed. Lei is severely injured in the attack and spends days in a coma. Meanwhile, Diao has established a casino in town, with heavy fees for borrowing, and his own martial arts school.

When the three Japanese imports, led by Kitashima (Lieh Lo), who chops a table in half with his hand and then jumps and pokes a hole in the roof with his hands, fight and kill another student in a restaurant, Lei decides it is time to train in the Iron Fist fighting style, pounding his hands into sand and wearing iron around his ankles as he runs and high jumps.

While the fighting uses real techniques and often is quite spectacular, things are a bit cheapened by the heavy doses of fake blood used. For the final showdown, Diao also imports two Japanese samurai, who are kendo experts (the use of bamboo swords). Among the action pieces, in addition to the massacre at the martial arts school, is Lei setting half the casino on fire, fighting three dozen men at the casino and having a sword fight in a field of high reeds. The latter pays homage to the judo fight in the reeds in “Sanshiro Sugata.” Other Kurosawa homages include having the main villain have long hair, having a fight in falling snow, and fighting kick blows breaking trees.

The film suffers a bit from some over-acting and Wang has a penchant for weird camera shots, like distorted figures in a ceiling mirror over the gambling table and a repeating flashing image of an idol while Lei is forcing his hands into the sand. Some of the wirework is a bit too obvious as well; however, the film helped moved Chinese action films from the previous tamer variety, with fighting based on Peking Opera styles, to the rapid-pace kung fu style from Northern China that would become so popular in the West. Where the film also excels is in Dong Shao-yong’s cinematography.

The extras are solid and include audio commentary by film journalist and author Samm Deighan; journalist David West discussing the film and Wang’s career, which also, he says, included a lot of fighting off-camera (17:29); and Wong Ching discussing his stunt career for the Shaw Brothers (13:46). There also are the trailer and TV spot for the film as titled “The Hammer of God.” Grade: film and extras 3.25 stars

The Emperor’s Sword (China, Well Go USA, Blu-ray or DVD, NR, 92 min.). The narrated opening introduces the viewer to Gen. Meng Tian and his Seven Gentlemen, some of whom play a role later in the film, but most have retired in the Valley of the Red Wind. There is a big battle sequence during the opening credits as Emperor Qin Shi-Huang unifies China and established the Great Qin Dynasty. The emperor’s sword, which has mystical power, is then divided into two parts, with one given to the general and the other kept at the palace. However, peace only lasted 10 years, as the emperor died and Zhao Gao took power. There is lots of slow-motion shots during the coup fight scenes.

Meng Xue, the emperor’s daughter, is given his half of the powerful sword to hide. En route, brave man Jilian, one of the Seven Gentlemen, rescues her from four assailants. While they escape the city, Meng Xue takes an arrow in the back. When they reach an inn, which looks so familiar from other Chinese action films, they are helped by Han Jue and Aunt Lianzi. Lord Wei shows up and grabs all the swords, but again Meng Xue escapes, with the sword recovered.

Overall, everything seems pointless and it is hard to care for any of the characters. There is a brutal attack on a peaceful village. Most interesting is a two-on-one showdown with arrows in a field of high reeds. Maybe another Akira Kurosawa homage here? The film was co-directed by Yingli Zhang and Haonan Chen (“Thunder Chase”). There are no bonus features. Grade: 2 stars

The Incredible Shrinking Man (1957, Criterion Collection, Blu-ray, NR, 81 min.). The film, with wonderful special effects that make you believe a man can shrink, was part of the 1950s science fiction wave that dealt with atomic energy fears. Instead of a monster, though, and those usually grew gigantic, the mist with the silvery stuff that passes over Scott Carey (Grant Williams) on his boat has radioactive elements that sit inside his body until six months later they react with a tree-spraying insecticide application he drove through, starting the shrinking process.

For a while, an antitoxin halts his shrinkage at 36 ½ inches and 52 pounds, but soon Carey starts shrinking again and is living in a doll house – until Butch, the family cat, attacks and he takes refuge on the other side of the door leading to the basement. While Carey escapes Butch, the cat manages to shut the door on him and he must spend the rest of the film “lost” in the basement, where a spider becomes his predator enemy and he bunks in a matchbox.

The screenplay is by Richard Matheson (“I Am Legend,” “The Omega Man,” “Jaws 3-D”), who adopted his own novel, with the major change that the film is linear, while the book has a lot of flashbacks. According to the extras, Matheson wrote the novel to reflect his own insecurity over becoming a father and making enough through writing to support his family. Matheson also wrote the novel in his own basement.

The director was Jack Arnold, who helmed the 3-D films “It Came from Outer Space,” “The Glass Web,” “Creature from the Black Lagoon” and “Revenge of the Creature.” He also directed “Tarantula” – the spider in “Shrinking Man” actually is a tarantula too — and also used Williams (TV’s “Hawaiian Eye”) in his Western films “Red Sundown” and “Outside the Law.” Arnold went on to produce and direct a lot of television, including “Gilligan’s Island” and “The Brady Bunch” among many other shows. Arnold came up with some of the philosophical narration ending of “Shrinking Man.”

Extras include a new audio commentary by genre-film historian Tom Weaver and horror music expert David Schecter and a strong documentary on Arnold’s career at Universal (50:14). It also covers his early documentaries, including the Oscar-nominated “With These Hands” labor film. Matheson’s life and career are discussed by his son, Richard Christian Matheson, in a 2016 interview (10:57) and the film’s visual effects are discussed by two experts, visual-effects supervisor Craig Barron and sound designer Ben Burtt (24:52). In a 1983 interview for German TV, Arnold discusses the film’s special effects, including the use of split screens, rear projections, a set with large props to make Carey appear small and the dropping of water-filled condoms for the basement water drops (26:55).

There also is a good new discussion between filmmaker Joe Dante and comedian-writer Dana Gould on the film. They mention the book contained much more sexual anxiety than the film, which only hints at it, as when Carey’s wedding ring drops off (23:09). Two 8mm home-camera condensations of the film from 1969 are included (16:24), as is audio of the film’s lost, that is cut, music with Schecter (17:13). The fun Orson Welles-narrated trailer (2:04) and teaser (38 secs.) are included, plus a short radio play, “Return to Dust,” about a scientist who shrinks in his lab and then looks for help, presented Feb. 1, 1959 with Richard “Dick” Beales for the program “Suspense” (18:56). The leaflet contains an essay by critic Geoffrey O’Brien. Grade: film 4.5 stars; extras 4 stars

The Deceivers (Great Britain, 1988, Cohen Film Collection, Blu-ray, 103 min.). Part of Cohen’s Merchant Ivory Library, the film is a portrait of Victorian India, as it is set in 1825. The film opens with an encampment of three British soldiers being attacked, with all three killed. We learn later that it was the work of the Thuggee or deceivers, highwaymen who pretend to be harmless so as to travel with their targets and then attack and kill them when they least expect it. The film says it is based on a true story and closes with the information that it took the authorities 20 years to wipe out the Thuggee, who had claimed almost 2 million victims over hundreds of years.

After a British tiger hunt and a dance with a live orchestra, William Savage (Pierce Brosnan, just off the “Remington Steele” TV series and seven years before the first of the four films in which he played James Bond) marries Sarah (Helena Mitchell) and takes her to the district of Madhya, which he governs for the British East India Co. Savage has  plans to drain land and build a school to help the local population, but the higher-ups, including Sarah’s father, want nothing done, other than to apply British law.

One evening, to prevent a local woman from setting herself on fire as custom demands, because she believes her long-absent husband is dead, Savage darkens his face and pretends to be her husband from afar to prevent her immolation. As he heads back home, he comes across some men who apparently just massacred a family. Shocked, he has the area searched and more than 68 bodies are found, victims over the years of the Thuggee.

Savage chases down the men he has seen, capturing Hussein (Saeed Jaffrey), who admits to being a Thugg and says the Thuggee have been killing travelers for centuries to honor the goddess Kali. Savage, wanting to bring down the Thuggee, darkens his face once again and goes undercover as the woman’s missing husband Gopel, accompanied by Hussein, who is to be his “in” with the Thuggee. The Thuggee weapon of choice is the ramal, used to choke around the neck, although they are not averse to using rifles as well.

This is a broader, more action-oriented effort from Merchant Ivory, which gave us the much better “A Room with a View” and “Maurice.” Brosnan is effective when he goes undercover, although I cannot believe that just facial makeup would fool the Thuggee. His Savage does get along more with the Thuggee program after consuming Kali’s magical chemical. There are no bonus features. Grade: film 2.5 stars

The Haunting of Bly Manor (Paramount, 3 Blu-rays or DVDs, NR, 434 min.). From Mike Flanagan, the creator of “The Haunting of Hill House,” comes another miniseries with ghosts, only this time it is more of a love story, with heavy gothic touches. When the series gets to it, it is good, but that really does not happen until episode five. The first three episodes, in particular, are a slow slog and, after a quick resolution of episode seven’s cliffhanger in episode nine, the finale, the story is stretched on for another 30 minutes or so. Episode eight, one large flashback, tells how the ghosts of Bly Manor came to be and why they are subject to some rules, such as not being able to leave the property.

The main story follows Dani Clayton (Victoria Pedretti), a former teacher obviously running from something back in America, who is hired to be the au pair/teacher for the nephew and niece of Henry Wingrave (Henry Thomas of “E.T. – The Extraterrestrial”) at the remote estate of Bly Manor in England. The children are 10-year-old Miles (Benjamin Evan Ainsworth) and 8-year-old Flora (Amelie Bea Smith), who often talks as if she is in a “Mary Poppins” movie, yet, amusingly, the gardener (Amelia Eve as Jamie Taylor) calls Dani “Poppins” all the time.

Henry Wingrave basically leaves the children and the estate alone. The children’s parents, Henry’s brother and wife, were killed in an accident (I never caught what exactly happened) and their previous au pair (Tahirah Sharif as Rebecca Jessel) supposedly committed suicide only months earlier by drowning in the estate’s lake. There is a live-in housekeeper, Hannah Grose (T’Nia Grose of TV’s “Sex Education,” “Years and Years,” one of the show’s better performers). Rounding out the manor staff is cook Owen (Rahul Kohli), who has moved back to the nearby town to care for his mother, who suffers from dementia and is losing her memory. The other “regular” character is Peter Quint (Oliver Jackson-Cohen), who worked for Henry and is believed to have run off with 200,000 pounds of Henry’s assets. It is assumed Rebecca’s “suicide” had something to do with her being jilted by Peter.

When Dani keeps seeing images of Peter at windows and doors, it is immediately obvious he too is dead and a ghost. However, Dani has been seeing her own ghost long before she arrives at Bly Manor; it is a dark figure, except for very bright disks where the eyes should be, that she sees behind her reflection in mirrors and pools of water.

Each episode is heavy on flashbacks and each tends to center around one of the characters. Hannah keeps opening doors to different scenes in one episode, while Peter always opens the door to his mother, who forces him to commit a criminal act. It turns out that opening doors is a key symbol of what the miniseries is about, that is, memory. In these instances, memories are “time tucked away.” And, as Owen’s mother’s memory fades, so do the faces of the manor’s ghosts, as fewer and fewer people remember them.

The house is very grand looking, but Flanagan reveals in one of the two extras that the exterior is all digital, projected onto blue sheets, behind which were packing crates. In one extra (11:45), Flanagan discusses the ghosts; in the other (11:15), he talks about how the show is about the family one chooses rather than is born into. He also mentions that Henry James’ “The Turn of the Screw” was an influence. There also are three audio commentaries: director-creator Flanagan on episode one; director Liam Gavin on episode five; and director Axelle Carolyn on episode eight, the most overtly gothic romance episode. Grade: miniseries 2.5 stars; extras 1.5 stars

Audrey Hepburn 7-Movie Collection (1953-64, Paramount, 8 Blu-rays, G/PG/ rest NR). This marvelous set, with minimum packaging, contains some of Hepburn’s most beloved performances, including “Breakfast at Tiffany’s,” “Funny Face,” “My Fair Lady” and “Roman Holiday,” as well as “Paris When It Sizzles,” “Sabrina” and “War and Peace.” The films come with the previously-released extras.

In “Breakfast at Tiffany’s” (1961, NR, 115 min.), Hepburn plays New York party girl Holly Golightly, looking for love. The film, based on Truman Capote’s best-selling novella, was directed by Blake Edwards and also stars George Peppard, Patricia Neal, Buddy Ebsen, Martin Balsam and Mickey Rooney. The film was nominated for five Oscars, including the fourth of Hepburn’s five nominations as best actress and a nod for best screenplay. It took home Oscars for best score by Henry Mancini and best song, “Moon River,” by Mancini and Johnny Mercer. The extras include audio commentary by producer Richard Shepherd; eight featurettes, including looks at Mancini, Hepburn as a style icon and the making of the film; and galleries.

“Funny Face” (1957, NR, 103 min.) is set in 1950s Paris and features lots of dazzling fashion and music. Hepburn plays a bookstore clerk who becomes a modeling sensation, while Fred Astaire is the photographer who discovers her. The film was nominated for four Oscars, including the screenplay, Ray June’s cinematography and Edith Head’s costumes. The extras are five featurettes.

In “My Fair Lady” (1964, 2 Blu-rays, G, 172 min.), Hepburn plays the unforgettable Eliza Doolittle, a street urchin who is tutored into being a lady by Rex Harrison’s Professor Higgins. The film, adapted from the Broadway stage hit, won eight Academy Awards, including best picture, Harrison as best actor, Andre Previn for best score, Harry Stradling Sr.’s cinematography and George Cukor as best director. It received another four nominations, including Alan Jay Lerner for screenplay and Stanley Holloway and Gladys Cooper for supporting roles. Amazingly, Hepburn was not nominated. Extras include a making-of, six featurettes, a Harrison radio interview and alternate Hepburn vocals (Hepburn vocals were dubbed in the film).

“Paris When It Sizzles” (1964, NR, 110 min.) sees Hepburn reunite with William Holden in this romantic comedy that makes its Blu-ray debut. Hepburn plays Gabrielle Simpson, the young assistant to Holden’s screenwriter Richard Benson, who has only three days to finish his movie. As they write the romantic mystery, they envision themselves in the roles.

In the recently-reviewed “Roman Holiday” (1953, NR, 118 min.), Hepburn has her first starring role, opposite Gregory Peck. The film, which also is a love letter to Rome, earned 10 Academy Award nominations, including best picture, and won Oscars for Hepburn, Edith Head for her costumes and Dalton Trumbo for his screenplay. There are seven featurettes, the best of which look at Hepburn’s Paramount years and Trumbo going from the A-list to the Blacklist, plus galleries.

In “Sabrina” (1954, NR, 113 min.), Hepburn plays the title character, who draws the romantic attention of the mega-rich Larrabee brothers of Long Island. Humphrey Bogart plays all-work Linus, while William Holden plays all-playboy David. The film was nominated for five Oscars, including Hepburn as best actress, Billy Wilder as best director and Wilder, Samuel A. Taylor and Ernest Lehman for best screenplay. The one Oscar it won, again went to Edith Head for her costumes. There are six featurettes, including a look at Holden’s Paramount years.

Finally, “War and Peace” (1956, PG, 208 min.), directed by King Vidor, stars Hepburn as Natasha Rostova, with Henry Fonda as Pierre Bezukhov and Mel Ferrer as Prince Andrei Bolkonsky in Leo Tolstoy’s classic novel of intrigue and tragic romance set against Napoleon’s (Herbert Lom) invasion of Russia. The film received Oscar nominations for best director, best cinematography (Jack Cardiff) and costume design (Maria De Matteis). There are no extras for this film. Grade: collection 4 stars

Underworld: Limited Edition 5-Movie Collection (2003-17, Sony Pictures, 5 4K Ultra HD discs + 5 Blu-rays, R + 1 NR cut). Housed in a nice hard-shell box, the set contains all five of the films in the franchise, plus the unrated extended version of the first film, and all the previously-released bonus features on the Blu-rays.

In the films, Vampires are a secret clan of modern aristocratic sophisticates whose mortal enemies are the Lycans (werewolves), a shrewd gang of street thugs who prowl the city’s underbelly. No one knows the origin of their bitter blood feud, but the balance of power between them turns even bloodier when a beautiful young Vampire warrior (Kate Beckinsale as Selene) and a newly-turned Lycan with a mysterious past (Scott Speedman as Michael) fall in love. Other familiar faces are Michael Sheen as Lucian and Bill Nighy as Viktor.

The first film (2003, R, 121 min. + NR, 133 min.), directed by Len Wiseman from a story he wrote with Kevin Grevioux and Danny McBride, is mostly blacks and blues, with occasional bursts of red blood. The film previously was released in 4K Ultra HD in 2016, but only the theatrical versions. This set has both versions in 4K Ultra HD, as well as alternate flashbacks. The Blu-ray has director and cast audio commentary, a Fang Versus Fiction documentary, seven featurettes, outtakes, storyboard comparisons and the “Worms of the Earth” music video by Finch.

The next three films, all making their 4K Ultra HD debut, are “Underworld Evolution” (2006, R, 106 min.), “Underworld Rise of the Lycans” (2009, R, 92 min.) and “Underworld Awakening” (2012, R, 88 min.). All three have filmmakers’ commentary and six, five or three featurettes. Films two and three also have a music video, while “Rise of the Lycans” and “Awakening” both can also be viewed in picture-in-picture mode with behind-the-scenes information. “Awakening” comes with the three-part animated series “Underworld: Endless War” on 4K. The fifth film, which did have a previous 4K Ultra HD release, is “Underworld Blood Wars” (2017, R, 91 min.), which includes the official movie graphic novel on Blu-ray and four featurettes.

“Underworld” and “Underworld Rise of the Lycans” are the best of the five films, with “Underworld Awakening” not too bad. Overall grade: films 3.25 stars; extras 3.5 stars

Star Trek: The Original Series: 55th Anniversary Steelbook Collection (1966-69, CBS/Paramount, 20 Blu-rays, NR, 68 hours 41 min.). If you do not already have the original “Star Trek” series on Blu-ray, you may want to get this Steelbook edition, with each of the three seasons housed in a separate Steelbook. The set contains all 81 episodes, plus all the previously-released extras, including rare home movies and special memories footage. There also is the 2009 Comic-Con panel of creator Gene Roddenberry’s world. In all, there is more than nine hours of bonus material. As you know, star William Shatner (Capt. Kirk) recently really made it into space for a few minutes. Grade: set and extras 4 stars

DC’s Legends of Tomorrow: The Complete Sixth Season (DC/Warner Bros., 3 Blu-rays or 3 DVDs, NR, 900 min.). “Legends of Tomorrow” remains one on the freshest, most entertaining science fiction series on television, because its time-traveling heroes do not take themselves seriously. The main battle this season is with aliens, some of whom have abducted Sara Lance (Caity Lotz). One alien has the appearance of Amelia Earhart. In trying to escape, Sara has to turn to Gary (Adam Tsekhman), who has been hiding a big secret all along.

Meanwhile, the Legends have cases that bring them to a burger joint in 1955 San Bernadino, where the secret sauce is really a killer, to performing on a 2045 talent show, to trying to stop Fidel Castro from getting a nuclear weapon in 1962, to combating an alien who hangs out mostly underground in the Old West. Also during the season, Astra (Olivia Swann) graduates to real magic with the help of Aleister Crowley, who John Constantine had trapped in a painting and, in episode five, she turns most of the crew into household objects, before Crowley betrays her and turns everyone into cartoon characters. Lisseth Chavez joins the cast as Esperanza “Spooner” Cruz, who has been receiving alien broadcast signals in her brain for years.

There are 15 episodes in all, plus 70 minutes of bonus material, including a gag reel, deleted scenes, a VFX creature feature, animation split screen and action split screen, as well as a look at heroes and allies. Grade: season 3.5 stars

The Flash: The Complete Seventh Season (DC/Warner Bros., 3 Blu-rays or 4 DVDs, NR, 792 min.). This was a less impressive season for me, as I never really got into the somewhat-confusing mirror world, aka Mirrorverse, in which Iris West-Allen (Candice Patton) was trapped by Eva McCulloch (Efrat Dor), aka Mirror Monarch. The season also saw the departure of two cast members, one of whom has been part of the show since the beginning, and, for reasons to do with the actor, one of my favorites characters, Ralph Dibny, aka Elongated Man, has been written out of the show.

On the amusing side The Flash, aka Barry Allen (Grant Gustin), gets speed thinking, and the show again finds ways to bring back Tom Cavanagh as various incarnations of Dr. Wells. On the bad guys’ side, the season introduced new villain Psych (Ennis Esmer), who gives people visions of their worst fears. In one interesting episode, Cisco Ramon (Carlos Valdes) and Chester P. Runk (Brandon McKnight) get trapped in 1998, repeating the same day over and over, while Chester’s childhood home holds the key to solving the problem. Cecile Horton (Danielle Nicolet) is trapped in a mental mindscape by a new enemy, forcing her to face her past.

John Diggle (David Ramsey) from “Arrow” guests in an episode, bring a weapon to help in the Godspeed War, another arc that I found a bit confusing. The two-part season finale brought back several welcome guests, including John Wesley Shipp (the original TV Flash) as Jay Garrick. Jordan Fisher as Bart Allen, aka Impulse, and Jessica Parker Kennedy as Nora West-Allen, aka XS, the latter two both being The Flash’s kids. Cavanagh also makes another appearance as Eobard Thawne, aka Reverse-Flash.

The set contains all 18 episode of the season, plus deleted scenes, a gag reel, a farewell to two characters, a look at heroes and allies, and The Flash (Watchverse) from the 2020 DC FanDome. Grade: season 3 stars

Superman & Lois: The Complete First Season (DC/Warner Bros., 3 Blu-rays or 3 DVDs, NR, 705 min.). It was good to see Superman return to TV as a regular series, and Tyler Hoechlin, who has played the role on “Supergirl” and “Arrow,” is a very good and very good-looking Superman (he just looks the part). Elizabeth Tulloch reprises her role as Lois Lane, now married to Clark Kent/Superman and the mother of two teenagers. That latter twist, the two teenage sons, as well as the family relocating to Smallville, evokes some of the spirit of the first few seasons of “Smallville,” which was about Clark Kent’s early days.

The two boys are Alex Garfin (Linus in “The Peanuts Movie”) as Jordan Kent, who inherits some of his father’s superpowers, and Jordan Elsass (“The Long Road Home”) as Jonathan Kent, the more popular guy and football QB. Jonathan develops some resentment during the season as Jordan begins to develop superpowers and he does not. Dylan Walsh plays Gen. Sam Lane, Lois’ father.

Wole Parks plays Capt. Luthor/John Henry Irons from another universe, with his world and family – Lois Lane was his wife! –destroyed by that universe’s version of Superman. He is determined to destroy our Earth’s version of Superman before he turns evil.

Lois eventually gives up her job at the Daily Planet to work for the Smallville newspaper, doubling its staff in the process. Her main interest is investigating the somewhat shady Morgan Edge (Adam Rayner), who is very interested in mining outside the town. Much time – I would say too much time – is given to Lana Lang Cushing (Emmanuelle Chriqui) and especially her husband, Kyle Cushing (Erik Valdez), and his problems. We also see the backstory of Superman’s half-brother Tal-Rho, trained by the hologram version of his father to destroy Superman and find human bodies into which to transfer the stored minds of Kryptonians.

The set includes all 15 episodes in extended versions (some extra 10 minutes each) and 85 minutes of bonus features, including three featurettes and the “Superman & Lois” panel from the DC FanDome. Grade: season 3.5 stars