Dear Evan Hansen (Universal, Blu-ray or DVD, PG-13, 137 min.). I am so happy that this musical film was made to capture Ben Platt’s Tony Award-winning performance as the title character, even if he now was a 27-year-old playing a teenager. While the screenplay by Steven Levenson may not entirely satisfy – character actions should erode sympathy – most of the songs by Benj Pasek and Justin Paul (“La La Land,” “The Greatest Showman”) are wonderful, and I love how Platt sings his share. Platt first became involved in the role during readings in 2014 and on stage starting in 2015 and through November 2017. The Broadway show won six of the nine 2017 Tony Awards it was nominated for, including Best Musical, Best Book of a Musical (Levenson), Best Original Score and Platt for Best Leading Actor in a musical.

The film, directed by Stephen Chbosky (“The Perks of Being a Wallflower,” “Wonder”), uses nine songs from the Broadway production and introduces two new songs, with the second part of a new ending that some have criticized. Song highlights for me are the opening “Waving Through a Window,” which takes Evan from his bedroom to the high school gymnasium; a heartfelt, even if it is broadening a lie, “For Forever”; the funny, very upbeat and wonderfully visual dance number “Sincerely, Me”; and the athematic “You Will Be Found,” which builds marvelously.

Evan is a 17-year-old high school student who is sometimes bullied due to his social anxiety (he also takes pills for depression). He wants to fit in, but cannot articulate his feelings. His only sort-of confidant is Jared Kalwani (Nik Dodani of “Escape Room,” TV’s “Atypical”), who insists they are only friends because their families are friends. Evan has a secret crush on Zoe Murphy (Kaitlyn Dever of TV’s “Justified,” “Last Man Standing”). Evan’s therapist suggests he write letters to himself detailing what would be good about each day. Evan’s mother, a fine Julianne Moore (“Magnolia,” TV’s “Lisey’s Story”) as Heidi, suggests Evan ask his schoolmates to sign has cast; Evan had broken his arm falling out of a tree while he worked the previous summer for the park service.

At school, Evan has an encounter with Zoe’s brother Connor (Colton Ryan of TV’s “Homeland,” the upcoming “The Girl from Plainville; Ryan was Platt’s understudy on Broadway), who thinks Evan is making fun of him and pushes him roughly, which Zoe sees and apologizes for. Later, in the library, Connor signs Evan’s cast – the only person to do so – but he also finds and takes Evan’s “Dear Evan Hansen” letter of the day, one that mentions seeing Zoe would be a highlight of the day, although he does not know how to talk to her.

Three days later, Evan is called to the principal’s office, where he meets Connor’s parents (Amy Adams as Cynthia and Danny Pino as Larry), who tell him Connor has committed suicide. They have found Evan’s letter, which Connor had taken, and believe Connor wrote it to his only friend, Evan. Evan tries to dissuade Connor’s parents from that notion, but they don’t hear him, and, when he later is invited to dinner at their home, he falls further into the lie, fabricating a relationship with Connor that would satisfy their hunger for knowledge of their son. (The movie drops the show’s opening number of “Anybody Have a Map,” sung by Cynthia and Heidi over how to connect with their sons.)

When Connor’s parents wonder if Evan has any other correspondence from Connor, such as e-mails, that he could share, he enlists Jared into creating a fake e-mail chain, which leads to the hilarious, upbeat “Sincerely, Me” number, which is so great because it shows a happy Connor. Things really get out of hand though when Evan’s speech/song “You Will Be Found” at the school assembly honoring Connor goes viral and class president Alana Beck (Amandla Stenberg) sets up a funding project to create a Connor memorial apple orchard.

Alana gets to sing one of the new songs, which actress Stenberg actually co-wrote, a song that outlines her own insecurities and how she tries to cover it up by being the exact opposite of Evan – a leader in everything at school. The expansion of Alana’s role is one of the changes made in the film. The other new song is a ballad performed on guitar and sung by Connor during one of his therapy sessions, which was filmed.

Bonus features include a background look at all 11 songs (43:17), with on-camera commentary by Platt and others and behind-the-scenes views; a making-of featurette (8:36); a look at Platt and the role on Broadway (4:57); and a look at making the film during the days of Covid and enforced isolation, which mirrors Evan’s situation (3:06). Grade: film 3.5 stars; extras 3 stars

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

Cry Macho (Warner Bros., Blu-ray or DVD, PG-13, 104 min.). Actor-director Clint Eastwood is at his most relaxed in this film in which he plays Mike Milo, a retired cowboy, a loner content to live out his days. He used to tame and train horses for Howard Polk (Dwight Yoakim, country singer and actor), and had been a rodeo star, but in an early scene, we see Howard let him go because he is constantly late and no longer effective. Apparently, one rodeo ride led to a severe injury.

A year later (1979), Polk shows up at Mike’s and hires him to go to Mexico to fetch his 13-year-old son Raphael “Rafo” (Eduardo Minett, one of five Mexican actors in lead roles here). Polk’s ex had taken Raphael to live with her in Mexico years before. In effect, Polk is asking Mike to kidnap his son, who, in turns out, lives in a mansion with his mother Leta (Fernanda Urrejola). Polk claims his son is being abused.

When Mike meets Leta, she, at first, says it is OK for him to take Raphael, if he can find him, but later changes her mind and sends one of her employees and probable lovers (Horacio Garcia Rojas as Aurelio) after them. Mike has found Raphael in a seedy part of town, involved in cockfights. He calls his champion rooster Macho and takes the rooster everywhere with him.

For most of its running time, the film has a very leisurely pace that actually serves it well. There are plenty of gorgeous vistas of Western scenery, desert plains, horses and sunrises. (By the way, the film gets Eastwood up on horses for the first time in almost 30 years, not bad for a 91-year-old.) While Rafo is wild-eyed at going to live on a Texas ranch with horses, it takes him a while to warm up to Mike. That comes when the two settle in for weeks in a small town near the border, as Leta has alerted the authorities to her son’s “kidnapping.” It is during this period, while teaching Rafo to be a man and how to handle horses – they get jobs helping out on a horse ranch and Mike accidentally falls into being the local veterinarian — that Mike rediscovers his own will to live as he finds joy in beginning a friendship with a restaurant owner-operator (Natalia Traven as Marta), who is raising her granddaughters.

The film has a simple sincerity that is enjoyable. There is good chemistry between Eastwood and Minett, as well as a less overt one between Eastwood and Traven. The wonderful cinematography is by Ben Davis (“Guardians of the Galaxy,” “Doctor Strange”).

The bonus features are a making-of featurette (12:13), in which Eastwood said he was offered the part way back in 1975 when N. Richard Nash’s novel came out, but felt he was too young to play the part; and a piece on the animal handlers (7:19). Ten different roosters were used to portray Macho. Nash co-wrote the script with Nick Schenk (writer of the Eastwood films “Gran Torino,” “The Mule”). Grade: film 3.5 stars; extras 2 stars

Malignant (Warner Bros., Blu-ray or DVD, R, 111 min.). The latest horror film from James Wan (“The Conjuring,” “Saw”) has a ridiculous premise and nary a character to care about, including the abused central character (Annabelle Wallace as Madison Mitchell), who suffers her fourth miscarriage when her husband Derek (Jake Abel) punch-pushes her into the wall of their bedroom. It later turns out that losing the child was not the most impactful injury, rather it was the blow to the back of her head that was bloody.

That very night, Derek, locked out of their bedroom, is killed in the living room below. Investigating the case are detectives Kekoa Shaw (George Young) and Regina Moss (Michole Briana White). Shaw gets a lot of attention from the ladies, including Madison’s suspicious sister Sydney Lake (Maddie Hasson). Eventually, the theory is the killer was Gabriel, Madison’s imaginary childhood friend.

The film opens with a sequence that, for a long time, seems like it is from a different movie. It takes place in 1993 at the Simon Research Hospital, conveniently located atop a cliff facing the ocean as a regular horror movie location. There, a patient, also called Gabriel, goes berserk, killing attendants. Gabriel can control electricity and starts broadcasting his thoughts through a radio. Of course, the similar name proves not to be a coincidence.

I first watched the movie a couple months ago. Then, when the home release date neared, I tried to remember the plot and could not remember a thing until I started to watch it again. So much for making an impression; however, there is an appropriately gory mass murder scene in the police station bullpen, as well as a more squeamish one in a female prisoner holding cell.

The only extra is a look at Wan’s visions (14:11), a piece that includes the makeup development and basically gives away the whole film. Grade: film and extra 1.5 stars

Jet Li as Wong Fei-hung faces Iron Vest Yim (Yen Shi-kwan) in the climatic, ladder-filled warehouse scene of “Once Upon a Time in China.”

Once Upon a Time in China: The Complete films (China, 1991-1997, Criterion Collection, 6 Blu-rays, NR, 659 min.). The five-film series, conceived by director/co-writer/co-producer, Tsui Hark helped bolster the Hong Kong-produced martial arts film industry, but also used historical settings to comment on current events, most particularly the then-pending 1997 handover of Hong Kong from British control to Chinese control. The films can be seen as very anti-foreign influence on China and, especially with the character of Wong, adopting to foreign technological advances. Hark directed four of the five films. A bonus sixth film, not part of the series but with the same characters, was directed by Sammo Hung, a noted director who acted in a lot of Jackie Chan’s movies.

The main character is Wong Fei-hung, played by Jet Li in films one, two, three and six. With Li leaving Golden Harvest studio after his contract was up, Vincent Zhao took over the role for films four and five. In the films directed by Hark, there is budding romance between Wong and 13th Aunt Siu-kwan (Rosamund Kwan), who is savvier about their feelings than he is (note that they are not blood relations, despite her being called aunt), and there is lots of humor in the form of Wong’s sometimes bungling disciples. They are Bucktooth So (Jacky Cheung Hok-yau in the first film; later Roger Kwok Chun-on), Porky Wing (Kent Cheng), Leung Foon (Yuen Biao in the first film; Max Mok Siu-chung in the other five) and Clubfoot Seven (Xiong Xin-xin; also in “Black Mask” with Li). Clubfoot is a former adversary who converts into a disciple, starting with the third film. Foon is the easy-on-the-eyes one, who pines for 13th Aunt – any contact makes him very happy.

“Once Upon a Time in China” (1991, 134 min.) has the Black Flag Army, a militia, put under Wong’s training. Meanwhile, the Manchurians have taken over the Foshan area of China and are aligning with foreigners. On a more local level, a protection racket finds resistance, leading to a big street fight. At one point when Wong is fighting many, he grabs a European umbrella as his weapon. Not only is it effective, but it becomes his weapon of choice in several of the future films. Later, Wong’s residence is attacked by fire arrows and the bad guys seek help from the Americans. This results in American soldiers massacring a theater audience with their guns, which reflected a real-life incident.

At another point, head bad guy Iron Vest Yim (Yen Shi-kwan), who literally is wearing a sheet of iron under his shirt, challenges Wong to a fight in the rain. Meanwhile, Foon has a fight in which he jumps a lot, and the climatic fight between Wong and Yim involves a lot of ladders in a warehouse. One time, Yim says, “We can’t fight guns with kung fu,” which becomes a recurring theme in the films, which nonetheless have a lot of brilliantly staged kung fu battles.

Extras on this disc include a new interview, in English, with Hark, who recalls when Li injured a leg during one of the first ladder stunts and could not film for a while, so a stunt performer was used for the long shots (15:49); audio interviews with Li from 2004 and 2005, in English, covering his early martial arts training and Buddhism (6:07); an interesting new discussion by film critic Tony Rayns of the series, as well as the previous film incarnations of Wong Fei-hung (30:22); an English-dubbed interview with actor Yen Shi-kwan (7:49); and a behind-the-scenes montage (2:59).

“Once Upon a Time in China II” (1992, 113 min.) introduces the White Lotus Sect as the bad guys, led by Priest Kung (Xiong Xin-xin, who would play Clubfoot in subsequent films and had been Li’s body double). The White Lotus are virulently xenophobic and their antiforeigner sentiments unleash destructive violence. They burn foreigners’ possessions and storm embassies.

Some humor comes with Wong, 13th Aunt and the disciples traveling by train – the first time for most. They do not know how to eat while the train is rocking and they do not know what a tunnel is. They are going to Canton, where there are protests over ceding Taiwan to the Japanese in 1885. Once there, 13th Aunt becomes a target of attack due to her wearing Western clothing and taking pictures with a large tripod camera given to her by a Russian friend. The trip is so Wong can present about acupuncture at a medical convention, during which he meets Sun Yat-sen (a real Chinese figure who argued for democracy), who translates into English for him. The lecture is attacked by fire arrows, however. Later, the White Lotus attack a language school, killing most of the adults, then Wong and 13th Aunt try to protect the children who were hiding.

During a tavern song performance, there is a montage of White Lotus violence and police reactions. On a lighter note, Wong tries to teach 13th Aunt kung fu, but she is just happy having physical contact with him. Looking at their shadows, she images the shadows are dancing with each other.

Wong’s main opponent is Commander Yan of the local constabulary, played by Donnie Yen (“Raging Fire,” the “Ip Man” films). The two fight with long poles, an extended sequence designed by action choreographer Yuen Wo-ping. Wong also takes on the White Lotus Sect in their temple, using his trusty umbrella and including fighting atop a table pyramid. The first film was very good, but this one is even better.

Extras on this disc include a 2004 documentary on the legend of the real Wong Fei-hung, his life (1956-1925) and the more than 100 films made about him, including 77 starring Kwan Tak-hing (48:03); a 2012 interview with Yen, who discusses the pole fight (16:29); a 2019 master class given by  action choreographer/director Yuen Wo-ping at the Lincoln Center – he helped make Jackie Chan a star with “Drunken Master” and discover Yen (he says Li had more grace than Chan or Yen) (42:11); and “From Sparks to Spindles,” a 1976 documentary of New York City’s Chinatown by Christine Choy that features some uncredited work by Hark (45:24).

“Once Upon a Time in China III” (1993, 112 min.). The film opens with the colorful Lion Dance in front of Empress Dowager Cixi of the Qing Dynasty, whose advisor suggests making the foreigners get in each other’s way. They decide to stage a Lion King competition in Beijing. Lion dancing has humans carrying a lion head and long bodies, dancing and doing kung fu moves. These scenes are rather spectacular and very colorful.

Wong and crew arrive to participate in the competition, but Wong is instantly jealous of Russian Tomansky (John Wakefield) who offers 13th Aunt his carriage. It is Tomansky who attended school in England with 13th Aunt and who gave her the camera. Like Foon, Tomansky wants to get romantic with her. Another reason for the trip is so that Wong can visit his father’s (Lau Shun as Wong Kei-ying) pharmaceutical factory.

Once again, there is a bad guy, this time Chiu Tin-bai (Gin Chui), leader of the Tai Ping oil factory, who forbids any Cantonese groups from participating in the Lion King competition. Clubfoot Seven (Xiong Xin-xin) is Chiu’s champion and he fights Wong’s father. On the technological side, Wong’s father has bought a steam engine for his factory. At one point, younger Wong tries to break up a large street fight using only a cloth! Later, he has to fight on a floor slick with oil, while his opponents are throwing hatchets at him.

The Lion King competition seems more like an excuse for the teams to damage each other, starting with the colorful street parade. On the political side, Commander Li Hongzhang wants to cede Liaodong Peninsula to Japan, which the Russians are sure will lead to war between Russia and Japan, so they concoct a scheme to assassinate the commander during the Lion King competition.

Extras on disc three include a 1994 interview, in English, with Hark, which includes a clip of him acting in a cop movie (22:56); a 2012 interview with actor Wakefield (10:54); and about 72 deleted scenes, some of which only last a couple of seconds (20:43). There are two humorous deleted scenes involving Foon and another involving the disciples trying to get a ghostwriter to do their punishment writing.

“Once Upon a Time in China IV” (1993, 101 min.). This is the only film in the original five not directed by Hark. Instead, the director is Yuen Bun, an action choreographer directing his first feature film. Other changes have Vincert Zhao replacing Jet Li as Wong Fei-hung, 13th Aunt being away and 14th Aunt May (Jean Wang), her sister, introduced and also have the hots for Wong.

This time the group out to kill all foreigners is the all-female Red Lantern Sect. The action picks up right after Wong and crew won the Lion King contest in the third film. Foon has a dragon match with Deputy Gov. Guan Shing-tao that leads to some spectacular fun. The eight foreign nations decide to hold a Lion King competition in which they use very large, elaborate entries in an attempt to weaken the Chinese.

In many scenes, particularly indoor ones, the actors’ breath can be seen as it must have been very cold when the film was made. The Red Lantern women attack the German dispensary, leading to Wong actually fighting women. Even though he was trying to help. Wong is arrested and tortured. The Germans even plan to execute him. Mia San (Wang Jin-hua) of the Red Lanterns was imprisoned with Wong, but Father Thomas helps both escape. At the Red Lantern headquarters, Wong engages in a fight atop domino-like planks.

Having missed the competition due to the arrest, Wong issues a challenge for a new nine-nation competition, but this time he has a 100-pound copper lion head to use. The sole bonus feature is a new interview with editor Marko Mak Chi-sin (12:03). The third and especially the fourth film are lesser entries in the series.

“Once Upon a Time in China V” (1994, 101 min.). With Hark back directing, the film’s new antagonists are pirates, including one who cuts the fingers off his victims and then sends a trunk full of them to the owner of a rice production company at his warehouse. Despite this opening, humor is back, especially involving Foon. When Foon and Clubfoot go the warehouse to seek help because their carriage has broken down, the warehouse men fight them. Long absent Porky and Bucktooth So are back, as is 13th Aunt after missing the last film.

The Wong crew is supposed to take a boat to Hong Kong, but instead give up their tickets to a large family. That turns out both good for them and bad for the family, as pirates attack the ship, killing all the passengers.

Catching a would-be rice thief, they take him to the local courthouse, where they find very few constables, but do find a box of American firearms. When they try firing the weapons, only Bucktooth is any good. Meanwhile, 13th Aunt has become jealous of 14th Aunt, especially when she misinterprets shadows of 14th Aunt and Wong picking things off the floor in the next room.

There are shootouts with pirates on a ship and then at their headquarters, including an extended one-on-one battle atop and among boxes of pirate loot between Wong and pirate leader Cheung Po-tsai (Paco Yick Tin-hung). Later, the pirate king’s son, Cheung Yuk-lun (Stephen Tung Wai), the one who likes to collect fingers, plans a nighttime raid on Wong’s crew and the constables.

The film rivals the first two in the series. The only extra is a new interview with producer Nasun Shi, cofounder with Hark of Film Workshop (10:06).

“Once Upon a Time in China and America” (1997, 100 min.) is an awkwardly named coda, made separate from the series, but retaining most of the characters and same actors, with Jet Li returning as Wong Fei-hung after missing the previous two films. All the action takes place in the American West – the filming took place in cold Texas – and Sammo Hung is the director, while Hark produced the film, which includes American Indians, Chinese work gangs and intolerant white American officials and gunslingers.

Dr. So, formerly Bucktooth So, has established a new Po Chi Lam clinic in America and Wong Fei-hung, 13th Aunt and the others have come to visit. Along the way, Wong stops the wagon to help a nearly dead cowboy, whose horse had died. He is Billy (Jeff Wolfe, veteran stunt actor), who is very good with his pistols. When the wagon convoy stops to rest and eat, American Indians attack and Wong uses his trusty umbrella to do some damage, but then a wagon with 13th Aunt in it takes off. Wong, follows, but the wagon and both eventually go over a cliff and end up in the river, where Wong bangs his head and consequently loses his memory.

The Indians find Wong and he becomes a member of their tribe, especially after he helps beat off a rival tribe. One of Wong’s new tribe, Sarah (Chrysta Bell), becomes romantically interested in him and he gives her his wedding ring, not remembering what it represents.

In town, apparently an outlaw gang has an arrangement with the local authorities and the banker, who deposits money they can steal. However, Billy catches two of the robbers and is made a deputy. Meanwhile, Clubfoot gets into a wild bar fight, one of the film’s highlights. There is even a better “memory” fight between Clubfoot and Wong, after 13th Aunt discovers where Wong has been.

A second staged bank robbery results in the Chinese workers being framed and seven leaders, including Wong, are to be hanged. Director Hung makes some odd editing choices, as he cuts away from Wong’s fight with the head bad guy to show two other fights to their conclusion, before coming back to Wong. However, the fights are all well staged.

Bonus features include a 1997 making-of featurette that emphasizes how cold it was (24:59) and a behind-the-scenes look that shows some of the wire work (4:19).

The first three films have received 4K digital restorations; the next two new 2K digital restorations. The final film is also a new 2K restoration, but with noticeable surround sound. The booklet contains essays by film critic Maggie Lee and novelist Grady Hendrix. Grade: Once Upon a Time in China 4 stars; OUATIC II 4.5 stars; OUATIC  3 stars; OUATIC IV 2.75 stars; OUATIC V 4 stars; OUATIC and America 3 stars; extras 5 stars

The Monkey King Reborn (China, Well Go USA, Blu-ray, NR, 96 min.). There have been many Monkey King movies, with several quite enjoyable. This is an animated version with a somewhat hard to follow, confusing plot. At times too, the score is overwhelming. In effect, the movie is about the Monkey King and his demon companions Bajie and Sandy accidentally releasing Primordian, the progenitor of demons, who had been imprisoned deep within the Earth. They do that by going after a manfruit that only yields 30 each 10,000-year harvest. Primordian first emerges in a dragon-like form, then turns into a salamander. The Monkey King has three days to re-imprison Primordian or his master, Tang Monk, will be devoured and, basically, Earth will be lost to the demon’s armies.

There also is a baby-like qi energy that they call Fruitie, who is a key to victory. King White Brow fights on the side of evil and his men turn some townspeople into zombies. The film, which comes with no extras, is colorful though. It is directed by Wang Yun Fei and offers an all-new English dub. Grade: film 2.75 stars

Maniac Cop 2 (1990, Blue Underground, 4K Ultra HD + Blu-ray, R, 87 min.). Despite its pulp title, the film, directed by William Lustig and written and produced by Larry Cohen, actually is a pretty good thriller. The Maniac Cop, thought dead, is police officer Matt Cordell (Robert Z’Dar), a former hero who was framed by corrupt superiors and brutally assaulted in prison two years ago. Now he is on a macabre mission of vengeance against those who framed him and, along the way, briefly teams up with Steven Turkell (Leo Rossi of “Halloween 2”), a serial killer of exotic dancers. This set up was to mirror the Frankenstein Creature and Igor.

In addition to director Lustig and writer Cohen, the film brings back actor Bruce Campbell from “Maniac,” but his character, Officer Jack Forrest, is quickly killed off. The new central “good guy” is police Detective Sean McKinney (Robert Davi of “Die Hard”). Claudia Christian (“The Hidden”, TV’s “Babylon 5”) plays police psychologist Susan Riley, who ends up helping McKinney “solve” the case. At one point, Maniac Cop handcuffs her to the steering wheel of a car, which he then sets in motion down a hill, with her being dragged outside the car. It is a crazy, but effective stunt that follows a car chase that goes on a sidewalk.

In fact, the movie has several outstanding stunts, including perhaps the longest, albeit filmed in small bits, man-on-fire occurrence on film. That takes place at Sing Sing, where Maniac Cop has gone with death row prisoner Blum (Clarence Williams III of TV’s “Twin Peaks,” “Mod Squad”) to free all the other death row prisoners. On their way to the prison, they create mayhem on the road with a police bus. Maniac Cop also gets to shoot up the police station.

The film is presented in a new 4K restoration from the original camera negative and supervised by director of photography James Lemmo. The extras are solid too. There is audio commentary by Lustig and filmmaker Nicolas Winding Refn and a 2013 making-of documentary (46:52), with Lustig, Cohen, actress Christian, who talks about it being very cold and her “dressing room” was only a see-through shower curtain – she has not a happy camper while making the film – and Dean Gates, who did the special makeup effects. Lustig says some of the stunts were influenced by Hong Kong films and “The Thing” inspired one scene. Composer Jay Chattaway talks about the fun closing rap song that he co-wrote.

There also is a 2012 Cinefamily Q&A with Lustig that repeats some of Lustig’s stories, but he is very animated and amiable (28:36; one deleted scene (1:31); an isolated music score; and a poster and still gallery. Grade: film 3 stars; extras 3.75 stars

Maniac Cop 3: Badge of Silence (1993, Blue Underground, 4K Ultra HD + Blu-ray, NR, 85 min.). Both Maniac Cop/Matt Cordell (Robert Z’Dar) and Detective Sean McKinney (Robert Davi) are back, as is writer Larry Cohen, but the director is credited to the generic Alan Smithee, as William Lustig walked out of the project midway. The resulting product shows Lustig was justified in doing that as the film is just a retread that even uses too much from the previous two films. We get to see the same prison scene were Cordell got beaten to “death,” the same scene of him shotting a couple of cops as he goes up stairs and some of the same man-on-fire footage.

One new wrinkle is the finding of a headless corpse with a smiley face drawn where the head should be. It turns out the head was needed for a ritual that will help the Maniac Cop get his bride. Yes, the template here is “The Bride of Frankenstein,” only with voodoo instead of science. The film calls it Palo Mayombe, an off-shoot of Santeria. The bride-to-be is Officer Kate Sullivan (Gretchen Becker), who shares an opening shooting range scene with McKinney.

A bit later, Sullivan investigates a pharmacy robbery. She shoots the robber (Jackie Earle Haley of “A Nightmare on Elm Street,” “Watchmen”), but realizes the pharmacy clerk was in on the robbery. The female clerk picks up her boyfriend’s gun and shoots Sullivan, but Sullivan shoots back and kills her, only to be framed for killing “an innocent victim.” A scuzzy news team has captured the only incident on video tape, but hides the part that shows the dead girl’s involvement.

Sullivan lands in the hospital and lustful Dr. Peter Mayerson (Doug Savant of TV’s “Desperate Housewives”) says she is brain dead. Then Dr. Powell (Robert Forster of “Jackie Brown”), in what is merely a cameo, is ordered to take Sullivan off life support, which brings about his immediate death by Maniac Cop. (How would MC know that Powell had been just given those orders?) And this time, instead of helping death row prisoners escape, MC helps prisoners in the hospital escape. This does lead to a cool scene of McKinney, covered by a sheet on a gurney, rushing towards the escapees and rising up, shooting.

The utterly ridiculous, yet exciting, ending features yet another walking man on fire, but this time he also drives a car and tries to grab the good guys in an ambulance.

Extras include audio commentary by Smithee, actually Lustig as himself, and Joel Soisson, who produced, wrote some scenes and basically took over the film when Lustig left. There also is a making-of featurette (25:05), in which Lustig says he hates the movie and talks through all the problems he had, while Soisson also talks about the difficulties in making the film, whose original version was only 51 minutes long. As with the previous making-of, stunt coordinator Spiro Razatos talks about his work, including how the dummy on fire in the car once went rogue and almost caused an explosion. Beware, Lustig says a remake is being made – hopefully he means of the original film, not this dismal one.

There also are seven deleted and extended scenes (10:26); the original typed synopsis; and a poster and still gallery. The film is presented in a new 4K restoration from the original camera negative. Grade: film 1.5 stars; extras 3 stars

Kevin Can F**k Himself: Season 1 (AMC Studios, 2 Blu-rays, NR, 5 hours 54 min.). The whole setup of the show is how the women of family sitcoms from the 1960s kind of reverted back to “supporting spouses/partners” even in the more realistic sitcoms that followed. The show, with its ugly title, is another meta offering that exploits the idea of a television show being a television show as part of its premise. In this case, Allison Devine-McRoberts (Emmy winner Annie Murphy) has been married to Kevin McRoberts (Eric Petersen) for 10 years. The series offers two ping-ponging realities: a sitcom-like series of vignettes on a set where everything is light, bright and cheery, complete with a laugh track; and dramatic interludes that paint a much more somber version of what is going on in the McRoberts’ marriage and with their neighbors, who are frequently at the McRoberts’ home.

It seems Kevin James of “Kevin Can Wait” is the role model for Kevin McRoberts. In the extras, it says the show is more about the friendship Allison ends up developing with her neighbor, Patty O’Connor (Mary Hollis Inboden), rather than the disintegrating marriage. The relationship between the two women actually propels the story. Other are Kevin’s father Pete (Brian Howe), a former priest, and Neil (Alex Bonifer), Patty’s brother and Kevin’s best friend, who is kind of a lame-brained hunk. Late in the season, Allison reunites with former flame Sam (Raymond Lee). Grade: season 3 stars