Night School (4K UHD Review)
Director
Ken HughesRelease Date(s)
1981 (August 25, 2026)Studio(s)
Lorimar/Resource Productions/Paramount Pictures (Vinegar Syndrome)- Film/Program Grade: B
- Video Grade: A-
- Audio Grade: B+
- Extras Grade: B-
Review
In the late 1970s and early 1980s, there were a handful of thrillers made outside of Europe that would be considered American gialli nowadays, such as The Eyes of Laura Mars, Body Double, and Alice, Sweet Alice. 1981’s Night School (aka Terror Eyes outside of the U.S.) also falls into this grouping. The final film directed by Ken Hughes (Casino Royale, Chitty Chitty Bang Bang), Night School is a tight little thriller that, while not entirely difficult to discern, makes use of its time by involving its audience without resorting to cheap gimmicks. It definitely wears its influences on its sleeve; not just in style, but in the look of the killer, the weapon of choice, and the eventual reveal—all of which can be traced back to the likes of Mario Bava and Dario Argento.
A motorcycle helmet and gear-wearing killer is decapitating young women one by one, purposefully placing the heads away from the bodies and soaking them in water, almost ritualistically. On the case is a no-nonsense detective (Leonard Mann) and his partner (Joseph R. Sicari), who find themselves investigating several different suspects, including a promiscuous college professor (Drew Snyder) and his younger girlfriend and assistant (Rachel Ward).
Night School certainly has more up its sleeve than just its kooky tagline:
“A is for Apple, B is for Bed, C is for Coed, D is for Dead, F is for Failing, to keep your head.”
It’s a surprisingly well-made film and takes itself seriously while still being a little playful at times, particularly during the aftermath of one of the murders in which the audience will no doubt find itself on pins and needles. Performances can be lackluster as well, mostly due to the use of overdubs (mostly), but there are also occasionally odd moments throughout. This includes a bizarre shower-bound lovemaking sequence that’s less erotic than it is silly, but also the very end of the film, which attempts to lighten things up as it comes to a close, but it utterly fails.
The film probably won’t be recognizable to many modern horror fans, mainly only to those who browsed their local video store aisles and remember its VHS cover with some fondness, but with cinematography by frequent David Cronenberg collaborator Mark Irwin and a score by Brad Fiedel (The Terminator, Terminator 2: Judgment Day), Night School is an enjoyable horror-tinged thriller that tends to be overlooked.
Cinematographer Mark Irwin shot Night School on 35mm film with Panavision Panaflex cameras and spherical lenses. The results were finished photochemically and framed theatrically at the aspect ratio of 1.85:1. Vinegar Syndrome debuts the film on Ultra HD with a new 4K scan and restoration from the original camera negative, which has been graded for High Dynamic Range in HDR10 and Dolby Vision, and encoded to a dual-layered BD-66 disc. Outside of optically-processed shots, particularly the opening and closing titles, the image is sharp with grain that resolves fairly well, as thick as it can be at times, and a healthy bitrate that sits in the 80 to 100Mbps range most of the time. As per usual with Vinegar Syndrome, the HDR grades push the reds a bit too far. Take particular notice of Margo Skinner’s red shirt at the beginning of the film, which is popping off the screen, among other moments. Otherwise, the grades offer nice contrast with deep blacks and strong hues. Other than some black and white speckling, it’s a clean and stable presentation, and definitely a major step up from its Warner Archive Blu-ray counterpart.
Audio is included in English 2.0 mono DTS-HD Master Audio with optional subtitles in English SDH. Dialogue, including the aforementioned overdubs, is clean and clear throughout, but the track’s strongest qualities are its sound effects and score. The former doesn’t always have heft to it, but the latter is prominent and powerful in the mix without overdoing it. Some mild hiss is evident, but it’s obviously been cleaned up as much as possible without overdoing it.
Vinegar Syndrome’s 2-Disc 4K Ultra HD release of Night School sits in a black Amaray case alongside a 1080p Blu-ray and a double-sided insert, featuring new artwork by Ben Marra on the front, and the original theatrical poster artwork on the reverse. If you purchase this from Vinegar Syndrome’s webstore, you’ll also receive a spot gloss slipcover with the same artwork by Ben Marra, which is limited to 6,000 units. The following extras are included on both discs:
DISC ONE (UHD)
- Audio Commentary with Leon Williams, Jeffrey Leavitt, and Bryan Thomas Norton
- Audio Commentary with Mark Irwin and Bryan Thomas Norton
DISC TWO (BD)
- Audio Commentary with Leon Williams, Jeffrey Leavitt, and Bryan Thomas Norton
- Audio Commentary with Mark Irwin and Bryan Thomas Norton
- Head Hunter: An Interview with Leonard Mann (HD – 21:55)
- Street Born: An Interview with Joseph R. Sicari (HD – 27:46)
- Stunt Killer: An Interview with Jeffrey Leavitt (HD – 9:04)
- Trailer (SD – 2:28)
The first audio commentary features associate producer Leon Williams, stuntman Jeffrey Leavitt, and film historian Bryan Thomas Norton. The second features director of photography Mark Irwin, once again joined by Bryan Thomas Norton. Mark Irwin’s track is by far the best of the two, but Bryan Thomas Norton annoyingly tries to make jokes, interrupt, and talk over his guests. I found him annoying after a while, unfortunately, but when he manages to keep quiet and allow others to speak, we get plenty of great information about the making of the film, especially from Irwin who has some reverence for it.
In Head Hunter, actor Leonard Mann discusses appearing in Italian Westerns, agreeing to appear in Night School reluctantly when work was drying up, working with Rachel Ward on her first film, having fond memories of working in Boston, being surprised by the film’s following, not wanting to work in Hollywood, working in psychodrama therapy and with the mentally ill, and wanting to help people. Street Born speaks to actor Joseph R. Sicari about the original director Alfred Sole and his leaving when shooting began, his appreciation of Rachel Ward and working with Ken Hughes, becoming friends with Leonard Mann, shooting in an aquarium, being brought back for the ending, spending time with the Boston police for research, seeing the movie for the first time and describing it more as a “suspense” film, and being appreciative of its audience today. Stunt Killer talks to stuntman Jeffrey Leavitt about getting involved in the film, his excitement to shoot in Boston, what it was like on the set, going to see the movie with his family, becoming a talent agent, and being happy that film is living on. Last is the film’s trailer.
Night School is far from being some lost genre masterpiece, but it has much more going for it than one might expect just looking at the marketing materials. Vinegar Syndrome’s 4K release is solid and offers plenty of reasons to upgrade from the 2017 Blu-ray. If you’re a fan of the film, you should be more than pleased with the visual upgrade. Highly recommended.
- Tim Salmons
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