Cobra (4K UHD Review)

• Reviewed by: Tim Salmons
• Review Date: Sep 19, 2025
• Format: 4K Ultra HD
• 

Director

George P. Cosmatos

Release Date(s)

1986 (July 22, 2025)

Studio(s)

The Cannon Group/Warner Bros. (Arrow Video)

• Film/Program Grade: B
• Video Grade: A
• Audio Grade: A
• Extras Grade: A-

arrowvideo.com

Review

“You’re a disease, and I’m the cure.”

Stomped on by critics upon its initial release, 1986’s Cobra was still met with enthusiastic box office response, chiefly due to Sylvester Stallone’s massive popularity after four Rocky films and two Rambo films, making him one of, if not the, biggest action movie star in the world at the time. Cobra came into being after Stallone’s rewrite of the script for Beverly Hills Cop, which he was originally intended to star in, was rejected by Paramount Pictures. After leaving the project, he took all of his ideas, drawing inspiration from serial killer Richard Ramirez (the “Night Stalker”) and borrowing the main narrative from Paula Gosling’s novel Fair Game, and channeled it all into Cobra. The results were lambasted for a reliance on action movie cliches and an unnecessarily lean running time, losing character development and connective tissue along the way. Yet despite its flaws, it’s still celebrated by fans as one of the most stylistic and over-the-top action movie excesses of the 1980s.

Los Angeles is plagued by an ever-increasing series of violent murders, with the LAPD unable to track down any suspects or witnesses. After gunning down a killer in a super market that declares the coming of a “New World,” Lieutenant “Cobra” Cobretti (Stallone) is reluctantly handed the case, much against his superiors’ wishes. He and his partner Gonzales (Reni Santoni) hit the streets looking for answers, finding one in the form of Ingrid (Brigitte Nielsen), a model who has a run-in with the “Night Slasher” (Brian Thompson), but manages to survive. Now a target, Ingrid comes under the protection of Cobra as “The New World” cult, led by the Night Slasher, continues to hunt them down. The cast includes Andrew Robinson, Lee Garlington, Art LaFleur, John Herzfeld, Marco Rodriguez, Val Avery, David Rasche, and Nina Axelrod (albeit briefly).

Cobra makes no pretense about what it is. It takes itself just seriously enough to be effective, especially when you place it in the same line-up of 1980s slasher or horror-tinged action films as 10 to Midnight, Silent Rage, and Nighthawks, the latter of which Stallone also starred in. George P. Cosmatos returned to direct after having helmed Rambo: First Blood Part II, and it’s yet another project in which his directorial credit has come into question over the years, with some of the actors insisting that Stallone was the real director and Cosmatos was more or less there to call action and cut. In truth, Stallone had a very powerful producorial hand, and often dictated many facets of the films that he made (look no further than the behind-the-scenes chaos on Rambo III, for example). At the same time, Cosmatos was a strong-willed and even brutish filmmaker, and even with Stallone having the final say on everything, he’s just as responsible for the film getting over the finish line as Stallone was. But like Poltergeist and Tombstone, directorial credit for Cobra will forever be hotly debated in the film community.

Regardless of who’s the most responsible for its creation, Cobra is an ultra-stylish action movie, with terrific cinematography by Ric Waite (The Long Riders, 48 Hrs., and Footloose) and a first-class synth-laden score by Sylvester Levay (Airwolf, Mannequin), which dictates a certain look and feel for the film that’s reminiscent of Michael Mann’s work, particularly Thief and Manhunter. Where it lacks most is in its script, especially since many things were excised from the final film or just never shot at all. It was originally slapped with an X rating by the MPAA and had to be severely cut down, meaning that much of the violence was taken out of it in order to earn its R rating. In addition to that, it was reduced to 87 minutes to be counter-programming for Top Gun, which had opened the previous weekend and was making money hand over fist that summer.

Cobra definitely contains its fair share of oddness, which includes the infamous scene in which Cobra comes home and pulls a single piece of pizza out of the refrigerator, as well as a carton of eggs, the latter of which turns out to be his gun cleaning supplies. He then proceeds to cut the pizza with a pair of scissors and places the remainder back in the box. It seems like some kind of bizarre in-joke in which Cobra must slice his pizza, even if he doesn’t have an entire pizza to slice, but that’s very much reaching on my part. What makes it stranger is that he’s constantly reprimanding Gonzales for eating too much junk food, and giving Ingrid a curious look when she drowns her fries in ketchup. Why these oddball pieces of character business are in the film is beyond me, but it certainly gives the film some flavor, even if it’s the wrong one.

There are plenty of other examples of strange character behaviors, unusual exchanges, and moments that don’t necessarily make perfect sense, but when all is said and done, Cobra is still a highly entertaining piece of action schlock, totally in spite of itself. It’s far from flawless, but due to its star power, its style, its set pieces, and even its aforementioned peculiar flavor, you can appreciate what it gets right while still reveling in and celebrating what it gets wrong.

Cobra was shot by cinematographer Ric Waite on 35mm film using Panavision Panaflex Gold, Panavision Panastar, and Arriflex 35-III cameras with Panavision Super Speed MKII, Ultra Speed MKII, and Cooke Varotal lenses; finished photochemically; and presented in the aspect ratio of 1.85:1. Arrow Video debuts the film on Ultra HD for the first time with a new 4K restoration of the original camera negative, which has been graded for High Dynamic Range in HDR10 and Dolby Vision, QC’d by Pixelogic, authored by Leroy Moore of The Engine House Media Services, and encoded to a triple-layered BD-100 disc. It’s definitely the best the film has ever looked on optical disc, with a natural layer of medium, organic grain and bitrates that sit mostly in the 80 to 100Mpbs range. Detail is much crisper and more depthful than in previous presentations, even in the shadows. The HDR passes are somewhat disciplined in regards to the depth of color and black levels, but red and orange highlights appear to be overboosted, particularly at dawn in the opening and in the smelting factory during the finale. They’re much more amplified to the point of nearly bleeding. Otherwise, other hues and flesh tones are very much improved over previous Blu-ray releases. The image is stable and clean all throughout, with no visible film-based or encoding flaws to be found.

Audio is included in English 5.1, 4.0, and 2.0 DTS-HD Master Audio with optional subtitles in English SDH. The film was recorded in Eagle Stereo (or Ultra Stereo), and this collection of audio options certainly gives you some choice when it comes to surround engagement. Dialogue is mostly discernible though it’s a tad low at times, but it’s more of a stylistic choice than a fault of the mixes. The 5.1 and 4.0 tracks deliver mightily on wide stereo movement and immersion, with Sylvester Levay’s synth-driven soundtrack, as well as the song selection, having plenty of clarity. Low end activity is also potent on both tracks. The stereo track is a tad louder and a bit wider, but not quite as aggressive in terms of movement. Regardless, these are all solid tracks, though the 5.1 and 4.0 experiences are definitely the most satisfying, at least to these ears.

The Arrow Video 4K Ultra HD release of Cobra is housed in a standard black Amaray case with a double-sided insert and poster featuring new artwork by Tommy Pocket on one side and the original theatrical poster artwork on the reverse (as well as the slipcover). Also included is a 40-page insert booklet containing cast and crew information, the essays “I’ll blow this whole place up!” “Go ahead, I don’t shop here.” by Priscilla Page, “I’d like to have my car replaced”: Cobra’s Tone Poem to Los Angeles Roads by Dr. Clem Bastow, Call the Cobra: Stallone, Action, and Los Angeles Explorations by Ariel Schudson, Marion “Cobra” Cobretti: Sylvester Stallone’s Cuddly Authoritarian Rock Star by William Bibbiani, presentation information, production credits, and special thanks. The following extras are included on the disc:

• Commentaries:
  • Audio Commentary with Kim Newman and Nick de Semlyen
  • Audio Commentary with Josh Nelson and Martyn Pedler
  • Audio Commentary with George P. Cosmatos
• TV Version (Upscaled SD – 94:32)
• White Line Nightmare: Cobra and the Maverick Cop Genre (HD – 13:32)
• Dark Glasses, Violence & Robots: Cobra and the Maximalist 80s (HD – 10:12)
• Slashing the Night Away: Sylvester Levay and Cobra (HD – 17:23)
• Stalking and Slashing with Brian Thompson (HD – 26:01)
• Meet the Disease with Marco Rodriguez (HD – 24:06)
• Feel the Heat with Andrew Robinson (HD – 14:16)
• Double Crossed with Lee Garlington (HD – 9:06)
• A Work of Art with Art LaFleur (HD – 8:24)
• The Making of Cobra (SD – 7:51)
• Trailers:
  • Teaser Trailer (HD – 1:21)
  • Theatrical Trailer (HD – 1:56)
• Image Gallery (HD – 158 in all)

The first audio commentary features authors and film critics Kim Newman and Nick de Semlyen, who are both openly big fans of the film. They discuss the literary source in comparison to the film, but also make comparisons to other, similar films made prior to Cobra. It eventually de-evolves into the two of them basically commenting on things as they happen, but given that Kim Newman rarely geeks out like this on the record, it gets a pass. The second commentary features film scholars Josh Nelson and Martyn Pedler, who examine the film more from stylistic and political angles, discussing the consumerism of the era versus the product placement on display, the cop genre and how Cobra is evocative of many others like it, and various other aspects of the film. This one is perhaps a little more prepared, but also off the cuff as the two frequently make wisecracks among themselves along the way. Last is the 1998 DVD commentary with director George P. Cosmatos in which the late filmmaker flies solo for more of a reactionary track. However, he also manages to stir up memories of the production, providing some background on many key moments. It’s a little slower compared to most modern commentaries, but for a director’s commentary that’s lacking in a moderator, it’s still a good one.

Included for the first time on home video (in standard definition) is the TV version of the film, which is about eight minutes longer than the theatrical version and features many deleted and alternate scenes and angles. Most of the cuts are for language (dubbed in some cases) or for violence, but there are also some noteworthy additions. There’s an additional scene between Ingrid and her pestering photographer Dan (played by none other than David Rasche of the excellent Sledge Hammer! TV show), a deleted moment of a little boy bringing a box of severed hands from the killers into the police station, trimmed shots of the killers preparing their assault on Cobretti at his apartment, a blurred POV shot from Cobretti after his and Ingrid’s car crash, an extended and flirtatious conversation between Cobretti and Ingrid in the truck, more build-up to the killers taking out Cobretti, Ingrid, and Gonzales at the motel, and an extended section of the ending in which cops show up immediately after Cobretti disposes of the Night Slasher. Some of this material is better left on the cutting room floor, but the build-up scenes could certainly have added some additional menace, not to mention all of the violent content that was cut out.

White Line Nightmare is a visual essay by film critic Martyn Conterio who examines the film in relation to the “Maverick Cop” movie genre. Dark Glasses, Violence & Robots is another visual essay, this time featuring film critic Abbey Bender, about Cobra and the excessive style and content of 1980s action films. Slashing the Night Away features an interview with composer Sylvester Levay about his career and his work in the film. Stalking and Slashing contains an interview with actor Brian Thompson who discusses working on The Terminator before detailing his casting and work in Cobra. Meet the Disease features an interview with actor Marco Rodriguez who talks about being a young actor and playing opposite Sylvester Stallone in a big film. Feel the Heat contains an interview with actor Andrew Robinson in which he talks about the many pros and cons of working with Stallone and George P. Cosmatos, as well as his reaction to the film. Double Crossed features an interview with actress Lee Garlington who discusses her odd working relationship with Stallone and her memories from the set. A Work of Art contains an interview with actor Art LaFleur who talks about where his career was at when he was cast in Cobra, sharing his thoughts on the experience. The Making of Cobra is a 1986 promotional featurette that contains interviews with Stallone, Brigitte Nielsen, George P. Cosmatos, and stunt co-ordinator Terry Leonard.

The rest of the extras consist of two trailers and an Image Gallery containing 158 stills of color and black-and-white production and behind-the-scenes photos, home video artwork, and posters. All that’s missing from previous releases are additional stills included on the Scream Factory Blu-ray release. In addition to some of the same black-and-white and color production and behind-the-scenes photos, it also features additional stills of publicity photos, posters, lobby cards, video game artwork, and soundtrack artwork.

The biggest omission here, and we’ll chalk this up to unsubstantiated internet lore, is the uncut workprint of the film that runs for over two hours. Supposedly it contains all of the footage from the TV version, as well as additional character development, and all of the trimmed violence. But the question is, does this workprint even exist? Sure, it’s possible. Is it in the hands of anyone willing to share it with the rest of the world? No, probably not. Some even claim that Sylvester Stallone has a personal copy of it, but even if that’s the case, a longer and more violent version of the film has yet to surface (as of this writing).

Arrow Video’s treatment of Cobra on 4K Ultra HD helps to elevate the film into more appreciative territory, like many good home video releases. With a mostly spotless video presentation, multiple audio options, and quality bonus materials, it’s an easy upgrade. Highly recommended.

- Tim Salmons

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