The audio is handled by a 16-bit LPCM 2.0 Stereo track, in English, with optional subtitles provided in English only. The audio quality is on par with the video, it's good but not quite perfect. Dialogue is fine, no problems following it, but there is a little bit of sibilance here and there. Otherwise, no there are no problems to note and the audio is properly balanced.

Extras:

The extras also duplicate what was included on the aforementioned Scorpion release. Carried over from the old Liberation Entertainment DVD release is a commentary track from writer/director Mark Rosman who is joined by actresses Eileen Davidson and Kathryn McNeil. Rosman does most of the talking here, explaining how when he sold the movie to Film Ventures he had to colorize the opening scene that was originally shot in black and white before moving on and discussing why the opening sequence was designed to look the way that it does. Rosman also talks about how the film was originally called Seven Sisters but that the distributor changed it so that people wouldn't think that it was a movie about nuns. There are a few moments where they clam up a bit but these are few and far between and for the most part this is a relaxed, amiable but fairly interesting talk about their various experiences on the film and about how the project came to be, even if the commentators spend a bit too much time explaining what's on the screen at times. A second audio commentary with director Mark Rosen, moderated by Katarina Leigh Waters, is also included. It covers a fair bit of the same ground as the first one but also manages to go in a few unique directions from time to time. It isn't paced as well as the original track but diehard fans of the film will appreciate it. This track originally appeared on Scorpion's 2-disc DVD release from 2012.

Also carried over from that release are a bunch of additional video interviews. First up is a forty-two-minute piece with actress Harley Jane Kozak who speaks about how she landed the role and how it wound up having an effect on her career. She also shares some interesting stories from the film shoot and her thoughts on the production. From there, Waters winds up hosting a fourteen-minute interview with Kate McNeil where she talks about how she wound up in the picture and what it was like working on it. Waters appears again in a seven-minute piece with Eileen Davidson and a twenty-one-minute piece with Rosman. These cover a lot of the same ground as the original commentary does but in a more condensed format. Composer Richard Band is also interviewed in a lengthy forty-five-minute piece with Waters where he talks about how he wound up working on the project and what he tried to bring to it with his music. Producer Igor Kanter is also interviewed, for ten minutes, wherein he details his background in the film industry and some of the projects he worked on in his earlier days before then discussing his involvement in this particular project.

Rounding out the extras on the disc is an original trailer for the feature, a trio of television spots, a quick featurette on the film's original ending accompanied by almost five-minutes of storyboards for that lost footage, a pre-credits sequence and bonus trailers for a few other MVD properties (Mortuary, Dahmer, Mikey and Mind Games).

Interestingly enough, this release also includes the ‘Alternate Mono Audio Version With Re-Timed Pre-Credit Sequence' version of the movie, which runs 1:31:53 as opposed to the standard version's running time of 1:31:47. The AVC encoded 1080p transfer for this version gets 13.3Gbs of space and features Dolby Digital 2.0 Mono audio. There are no subtitles provided. The difference is that this version opens with an ARC logo, before going into the ‘June 19th 1961 black and white intro. The feature version opens with a Multicom logo, then a Trafalgar logo and then a Bloody Disgusting logo before going into the ‘June 19th, 1961 opening scene', which has a different color scheme to it, looking more blue than black and white. Additionally, as you can see from the caps below, the color timing affects more than just the opening scene, it's different throughout. It's also slightly squished - or is the feature version slightly stretched? It's a subtle difference but it's there.

As to the packaging, we get a nice slipcover with this release and folded up inside the Blu-ray case is a collectible mini-poster replicating the film's iconic poster art. We also get some cool reversible cover sleeve art.

While far from the greatest slasher of its era, The House On Sorority Row is pretty entertaining stuff. It benefits from a solid concept, a great location and a few strong murder set pieces. MVD's Blu-ray reissue offers a nice presentation of the film on a disc loaded with extras. Recommended!

Ian lives in NYC with his wife where he writes for DVD Talk, runs Rock! Shock! Pop!. He likes NYC a lot, even if it is expensive and loud.