This is essentially a hodge podge of Miller's _other_ Daredevil work, but with its inclusion of Born Again, Man Without Fear, and (to a lesser extent) Love and War, it remains a must-read, definitely worthy of being right next to the main Miller omnibus.
Peter Parker: The Spectacular Spider-Man (#27-28). This is the sort of detritus you throw into an omnibus when you have space to fill. Yes, it's Frank Miller drawing Daredevil but ... so what? It's actually not a bad Daredevil crossover, since it's all about Spider-Man dealign with a temporary blindness, but in this era PP:TSSM was very much a soap opera, so we come in toward the end of his battle with the Maggia and we leave toward the beginning of his battle with Carrion, and there's lots of semi-comprehensible character subplot along the way. These stories would be perfectly OK in a PP:TSSM collection, but here they're just not necessary [3/5].
"Badlands" (DD #219). In between issues by Denny O'Neil, Miller writes a one-off that's not a particularly good Daredevil story: a totally silent man wanders into a town with problems that are eventually infodumped to him and beats some people up. (Why was Daredevil wandering as Matt Murdock at the tim, and not talking? I have no idea.) [3/5]
"Warriors" (DD #226). Miller returns for a longer arc with an issue co-authored with O'Neil. It's way too wordy (more a characteristic of O'Neil than Miller), but when you get through that you have a great emotional story about Melvin Potter [3+/5].
Born Again (DD #227-231). Born Again is easily one of the best stories ever in Daredevil, and probably surpasses Frank Miller's brilliant work on his original run, because this is more obviously the work of a mature storyteller. Part of that is the subject matter: Wilson Fisk discovering Matt's secret identity and destroying his life is a great concept. (The character assassination of Karen Page is a bit less great, but it certainly does something with a character no one cared about at the time and sets up the storyline.) However, it's the writing that really sets it apart. Miller makes magnificent use of this visual medium with his rapid-fire shifts across the viewpoints of a large cast of characters throughout the comic, creating something that's deep and meaningful. My only real complaint about "Born Again" is how much is left up in the air at the end. It feels like we're just to the first part of the story, but Miller only had two issues left. [5/5]
Nuke (#232-233). These last two issues, usually collected with Born Again, reveal Kingpin's attempt to kill Dardevil with Nuke. First up, we get a great new character in Nuke, who's been used well in the years since (including on the Jessica Jones TV show). Second, we get a tiny bit of closure on "Born Again" threads. But we also get a long fight with Nuke and a comic that quickly becomes more about Captain America than Daredevil. And alas, this was the end of Frank Miller's short-lived second run. [4/5]
(I believe there was some additional callback to Born Again in what will someday be Daredevil Epic Collection 16 or so, but that's not yet on Marvel's schedule.)
Love and War. A graphic novel contemporary with Miller's second run on Daredevil. It's beautifully illustrated by Bill Sienkiewicz and it's on an important topic: Wilson Fisk's attempt to revive his wife. By the time you get to the end, you even realize that it's a rather subversive superhero story. But along the way, that story is kinda' shallow: one kidnapped woman, one insane stalker, and that's pretty much it. [4/5]
Daredevil: The Man Without Fear. This one is a little hard to assess so long after the fact, because it's pretty much Daredevil's full origin story as we understand it today: his childhood with his father; his college days with Elektra; and his early days in black. It's pretty obvious that a lot of the recent Netflix series pulled directly from it. But, how much of it was regurgitation back in 1993-1994 and how much of it was original innovation?
I suspect that back in the '90s it was mostly the latter: Miller integrated his own creations, Stick and Elektra into Matt's backstory, he loosely linked the Kingpin, and I also suspect he told the first story of Matt in black. The fact that you can't tell what was new and what original shows both how effective and cohesive this story is, despite its variety of elements, and how powerful Miller's influence on Daredevil has become. Overall, this is a good story, with the depiction of Elektra being particularly strong, but it'll also be a familiar one. The art by John Romita Jr. is, as always, phenomenal [4+/5].