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Hateful 8 Roadshow Cut

It turned out that the French distributors couldn’t get the rights to release the 70mm version. That insanely expensive version, additionally, had the strangest extras: including a “signed poster,” with facsimile signatures.

Rumor had it, once upon a time, that there was going to be a silent Brazilian release of the 70mm version. Take that as you will.

Batman v Superman: The Third Alternative

one69chev said:

Thanks for the update, but I’m no editor, just curious observer and bat fan. I previously sent a pm with some observations to TAF, but nothing too crazy or earth shattering. However, if I think of something truly inspired,I will be sure to pass it along. Cheers…

On the contrary, your observations have been genuinely invaluable, one69chev!

Sorry for the long hiatus; put simply, I’ve been on vacation! 😃

Thanks to all in this thread (and PMs) for all the various suggestions to help fix this film and refine my edit. The film has changed a fair amount from the workprint, and I do think I am going to have the Metropolis sequence in its entirety form the “Knightmare” sequence for reasons addressed in this thread.

To respond to an earlier question, I’m actually going to try to tie this edit up in the next two weeks or so. I may do a Batman v Superman: The Third Alternative- Special Edition 😃 in the far future, but, for now, I think it’s entirely possible and preferable to reach some sort of completion point for a high quality (1080p BD25 or BD50) release.

That being said, but for those testers out there who haven’t given me feedback, I need it by Wednesday or Thursday at latest to have a proper opportunity to input your suggestions in the high quality release. I understand, of course, that weekday lives can be busy, so no pressure.

Last comic read

suspiciouscoffee said:

The Man Of Steel #1-6

The Good:

  • The art!!!
  • Living Kents!
  • Characters are mostly good

The Bad:

  • Krypton’s bleakness (and the stupid “Birthing Matrix”)
  • Lana Lang’s appearance to yell at Clark for ruining her life felt weird to me
  • Supes has no interest in Krypton at all? Flying around for a bit and thinking is all it takes for you to not care at all about the father whose final act was saving your life?

Pretty much agree with your assessment of the comic. Far too much is invested in the ultimately irrelevant task of elaborating on Krypton. But, what it gets right is the character’s core- truly, feels like Superman put in a modern context without being a token gritty reimagining.

Ranking the Batman films

Rewatched The Dark Knight again. There was a time that I thought the film was damn near perfect, but, a few years on, especially after reading stuff like captainsolo’s excellent The Dark Knight review on Hi-Fi Celluloid, the flaws really do show. I still stand by The Dark Knight as a good film, if heavy-handed and bloated with no regard to pacing, but it’s portrayal of Batman is pretty rubbish.

I must say that the crucial problem I find with Nolan’s later two films, perhaps due to his brother Jonathan’s hand, is an emphasis on action and realism over motivation or psychological complexity (more the forte of Burton, particularly in Returns, where it bleeds overtly into the set design).

Observe the trilogy’s (over)fixation on Batman’s rule to not kill. It’s as if Batman can only be distinguished from his rogues (very few of whom are seen in the trilogy) if there exists a black-and-white quantifiable action (specifically, the inaction of taking a life). In the worldview of the movies, only actions seem to matter, with Batman’s psychological complexity (the altruism of his quest, the fact that it stems from survivor’s guilt) being ultimately disregarded as irrelevant.

And, this is why, Batman, as a character, seems to be largely forgettable in the latter two Nolan films. He is just an interchangeable vigilante, who happens to have a code; there’s no more bearing on the inciting incident that formed that code or how that continues to affect him to this day. This is unfortunate, as Batman has always been made most interesting by his psychology.

I’d go so far as to say, and this may be controversial with some folks: my favorite live-action portrayal of Batman is Ben Affleck! BVS, a movie which I am currently furiously fan-editing, is such a bizarre movie to me because it has the worst cinematic rendition of Superman but the best (IMHO) rendition of Batman.

While I do wish that Batman didn’t kill, a fact mitigated in my fanedit among others (shameless plug), the rest of Ben Affleck’s portrayal is so spot on. Batman’s a cynical ass with a sense of gallows humor, who 1) is actively haunted by the death of his parents, in dialogue and performance; 2) does actually detective-y things; and 3) will NEVER EVER give up in his quest, even if it means confronting a nigh-invincible alien! This Batman is enhanced by the baggage of the loss of a sidekick.

Though Michael Keaton and Val Kilmer acquitted themselves far more admirably than Bale, they never really completely felt like comic book Batman in the way that the current incarnation does. Both those two incarnations, I might add, also had the problem of wantonly killing people.

BVS was by no means a good movie, but, as Conroy has likely voiced the Caped Crusader for the final time with The Killing Joke, the future of live-action Batman has never looked brighter. I have a feeling that Ben Affleck will do remarkably in his solo outing, judging by his apparent understanding of the character; I credit him far more than I do Snyder, noting that out of the main three heroes in BVS, only Batman really leaped off the page to the silver screen to me.

Batman v Superman: The Third Alternative

SkywalkerFan01 said:

You’ve given me an idea (that I hope Aluminum will consider since I have NO editing skill), what if instead of showing the last part of Bruce in Metropolis saving the girl as the nightmare, we’re left wondering why Bruce hates Superman up until he has that whole opening sequence as a PTSD nightmare.

Funny you should say that. That’s how I had the sequence edited in my earlier version of this edit: Man of Tomorrow. Many things in that cut didn’t work, but moving the whole thing back did. I daresay it works better than keeping it intact in the beginning.

Though I’m generally not a fan of withholding a character’s motivation for such a long duration of time, I think it is at least partially justified because Batman doesn’t ACT on this motivation until after the dream sequence. I remember finding it horribly distracting in the cinemas to find that after the traumatic Metropolis ground sequence, Batman was on a completely unrelated case, chasing after a dirty bomb. This way, we get hints of it (dialogues with Clark and Alfred) before it being completely revealed.

This also has the wonderful bonus effect of us seeing Batman before the grown Bruce Wayne and also makes it clearer that the narrative is focusing on Clark/Superman as its main character.

So, consider me a BIG FAN of this idea! 😄

Another idea we could add to this is instead of having him save the little girl, we see the large metal thing (don’t remember what it’s called) coming towards the screen and that being what abrubtly wakes Bruce up from the nightmare, with the implication being that the little girl was killed in front of him, which gives him even MORE hate towards Superman.

An interesting thought, but the problem is that it removes Bruce staring furiously at Superman above, which I think is an essential moment.

That all being said, I was actually trying to go with the idea that the girl may have died for the version of the edit currently circulating (the large metal beam cuts off the Metropolis sequence in the beginning and then the conversation with the girl only is in the dream). Because we only see the girl saved in Bruce’s dream, it was ambiguous whether or not he managed to save her in real life. All that is clear, being a dream, is that Bruce clearly hates Superman.

But, of course, I don’t think the current edit did a good enough job of establishing it.

I’m moving towards your first suggestion of pushing the entire Metropolis flashback until later, but having it where it was originally and just cutting the dream sequence (as Just DC suggested) is another option.

Again, would love to hear more thoughts on this, especially if there were any testers who thought the edit as-is worked.

Batman v Superman: The Third Alternative

JustDC said:

*In the intro, I feel it would be a good idea to leave batman saving the girl and embracing her where it was instead of in place of the nightmare sequence. You could skip past the encrypting sequence altogether. Go from “starting encryption” to the Lexcorp logo. Just skip the percentage screen.

I think this is a pretty solid suggestion. The intro as-is in the edit doesn’t work, and this seems like the more obvious fix. SkywalkerFan01 does propose something different though, down below, which I personally lean towards a tad more.

*During Batman’s intro at 17:58-59 I think it would be a good idea to obscure batman from vision as to retain the mystery behind him this early on. I saw another editor do this and it worked really well. Just cut to him running away on the ceiling or whatever haha. It always seemed odd to me that he just stood there silently while the officer looked at him.

Was this the edit that color corrected the corner, so it was harder to see Batman? If so, I like that idea.

*Lois going to Africa feels a bit rushed but I don’t know if there’s anyway to fix that.

Like you say, it would be hard to tweak it more with existing footage. I do like that it seems Classic Superman, though, that Lois would intrepidly rush off into a dangerous situation with Clark warning her, only to necessitate a later save by a smiling Superman.

*I love the flashback after the Martha namedrop

Wish I could take credit, but that was in the theatrical cut already! 😄

*It might’ve just been me but the doomsday fight felt a tiny bit rushed. Not really a big deal and I love how you kept it on earth.

Still goes on a bit too long for me, but perhaps that’s personal preference. 😃

*Still not sure how I feel about “Is she with you” line. Take it out and it’s like “Ok well I guess Wonder Woman’s here now.” Leave it in and you’re left thinking that he literally just met her 45 minutes ago. But it definitely works better now that you took out the whole email exchange between the two.

Yeah, I tried to retain whatever humor I could. God knows that some levity is needed, but in context, it is a bit non-sensical.

Batman v Superman: The Third Alternative

one69chev said:

Wow, what an improvement. Thanks so much for letting me check out your edit===it blows away the original cut.

Thanks for the kind words and the thorough feedback, very helpful indeed.

darthrush said:

I can’t remember it clearly but are you using the ultimate edition shots of Empty streets, shops, buildings at the end? Thanks again! 😃

Yup, I am still using those Ultimate Edition shots. But, as per a great suggestion by one69chev, I might trim the priest and the bit about who’s footing the bill for a more streamlined funeral scene.

darthrush said:

And if you wanted to put some key revised scenes on Vimeo I could begin previewing.

Not a big Vimeo user, but here are some clips on YouTube that show off some of the more radical changes! 😃

New Opening Montage:
Clark Warns Lois (About Going to the Desert):
Altered Desert Sequence:
No Feeding Senators:
Coitus to Coitus Cut (A problematic bit tweaked from the workprint):
Too Much Knowledge (Lex Gets Info on Kryptonian Ship):
No Talk About Parents Pre-“Martha” During Fight (as per a suggestion on
Trimmed Doomsday Fight:
A Simpler End:

Some of these clips have been adjusted from the past workprint, particularly the “Too Much Knowledge” bit, which no longer has a scream. Love to hear any and all thoughts, and, of course, it’s not too late to request the workprint! 😄

All Things Star Trek

Yay, more rankings!

  1. Star Trek II: Wrath of Khan
  2. Star Trek IV: The Voyage Home
  3. Star Trek III: The Search for Spock
  4. Star Trek VI: The Undiscovered Country
  5. Star Trek: The Motion Picture (better than VI, if viewing TM2YC’s wonderful Reunion edit)
  6. Star Trek Beyond
  7. Star Trek '09
  8. Star Trek: Into Darkness
  9. Star Trek: Generations
  10. Star Trek: Insurrection
  11. Star Trek: First Contact (yes, that low.)
  12. Star Trek: Nemesis
Last movie seen

suspiciouscoffee said:

The Bourne Ultimatum - 6/10

Throughout this film, one thought sat in my head. “Gee, I sure wish I was watching Identity again.” Not a bad film, but like Supremacy before it, it fails to live up to the first movie.

I completely concur. Personally, I think The Bourne Ultimatum is only a few notches above The Bourne Legacy for the franchise’s weakest film. It gets a lot of credit for “wrapping up” the original trilogy. But, really, the prior two movies demanded nor merited such a conclusion.

Lazily, similar to Indiana Jones and The Last Crusade (which is far superior), The Bourne Ultimatum, as third movie, recycles imagery and plot, using its status as “the grand finale” as an excuse. Actual development from the previous movies- the CIA shutting down Treadstone and no longer using assassins- is rescinded, in favor of having a Treadstone clone called Blackbriar really have been running all this time. Even action scenes are similar: again, we have an apartment fight scene, but this time 'round, it lacks clarity with the shaky-cam aesthetic, exacerbated ad nauseam. The ending, with its reuse of dialogue and imagery from the best film in the franchise, is unearned, if momentarily entertaining.

Moreover, it goes so far as to retroactively weaken The Bourne Supremacy. By taking place directly after that film, for unknown reasons, it tries to reframe its vastly superior self-contained predecessor as Part 1 of a larger story. The movie cannot think of any better motivation for Bourne than to recycle angst over Marie’s death. Worst of all, Supremacy’s wonderful ending, which still left enough room for possible follow-ups, was somewhat marred, in my opinion by the final scene’s recontextualization within the plot of Ultimatum. The seemingly straightforward and honest conversation between Landy and Bourne is now “spy-talk,” which has to be awkwardly fitted into the plot of the movie. Part of the brilliance of Supremacy was that, taking its cue from second Bond film, From Russia with Love, it had the CIA and Bourne being unwittingly pitted against each other by a third party. The ending of Supremacy asserted that both Landy and Bourne were smart enough to see they were being played and choose to reluctantly reconcile with each other; Bourne Ultimatum reneges on that, in order to have the CIA once more chasing after Bourne.

Perhaps Ultimatum’s greatest sin, however, is taking its sole original idea: the notion that Jason Bourne himself is responsible for his creation, with no manipulation necessary, and failing miserably to develop it. Such a revelation should theoretically be horrendously devastating to the Bourne character, but the film deprives us of no such intriguing emotional reaction. For all the faults of the new Bourne movie, at least it was smart enough to take retroactively note of what a radical game-changing development this revelation should have been.

Instead, Ultimatum ends with the recycled line, “Look at us. Look what THEY make you give” even though Bourne, throughout the runtime, has learned no one made him give anything.

2 out of 4 stars.

(For the record, my ratings for the other films in the franchise are:

The Bourne Identity (1988)- a reverent, if awkward attempt at Ludlum- 2.5 out of 4 stars
The Bourne Identity (2002)- the heart of the franchise- 4 out of 4 stars
The Bourne Supremacy (2004)- the franchise’s most crafty tale- 3.5 out of 4 stars
The Bourne Legacy (2011)- often boring with flashes of intrigue- 1.4 out of 4 stars
Jason Bourne (2016)- a messy, if not unique sequel- 3 out of 4 stars)

Batman v Superman: The Third Alternative

Hey guys,

As mentioned in the general BVS edits thread, I’m working on my version of Batman v Superman: Dawn of Justice. Before, I had two different edits, including one that delayed Batman’s entrance until 20 minutes into the movie, but, after consideration, I decided to instead refine the Less Radical Edit, which keeps the theatrical opening.

Generally speaking, the first and second acts are radically restructured for clarity. The inciting incident of the film is now the Metropolis battle, with the Sahara Desert fight pushed back as the point of no return or, if you prefer, the straw that breaks the camel’s back. This is still very much Zack Snyder’s BVS, but the most egregious elements towards the source material are omitted. Neither Batman nor Superman wantonly kill people. Furthermore, the Knightmare scene and mid-movie Batmobile chase are completely omitted.

(Rather Long) Complete Cut-List
• Wayne Murder/Metropolis Scene Kept Relatively Intact:
o Cut Thomas Wayne trying to punch Joe Chill.
o Ended Metropolis Scene prematurely, as Batman about to save girl (footage will come into play later).
• MOVED UP: TV Montage of Superman Debate from mid-film to function as a veritable “reaction” to Superman’s existence. In any case, it clarifies the political situation far sooner.
o Patronizing scene of Day of the Dead festival in Mexico completely axed.
• The first act is heavily restructured for (attempted) structural clarity:
o Wallace, not Superman, is the ONE watching these TV montage. (Established via a shot of his newspaper-covered apartment).
o MOVED UP: Wallace’s defacing of Superman monument.
o Consequently, the Daily Planet reacts to the news.
o MOVED UP: Clark calling Ma Kent. End with “Nothing was ever simple…” TO
o Introduction of Batman Branding Scene (Kept Ultimate Cut Extensions with Football Game)
o MOVED UP: Branding Victim Being Jailed, which, as per Ultimate Cut editing, connects directly with Wallace getting released from prison. Now, THE FIRST TIME we see Luthor is when he ominously turns around in the bomb-filled wheelchair.
o Clark sees the news of the branding on TV (Theatrical Cut version). The rationale was that this, along with Perry’s warning about Gotham, would be sufficient, to make Clark curious about Batman. (I wasn’t a fan from a performance perspective of the short Ultimate Cut scene with the blind man in Gotham.)
o Clark researches the branding more on his computer.
o MOVED UP: Clark proposes that he write an article about Batman.
• Redubbed Lois, so she is asking permission to go to the Sahara and see desert radicals.
o MOVED UP: Clark receives invite to the ball, cut from “Charity crone with a thing for nerds…” TO
• (When Clark warns Lois, he is now implied to be talking about the terrorists being dangerous, due to the restructure).
o PUSHED BACK: Lex Luthor at LexCorp, meeting the senators, cut from “Kindness of monsters…” TO
o Batman in Batcave. We see KGB Beast’s face for the first time, so the audience will start to glisten some significance of seeing him in the desert.
o Lex Luthor and Finch talking in his study. His warning about monsters coming from the sky is pre-emptive, as the Sahara scene is about to happen. The intention was to play like the moved-up opera scene in L8wrtr’s cut of Revenge of the Sith.
o PUSHED BACK (HEAVILY): Entire Sahara Desert Sequence
• Superman’s first official “action” in the movie is no longer killing the General. The General runs off when he hears firing.
• Superman smiles after stopping the drone.
• Sahara Desert functions as the point-of-no-return, as Metropolis was already an adequate inciting incident.
• The second act is likewise shuffled around, though it starts becoming like the Ultimate Cut towards the end.
o Senate Hearings begin.
• I strongly felt that the hearings were a big enough deal to Superman that they should only begin at the outset of Act 2 and not be seemingly “forgotten” about for a long stretch of time.
• Ends with shot of male Senator TO
o Male senator grants Lex access to Zod’s body and the crashed ship.
• No stuffing a Jolly Rancher in a senator’s mouth. (Lex is not yet full-blown crazy at this point.)
o Wallace arrives at Finch’s office, directly after, in order to fully highlight Lex’s manipulation.)
• Lex’s machinations punctuated with a literal punch TO
o The underground fighting scene featuring KGB Beast and Batman.
o Lois arrives back at her apartment and examines bullet; bathtub scene.
• End with delicate fade to black over scene of intimacy, connects with next scene…
o Batman in bed with anonymous person. He receives his invite to the party too.
o MOVED UP: Lex Luthor gets knowledge from Kryptonian ship.
• (I actually believe this scene was originally meant to be earlier, as Lex’s outfit matches the one he wore in the earlier montage.)
• Scene ends with Lex screaming, overloaded by knowledge.
• Implication here is that this sends Lex over the edge, justifying somewhat his erratic rationale for the rest of the film.
o Lex Luthor’s party.
• Lex Luthor’s somewhat awkward speech about knowledge seemingly corresponds with the fact that he has already downloaded a bunch of alien knowledge.)
• Superman no longer follows Batman downstairs.
o Lois examines bullet with STAR Labs scientist.
• CUT overdone line: “See, that’s what makes you a good reporter.”
o Scenes play out in order of Ultimate Cut:
• KGB Beast orders branding victim’s execution; branding victim’s execution.
• Lois Lane in the men’s bathroom.
• Perry scolds Superman.
• Gala scene with Wonder Woman and Batman (included Ultimate Cut additions).
• Batman starts decrypting files…
o Radically retooled Batman’s nightmare.
• Knightmare footage and flash of The Flash completely axed.
• Batman instead remembers the Metropolis battle. Here, we see the conclusion, cut from the beginning, including the part where he gives Superman a death stare.
• Structurally, I was never sold on the idea of already establishing Batman’s animosity for Superman so early on then seemingly ignoring it with a plot about a “dirty bomb” for the next hour. This seems to connect the animosity and the next scene.
o Batman argues that Superman is a menace with Alfred INTERCUT with Superman receiving photos of branding victim, including Ultimate Cut additional scene of going to Gotham.
• Pushed back shot of Perry asking for Clark for later use.
o Batman puts a tracer on the LexCorp truck with the Kryptonite.
o Cut Batmobile chase, where Batman MURDERS people. This also removes Superman uncharacteristically threatening Batman.
o Batman arrives at the Batcave (Batmobile no longer messed up.)
o Scenes play out in order of Ultimate Cut:
• Lex Luthor receives kryptonite.
• Lane confirms that bullets are special.
• Finch demands Superman appear before the Senate.
• Various characters see this on TV.
o PUSHED BACK: Perry asks for Clark. Questions Jenny “Does he click his heels three times and go to Kansas?” TO
o Superman in Kansas, talking to his mother.
o Scenes play out in order of Ultimate Cut:
• Senate witness confesses lying to Finch.
• Lane finds out more info about the bullet, including the connection to LexCorp.
• Bruce Wayne watches on TV.
• Finch and Luthor share some barbs.
• Senate witness is killed.
• The ill-fated senate hearing (with Ultimate Cut addition of Superman saving people).
• Alfred chops wood.
• Batman gets kryptonite.
• Lois and Superman at the hotel.
o Batman training montage, with added shot (from earlier) of looking at Jason Todd costume pensively.
o Cut Batman finding files on Wonder Woman (really inappropriate pacing-wise).
o Scenes play out in order of Ultimate Cut:
• Lex resurrects Zod.
• Lane sees newsreport about Superman.
o Cut scenes of Superman willingly abandoning humanity and heading off to Antarctic.
o Lane investigates further into Wallace with Ultimate Cut additions (fridge full of food, lead-lined chair, etc.)
o Scenes play out in order of Ultimate Cut:
• Alfred and Bruce in the ruins of Wayne Manor.
• Ma Kent being kidnapped.
• Batman lights Bat Signal.
• Lane kidnapped.
• Lane and Lex talking on the roof.
• Superman saves her/is told that he must kill Batman.
• Clock starts ticking.
o Cut pace-killing scene of Wonder Woman getting an email (pushed back to later) but retained Superman scene, saying “No one stays good forever.”
• Furthermore, chronologically, it doesn’t make sense. Why is Wonder Woman lounging in a hotel room, only to be boarded, ready to go on an airplane soon after?
o Schlock filled battle between Batman and Superman remains the same as Ultimate Cut.
• Sorry, but the one gripe I didn’t have about the movie was the Martha scene.
• The third act is almost untouched.
o Used theatrical cut footage of excellent Batman warehouse scene (so it’s less obvious that Batman is murdering people).
o Scenes play out in order of Ultimate Cut:
• Superman confronts Lex.
• Doomsday awakens.
• Doomsday and Superman fight at the monument until Doomsday hits him off to parts unknown.
o Cut large section of Doomsday battle, where Superman comes back to punch Doomsday into space, only to be hit by a US nuke.
• (I felt this was a highly redundant action beat, considering we just saw Superman taken out of action, and we’ll see him ACTUALLY die in the next 20 minutes or so. Not to mention the fact that it paints out the military to be completely idiotic.)
• Instead, it plays out this way:
• Wonder Woman sees Doomsday dispatch helicopters and leaves to go help.
• Batman arrives on the scene and is almost immediately taken down. (CUT bit where he tells Alfred that they need the spear, as Batman doesn’t actually do this, Lois does.)
• Wonder Woman saves Batman.
• Superman arrives back to help. (He is presumably arriving from being thrown after the monument scuffle, rather than returning from space.)
o Scenes play out in order of Ultimate Cut:
• The trio fights Doomsday.
• Superman dies.
• Lex Luthor is arrested.
• Montage of mourning Superman.
• Lois receives ring.
• Clark’s funeral.
• Rousing speech of Batman talking about rebuilding, with people holding vigil around broken monument.
o Cut scene of Lex Luthor and Batman. It just feels awkward, considering that it’s the second time we cutaway from the funeral scene, only to return.
o Final shot is extended shot of Batman walking away on his own, presumably to assemble the Justice League. No floating dirt tease ☺
o Post-credits sequence (because apparently DC movies have those now too): Wonder Woman finds email with videos of future Justice League members.

Thank you to darthrush and Octorox very much for testing an earlier version of this. If anyone would like to test this new version, which runs 2 hours and 30 minutes, I’d be much obliged. Please PM me.

The workprint should be available soon.

When finally released, the end result will be a 5GB 720p MKV and a full-bitrate 1080p BD50.

GOLDFINGER James Bond 16mm IB TECHNICOLOR for Sale on Ebay

Despite the fact that it’s Reel 3 only, Williarob and I have still agreed that it’s a worthy opportunity. If bought, arrangements exist that the print can be scanned and eventually resold (hopefully, at least, breaking even).

As of right now, I can pledge $70, and Williarob is good for $50, putting our collective bid up to $120.

Anyone else interested should post below.

All Things Star Trek

Excited to see the Roddenberry Vault. I was hoping, however, when it was first announced that it’d finally have the full original audio for the Cage (with Malachi Throne’s untouched voice for The Keeper.)

To those more knowledgeable here, was the full audio with original voice ever made available? You can hear portions of the original voice in the B&W/Color version of The Cage.

TFA: A Gentle Restructure

As a big fan of your prequel edits, Hal 9000, congratulations on making a version of TFA too! I skimmed through the altered sections, and it’s pretty impressive stuff. The climax in particular works gangbusters with the added weight of the Republic systems being destroyed.

Seeing as how you released a BD50 encode that’s only 29 GB, would it be possible to also release the uncompressed 5.1 PCM? Space, it would seem, is no longer a concern, and AFAIK, Final Cut Pro can output lossless if so instructed.

Ranking the Batman films


captainsolo said:

All this was already hinted at throughout the Batman Beyond series anyway.
It seems a bit weird but I don’t mind it all that much I guess. Maybe because I’m a huge Babs fan.

That was the one part of the DC Animated Timm-verse that I never truly bought actually. From a recent interview at Comic Con, it seems that Bruce Timm really does think the relationship is inherently romantic, citing how it was played off in the Adam West show. But, I never really read Batgirl that way.

To me, Batgirl always seemed part of the second generation of Gotham crimefighters, which makes her and Robin the obvious (and much more tasteful) pairing. Batman, as the original Gotham crimefighter, should be the only first generation father figure, raising the so-called “Bat Family” to succeed him. Even in the last season of Batman: TAS, Timm tried to make Batgirl into a “mother” figure.

I far prefer the notion of either a Batman-Wonder Woman or a Batman-Catwoman relationship. The latter particularly is interesting because of how Catwoman is probably less crazy than Batman is. She could potentially help his mental health, while he helps reform her criminal behavior.

Then, of course, there is the gender politics, which is less of an issue to me personally, but one with which I can sympathize. The original comic was already derided in some circles for its callousness towards harming Batgirl, but the adaptation (shockingly) seems to worsen the situation, essentially reductively defining Batgirl as a woman, to be sexually desired not only by Batman and the randomly added gangster fellow in the first 20 minutes but also the Joker.

Neglify said:


First off, there was no sex scene. Batman and Batgirl kiss and you could infer they had sex, but we don’t see that.

Batgirl actually explicitly states to Batman over the phone: “It was just sex, for god’s sake!” So, no inference required for better or worse.

To Live and Die in L.A. (1985): Opinions?

captainsolo said:

The new BD from Shout is going to recycle the MGM master with their worse compression like they usually do. The big news is that they may produce new extras-and better yet that Arrow is doing a uk release with their high level of quality- so expect the MGM master from them with better compression and original audio and new extras.

Was that confirmed somewhere? Both Invasion of the Body Snatchers and Return of the Living Dead have had new masters with superior detail to MGM’s old ones; their compression has come a long way since the days of Escape from New York and particularly since Day of the Dead. Then again, the Manhunter HD transfer was recycled (though already excellent) with the slightest bit inferior encoding then the original MGM BD; the inclusion of “The Director’s Cut,” whose accuracy I deem questionable, was also a bonus.

Also, I heard Arrow were themselves working on a new 4K restoration.

As for the ending I completely disagree. I think it is perfectly handled as you can’t quite read Vukovich when he comes to the door. He seems exhausted, burned out, bruised, bartered and beyond lucky to be alive. You realize he no longer cares. And then the final line cements his shift that began the moment he partnered with Chance. Chance himself teeters on the edge throughout the film so his eventual fall fits thematically. What is astounding is how the seemingly cheesy ending mandated by nervous executives actually matches the same bleak tone so it would work almost as well. And also as nasty as he was I too never want to see Chance go down though it makes for the better and fitting ending.

I suppose we must agree to disagree then. 😃 My problems with the ending, as written, are due to how it’s performed. The notion of Vukovich’s transformation is quite an elegant one, but the execution, perhaps a matter of taste, is just too blunt. Unlike you, I think it’s fairly obvious by Vukovich’s changed manner and apparel from the start of the scene where it’s going to end, with John Pankow not particularly subtle.

That being said, I agree with everything else you wrote in your two To Live and Die in L.A. write-ups on your blog- truly wonderful stuff, eloquently said.