The 70 would have been better like its superior rendering of the sound mix, but not quite as good as a perfectly projected IB print.
I finally saw 3 and 4 all the way through along with finally re-watching Returns when watching the BD box a month or two ago.
Superman-The theatrical version is a classic of its kind and still copied today along with Burton’s BATMAN. Pioneered the genre whilst actually taking it seriously. The tone achieved is near-unbelievable, and though it isn’t exactly the proper Superman universe I can go along with its interpretation with little to no qualms. (Really just that I don’t like the way they characterized Lois, nor do I agree with the mythological emphasis and rules) 4 out of 4, a classic. Which coming from me speaks volumes.
II will forever be compromised by the production and the completely idiotic removal of Donner at such a late stage. The inserts and new material for the theatrical cut stick out like a sore thumb and the only upsides are that some of Reeve’s performance is better captured the second go round and that the placement of the love scene better fits the “must not get with mortals” rule. The Donner cut is great in that it reinstates all the wonderful little bits but then goes overboard in trying to make a fan edit of sorts. It is horribly dated and should have been more of a hybrid cut anyway. That’s what is needed, as the theatrical has better audio and simply needs the missing bits reinstated. But then you have the conundrum of whether to use mostly Donner sequences or Lester ones or a mixture. It will forever be a compromised mess that should have been the equal of its forerunner…or should have been a very good sequel that paled in comparison because they took all the good parts out to hurry up and finish the first film for the 1978 release and were shooting the second simultaneously.
II and Donner cut each 3.5/4.
III. What a complete mess. What in the world were they thinking? Even the titles are an insult to the previous two films. It looks awful and drab, the story is scattershot, the pandering to Pryor is shoehorned in so badly that the film doesn’t even seem to care…I mean good grief the list goes on so much so that I could go on and on…this is such a frustrating and hard picture to get through. But the Smallville and later evil Superman scenes are largely gold. I was surprised at how good they were and anything not having to do with the beyond inane plot was enjoyable. Reeve again goes for broke, and I quite enjoyed how they did the Lana character aside from the silly sitcom level gags with the rival suitor. That they had planned on Brainiac being the villain is obvious with the supercomputer…but the end result is at times TV-like and agonizingly dull in addition to being mindbogglingly terrible.
An absolute mess that then does an about face and goes rather dark during the Clark-evil Supes fight…and that other shot…the one you see as a kid and think: did I just see that happen? Did she really get sucked into…what the???
A mess. Again A MESS. 1.5/4 for the good scenes, Reeve and nothing else.
IV. I finally saw this one all the way through as well. And for years I heard how they had no money, it’s terrible, it’s horrifyingly bad etc.
Yes there are enormous plot holes from chopping out chunks of plot, yes there is no budget, yes it really doesn’t work, yes the locations are terrible…
But yet, I couldn’t help but mostly enjoy it for what it was and what it tried to do. I appreciated the commitment of Reeve and the primary cast/crew and how they continued on in spite of being faced with absolute failure on every level. The story could have been hammered out better I think, and on the whole it’s not really a job for Supes. But in the end it was a final and wistful goodbye to this incarnation that should have been given a better chance.
2/4. I actually enjoyed this mostly. I can’t believe that I did, but there you go.
Returns. Worse than I remembered. THIS PICTURE JUST DOES NOT WORK. I saw this at Grauman’s Chinese theater during it’s opening week and the place was already largely empty. And on the grandest screen in one of the best theaters in the world…it just. dragged. on. endlessly. The constant hearkening back to the Donner film doesn’t work-especially in the midst of modern tones and being dark for dark’s sake. Spacey’s Luthor is so malevolent that is becomes comical because it is so overdone and not in touch with the rest of the film. The pacing is off, the story is virtually on life support, and every scene seems to drag on endlessly with no real resolution nor with and narrative development. And top it all off the result is an essential quasi-remake of the original right down to Luthor’s land scheme…but on sleeping pills.
1/4. Ugh. It looks terrible from the now archaic digital photography IIRC on the older camera units in lower res. The BD is really bad.
Man of Steel. To me they decided to take RETURNS and do everything as the exact opposite. This is in the Nolan mold but done by Snyder with the same level of disconnection and distraction as his WATCHMEN. I think it’s just as bad as Returns if not worse, because of the way they seem to sidestep Supes character let alone skip Clark at the Planet whilst doing the usual modern origin story without giving you anything but cliffs notes. It also does a poor job at using Zod and felt like a pitiful rehash of II. Destroying all of Metropolis was bad enough but then to have Supes just end it that way…in the theater you could feel the audience going: “what just happened?” Even I felt disquiet and I’m not a huge Supes fan or anything.
MoS is at its best when doing new things. The best aspect for me was Krypton and particularly Crowe’s Jor-el which I found wonderful. A prequel about Krypton would have been better. But at least we finally got a strong Lois!!\ Wasted was Costner’s Pa Kent, and his exit was truly bad.
And of course the shakycam and digital snapzooms are abominations.
1/4 at best for me. I have no faith in the Superman vs Batman release as it is merely a MoS sequel that will rip off the conclusion of THE DARK KNIGHT RETURNS.
Maybe I’m a bit biased because my favorite adaptation are the Fleischer/Famous cartoons, which are IMHO definitive masterpieces. But for more well rounded, there’s the animated series which is probably the best Supes adaptation ever done. That’s usually what I go back to because again as usual Bruce Timm and co. know these characters inside and out. (Can it be a rule that Lois always jokingly call Clark Smallville? I absolutely love that.)
I like all of them mostly the same so this is much looser for me. But UK editions and mono only until the White Album!! I hate fake stereo mixes!
Revolver
Rubber Soul
Abbey Road
Sgt. Pepper’s Lonely Heart Club Band
White Album
A Hard Day’s Night
Please Please Me
Let It Be
Yellow Submarine
Help!
Beatles For Sale
Magical Mystery Tour
With The Beatles
Purest: Never Mind the Bollocks
Rawest: Live at Leeds Complete
Most profound: Quadrophenia
But all time rock album? Easy.
Who’s Next
The followup to TOMMY was to be a huge cross-format experience, a sci-fi dystopia that to date is still resonant in our increasingly tech-centric culture. It was to be Pete Townshend’s masterwork, but no one could understand his lofty ideas and eventually the band were coerced to get in the studio and get some tracks down. The result was the purest, rawest, most profound and TOTAL rock album of them all. An Entwistle classic thrown in with eight of the most perfect performances from all four members on record across the board. 9 tracks perfectly balanced across two sides- balancing the light and dark, the rough and smooth, the yin and yang. The closing scream is primal rage and followed by perhaps the most lasting couplet in the history of rock and roll.
And the cover manages to invoke 2001 whilst challenging any and all challengers to take their best shot…that is after the band has urinated on a concrete slab/monolith.
Best experienced on the early US LP with the West Coast laquer cutting or its rare early UK counterpart. These are so incredible that it’s like hearing the songs for the first time.
Many great bands aren’t “rock bands” in that sense, but WN manages to run the gamut of the Who’s collective powers in spite of it not quite reaching the truly deep emotional/thematic depths of Quadrophenia.
This thread made me finally realize BF is the Superman II of the Bat-films. That analogy is so perfect that I’m pretty satisfied. 😉
I guess this is the most appropriate place to post this. Is it okay to discuss the different preservations or try to explain the differences and goals of each elsewhere? I wanted to write a companion article to my blog entry simply explaining the theatrical Ot runs and the major video releases. I meet atleast a handful of people eahc week who are out to see the OT and who ask me tons of questions. And it seems virtually everyone has either heard of or has the despecialized in some shape of form either by stumbling across it or getting word form a friend of a friend. I’d like to set the record straight somewhere so people could finally be properly informed but worry about saying too much etc.
Since TN1 started posting on the SW BD thread over on the shtv forums I wondered if I could finally write something to try and get rid of all this confusion.
The old hemdale LD is print sourced and the remastered seems to be from an IP. The MGM disc should have had access to the master monk source wh would be without and compression and EQ for Dolby mono theatrical formatting.
That’s the best version currently. It’s the remastered print dating from 2001 or so with the 5.1 remix in DTS for 70. Most places now just get a 2k DCP of his and the BD is a 1080 downres. The 70 should be the best possible edition of their restoration process.
Returns 4/4. Burton’s best film is a dark, haunted and brooding masterpiece of psychological deformities amidst a Christmas card from hell. Seen on the big screen it finally is able to not look like video. IMHO the final moment of Bruce in the snow is arguably the greatest moment in all the Bat-films.
Tied is Mask of the Phantasm which I still remember seeing in the big old style thx auditorium practically empty as a child. Timm and co. so understood and revered the character that they made the definitive adaptation and should do so again. The only issue is that MotP can’t overcome that it was intended for video originally and the storyline is heavily compressed thus making it rather obvious. But even in spite of this, you get that feeling deep down in your chest that Batman is real for the runtime. The
Emotional arc is as good as a classical noir. Conroy as Batman and Mark Hammill as Joker are on the level of the great Shakespearians. 4/4.
Batman '89. The flaw here is that the film fights itself. It deviates continually between being a batman adaptation and being a 80’s corporate pleaser. Burton’s vision does start to shine through though and best of all is the massive story subtext throughout that gives the impression of a larger scope and world just as in the comics. It may not be perfect but it is a classic of its kind and indefinitely quotable. My only dislikes are the Joker being the killer of the Waynes as it is merely too convenient, killing off Joker, that Jack is essentially playing himself, the Prince songs poorly shoved in and Kim Basinger but she can’t really be at fault as she was a last minute substitution and they kept tweaking the script during production. 3.5/4.
Forever. Had it not been for WB nearly ruining the film just before release by having idiots stupidly restructure the entire opening third and excising over 25 minutes containing all subplots, no one would hate it like they do. Had it been released as intended it would be a great comic book film with some issues like 89 was. Kilmer is excellent but again you’re only seeing a fraction of his character arc. The big issues are the villains: one miscast and one at his box office peak. They use the same technique as Joker’s plan and arc in 89, and it gets really tiring. The darker Burton proposed B3 would have had a better Riddler in Robin Williams, but Carrey is not bad. It’s just that he’s playing his shtick on top of doing Frank Gorshin’s Riddler from the TV series.
I stick up for this film all the time because no one really gives it a fair shake. I think it is similar to Superman II in that it is forever compromised by the production meddling and damaging the original intent. Reading the original script and novelization shows it was a far better film as originally intended.
3/4.
Batman: the Movie
Basically the ultimate super episode of the tv series. All the regular villains united with an expanded production budget. It has charm, wit and is for the most part just like the then current comics of the 60’s with a slightly tongue in cheek approach. 3/4.
Batman Begins. I was shocked at how well this worked when it came out but in hindsight it is a bit short on story due to needing to cover the origin and the stylistic approach. But once you read the novelization by legend Dennis O’Neal you see how much better it could have been.
Movie: 3/4. Novelization: at least 3.5/4.
Batman and Robin
Terrible because the studio rushed the production and made everyone work around the merchandisers. Because the script wasn’t worked out they had to go at it sporadically and pump up all the comic aspects in desperation. It is quite bad and hard to sit through because it is so groan inducing and frankly boring. But I prefer to endure this than the next two entries. 1.5/4.
TDK
It feels like a strange hybrid of The Long Halloween and HEAT. The latter was the primary inspiration and when you base a film around one which is already fundamentally broken you are setting yourself up for failure. The film’s logic is frequently in question and to be honest it wears out its welcome far too early. I think it’s too problematic for its own good. It tried to take too many great elements from Batman comic arcs and shove them into a “super dark and ultra serious” narrative. It just doesn’t work.
1.5/4.
TDKR
The primary reason for this being last is that it magnifies all my problems with TDK, but also that it is far too long, shamelessly and poorly rips off Knightfall and No Man’s Land, is completely ridiculous…but most of all has an ending that tried to completely undo the whole meaning of the character!!! There is no winning, there is no happy ending, there is no solace for Bruce…EVER!!! What in the name of all that is conceivable WERE THEY THINKING???
And it didn’t help that the 65mm IMAX wasn’t worth much.
1/2/4. The more you think about it the angrier you get.
ALL of them need new and accurate transfers. All have bad and outdated ones and poor remixes sound on the older films. Get with it WB!! The Superman films have a similar fate despite the remastered BDs. Fox totally outdid you with their HD release of the 66 film!
Holy…large format dreams becoming reality Batman!!
The Britton still exists actually. I went there in college when it was reopened as an independent second run and was shocked to hear at how grand it had once been. It premiered SLEEPING BEAUTY in the day and had a grand screen at the time. Shame to see how it had been so downsized and rundown over the years.
HH speaks the truth. As usual. 😉
The 5.1 was created for the final CLV MGM reissue, which like the THX THUNDERBALL merely condensed the big CAV boxset and removed the extras whilst adding a ac3 5.1 rendering of the previous matrix PCM audio. I don’t have this specific disc, but it should be identical and should be the source of the 1998 MGM DVD and it’s 1999 WB identical port. The video is the same master anyway.
The jump from 6 channel 70mm to 5.1 is indeed done as described above from what I understand, and should be how 2001 was handled. When WB got around to redoing all their Kubrick titles for the remastered DVDs they did their own transfers and junked all the previous ones that they had rushed out earlier. For 2001 they struck new 70mm prints for reissues and did their own restoration work, which apparently involved going back to the audio source tapes and creating a new modernized 5.1 mix without the original sound panning. This is why it was lost and has remained gone ever since. This is also where they lost the color timing and merely corrected their negative scan.
Comparing the modern WB 5.1 to the original shows the original feels not only more accurate to 1968, but also has more impact–despite this being comparing to the 6 track audio matrixed through DPL. The Criterion has some inherent damage so the MGM PCM is likely a better candidate since they were able to clean the audio before processing.
I wish I knew the generation of scope 35mm print I saw a few years ago. It was near perfect, had the original color intact with no fading, and was somehow the original mix in stereo and not a reissued/new WB print. I’m guessing it was pre-WB’s work and perhaps a late 80’s-90’s print in Dolby SR.
Yeah, I’d say so. Unless you were chomping at the bit already.
If you’re interested in one, sure. I still have my shrinking copy still for good measure, I guess if only to complete my Mitsubishi trilogy set of SWEs. Only the first film’s Technidisc is necessary. ESB and ROTJ are probably better on Mitsubishi/Pioneers.
To get the six-track mix onto home video without any alteration at all, there would have to be a home video format that supported having five channels across the front. There is no home video format that does this, so it would be both impossible and pointless. The left-center and right-center fronts most likely only contain a mix of the LCR channels anyway, which was only done to fill in the space in a gigantic cinema environment. In a smaller home viewing space, there would be no purpose whatsoever to hearing this, for it would just make everything phasey and weird.
The extra front channels on 70mm not having any discrete information of their own is one of the reasons why, beginning with Star Wars, they were reassigned to the purpose of being dedicated low frequency channels instead.
Absolutely. This took me forever to realize when I first started researching the old formats years ago. Older films generally used them to fill the space of the grand halls playing 70mm as a mixture of L and R stage channels and panned sound/dialogue/across to create a unified stage. This also was due to the fact that they weren’t really mixing a surround styled setup, but something more along the lines of glorified stereo with a dedicated center and a single rear for ambiance to fill the back of the hall. It wasn’t until some of the bigger productions started trying to liven things up that they changed things, and even then it wasn’t until Dolby’s Star Wars remixing of the format to baby booms that anybody did anything about it. I think they were still largely basing this around mixing 4 channel LCRS for premiere Cinemascope engagements and keeping that idea intact for 70. 2001 is pure old school LCRS sounding in it’s original mix. You can plainly hear it on LD because they simply ran the 6 track mix through a Dolby prologic encoder. if you added in two extra speakers in the front and were somehow able to feed them in, it would recreate the proper experience, i.e. they would merely fill in the sound and assist in making the pans work better. Sony’s SDDS did a similar thing in the more modern 5.1 era by having the five channel front return but for mixes that were 5.1 produced.
The 70mm picture quality could potentially be quite nice, though with an aspect ratio of 2.2:1, some image would be missing from the sides.
The soundtrack is quite the most desirable aspect of it, of course. I know there is at least one privately owned 70mm print of the first movie out there, but nobody seems to know who actually owns it. Most likely this person would be unwilling to loan it out for scanning. I’ve never heard anything about whether there are any existing copies of the other two.
Re 70mm, I have seen two 70mm Star Wars prints, only one was in projectable shape and both were far too faded to red to be useful for restoration of the image, it is extremely likely that they all are far too faded now.
Plus 70mm is cropped at the sides, so I don’t think it will be a lot of use for the visual restoration.
Any 70 prints would be Eastman likely and virtually all from that vintage are typically in tatters or so faded they are unprojectable. Additionally the mag tracks can go if not properly stored.
Imagewise, the only benefits would be the finer grain and what if any visual changes were induced through the blowup–albeit those you could tell through heavy fading. The big draw will be the Dolby 70 baby boom in the six track mag stripe. If it could be found, transferred and turned it would become a most powerful ally. 😉
But of course all this would be much easier if we could access the source and do a straight transfer, much like some 70mm mixes that got direct transfers to LD and DVD. Like the earlier Criterion 2001, any magnetic we might be able to work with would likely have some distortion or damage after all these years.
The IB will be the best image overall and the most filmic/organic feeling. The Eastman/LPP will be what you’d have seen in 1977 and what the movie should look like from the processes of the day on general release.
So what exactly has been released? From what I gather a version of this is out there already, but it’s not the finalized release tn1 is planning?
My apologies for having to ask. I’ve tried to skim as much as I can of this thread but I have a toddler and a newborn and reading all 120 pages will take me months… I barely had time to make this post!
I jumped in before realizing what had been done, like the Grindhouse ESB earlier on.
This is a test issue basically that is the 35 Eastman/LPP mix of prints. v2.0. A later v2.5 will be finalized and include stereo and mono. Also, TN1 have a preview of the IB R5.
I didn’t realize until now, but this preliminary copy only has the GOUT DVD 2.0 ac3 synced to it.
I might be buying a mint condition copy of the Widescreen Edition of Star Wars (1977) on LaserDisc from a gentleman who is slowly selling his LaserDisc Collection but I am unsure if the edition he is selling is the Technidisc Pressing from 1993. How can I tell if it is or not? It has the 20th Century Fox Logo instead of the CBS Fox Video Logo and the gatefold says 1992 but aside from that I’m don’t know where it would confirm it is the Technidisc Pressing.
It took me a long while to find one, but you’re already on the right track. Certain earlier Fox widescreen discs like SW were quietly reissued in cleaner or fixed transfers using the same Special Widescreen Edition covers but with the logo replaced by the Fox one. (DIE HARD is this way too.)
For the Technidisc, you want to find one that says disc and jacket made in the USA on the rear. But sometimes this can be inaccurate. The only definite way to tell is by reading the mint marks on the actual discs themselves. These are codes stamped on the inner ring just like the deadwax codes of an LP. Just match to the Technidisc numbers on the lddb listing page and you will be set.
Keep in mind though, most pressings out there are Mitsubishis. Good hunting!!
I think we need to directly compare a print of the ANH SE. The IB print was supposedly used to grade only the 97SE process and resultant prints. And we know that the video masters were wildly off and different so that leaves only the print as possible reference.
With the '04-'11 work being from a sourced 97 file, who is to say that they didn’t grab something that was done incorrectly or a different work file?
ESB and ROTJ are pretty similar in that they were mixed while focusing on getting the main stereo right so that in the case of system failure the regular stereo would work fine. Thus the difference between 35 and 70 is largely that the latter was the more technically robust and discrete form whereas the 35mm had to be run through the matrixing process. They do have some differences that we know of, but this was mainly stuff like after premiere changes to ESB.
The mono mixes were made from scratch, and in the case of SW done later and thus have numerous tweaks, fixes and dialogue differentiations added to them. These mostly wound up in the 97 SE mix for both SW and ESB. I presume because GL and Burtt preferred them. Since I grew up with both the SE and OT, I tend to miss some of the SE effects and was so glad to hear that they were indeed original.
(Stuff like: the different Beru voice, Leia’s 44 magnum blaster, “Close the blast doors!”, “Blast it Wedge” etc.)
Try 'em all. See what you like. Personally I adore the monos, and only miss the stereo’s clarity. The monos are much more like classic Hollywood and action serials and the music is mixed differently too. Sometimes I wonder what one of our 70mm recreations would be like if we utilized the mono differences. Probably a lot like the 97 mixes, which apart from the new additions were quite faithful to the original 4 track masters and had great fidelity to them.
I used to say ANH most of the time, but a few years ago stopped when I realized just how much the SE and constant reworking had affected the overall film and devalued all of the original team’s hard work.
So now I just say Star Wars, and if needing to clarify to the uninitiated, Star Wars in its original 1977 unaltered form.
Final cut for being easy and obtainable.
To be honest though the number of tweaks and changes, particularly in the color and sound are so numerous that it begins to not quite resemble the 1982 original production anymore. So if you’re a true film enthusiast, I’d actually say the Director’s Cut-as it’s ONLY downside is that it misses the few tiny bits of violence from the International version. As big of a BR nut as I am, my preferred version is the DC with the IC bits reinstated.
But avoid the theatrical narration and ending. IMO terrible, and this is from someone who can’t get enough voiceover.
The Sting (1973) = C-
This film seems overrated to me. The sets and make up are horrendous, and it looks like a cheap television production. The style of the opening credits, where they used quick clip shots of the actors from later in the film, reminded me of the opening credits for Love Boat and Fantasy Island. The characters are not very likable and the plot is dragged out with average screen writing. The only thing it really has going for it is the cast. Not as good as I was expecting.
The video transfers, especially the scrubbed “restored” Blu do not do it justice. Only 35mm does. This is a film built entirely around the magic inherent in Newman’s wink at Redford, at their character interplay from Butch Cassidy amidst a time backdrop so far gone and viewed in such nostalgia that perhaps it never existed. You have to take that going in , that the audience is a part of the con, that all life depends on the telling and retelling, in order to really appreciate what they were trying to get at. This is one of those films that always leaves me feeling unsatisfied because it should keep going at the end, and not simply stop.
For me, it wipes the floor with the overrated BCaTSK. And 99% of people today have no idea what it is. Sad. This is one of those movies that reminds you of why we spend our lives plotting false realities.
“Live and Let Die” B-
I like this one. The scene where Bond meets Rosie is one of Moore’s best scenes of his entries in the series. His face expressions are priceless, and his double entendre delivery is top notch. Never boring.
Moore’s confrontation with Rosie in the woods is also one of his best moments, and in fact a small scene that should be used to test any potential 007. Bringing the Walther to bear with the lines “And I’ll kill you if you don’t” --“But you wouldn’t, you couldn’t, not after what we’ve just done.” --“I certainly wouldn’t have killed you before…” is as priceless as Connery glancing at his watch in Miss Taro’s apartment, and further proof again that the masses really should not speak about Bond since they don’t take the time to properly read the character or any actor in the part.
Haven’t posted in a while I think so here’s some catching up.
TFA-two viewings, and extreme disenchantment. Not for me at all, too much like pitiful fanfiction with no detail or any risk taking. Worse than any of the worst EU.
1 ball out of 4 at best. I just didn’t care…just an excuse for the Mouse to print money.
It’s a Wonderful Life-the 35mm prints look exactly like the Criterion CAV. The IP source is a bit contrastier than the DVD/BD which should be recalled as it is terrible. One of the great fables of our time, and a parable for the ages. Further proof that Jimmy Stewart is likely the finest screen actor we will ever see. no one had a greater career range than JS from 1946-1965.
Puggo Grande and Puggo Strikes Back-Pure magic. Waiting fervently for ROTP!!
Die Hard-essential around this time.
Smart Money-fun but slightly stale teaming of Robinson and Cagney right after Little Caesar and Public Enemy. 3 balls out of 4.
Picture Snatcher-Pure fun with Cagney. 3.5 balls out of 4.
Currently watching through Batman the TV series which is stunning on BD via the xbr960, and the Italian set is a steal at around $50-60.
Christmas Jones is the worst Bond girl in the entire series without doubt. That being said I love the Elektra/Renard combination for the villians
At least she didn’t squeal like a pig stuck in the mud. Stacey Sutton, anyone?
I don’t mind her character in TWINE, as it could always be worse. TWINE is so full of missed opportunities and failures that it is an always fascinating watch. Brosnan is at his best, the story setup is great, the villains are perfectly cast, the locations and style are prefect, Arnold’s score is far better integrated than TND, the title song is PERFECT, Apted proves great for the character scenes…and yet it doesn’t work half the time because the second unit action footage doesn’t integrate well and this film began the curse of Purvis & Wade who can’t develop a plot thread to save their lives.
SPECTRE proves they don’t know what they are doing any longer, nor can they jump ship and do a big TSWLM/YOLT or even Thunderball type of action Bond film anymore. In fact the film is so bad, so dull, so drawn and out and inconsistent that I’m shocked it was even released. How anyone liked it is beyond me. Like Jurassic World and TFA it attempts to remake and reinvent the old stories for new 2015 audiences, but unlike those it has no drive, passion, humanity, pacing and really anything to speak of at all. If you had said it was a feature length fashion and lifestyle advert on Ambien, you’d be 100% correct.
Current rank is something like this, but all 20 are part of my psyche forever.
FRWL
OHMSS
LALD
DN
GF
TB
TLD
YOLT
TMWTGG
TSWLM
DAF
MR
FYEO
AVTAK
LTK
OP
TWINE
GE
TND
DAD
CR '67
NSNA
The four worst films I have ever experienced:
CR 06, QoS, SF, SPECTRE
You could almost buy your own ship for that 😉