Star Trek The Motion Picture Director's Edition 4K UHD/DLX (1979)

[SpacemanDoug]

https://www.movie-censorship.com/report.php?ID=32692

actually gonna make a minor correction to the list of this specific moment from the link

in that moment you mentioned of the scene when the High Master initiates the mind meld on Spock, using the alternate take in the original SD director's edition, between the 4K director's edition and the 4K theatrical cut, the two takes are NOT 100% identical, in fact the take used in the 4K theatrical version is identical to the one used on the SD director's edition

so idk what's going on here, if it's an error or something else

[KC-Technerd]

Originally Posted by SpaceMind

I prefer the Director's Cut but... there is one thing that always bugs me... I prefer the original Red Alert klaxon. I don't know why the klaxon was changed.

From what I read in another forum, Robert Wise thought the original theatrical version sounded too much like an alarm clock.

[Vilya]

Just bring on the last four films in 4K, so that I can watch them all one after the other.

[KC-Technerd]

Originally Posted by SwissHD

For me honestly the Directors Cut even 2001 was revisionism anyway.
Yeah all that talk about "We wanna do it like we would have done it in the 70ties" was there but Vger was Full CGI back in 2001 and also several other additions. So it never looked like it was done in the 70ties
Of course that was totally acceptable because you cant expect them to build an old fashioned model and do it like 1979
I love that they used the original Vger Design Concept cause the intent was ALWAYS to show the damn thing.

But i was always ok with it not looking like its done in 1979 because its impossible to achieve in my opinion when you redo effects with modern CG technology.

From what I recall in 2000/2001, the new shots of Dochterman's digital Enterprise model (particularly during V'ger's plasma energy attack) were both promoted and lauded as carefully adjusted to blend seamlessly with the existing footage of the physical model combined with Doug Trumbull's effects (meaning they looked like 1979). So if a CGI Enterprise can look like a 1979 filmed physical model, then why can't a CGI V'ger?

For some reason when I watched on Paramount+ my attention was drawn to the new exterior V'ger shots looking out of place, but I'm not really experiencing that watching from the disc. Maybe I've grown used to it after watching a few times, or maybe the lower compression combined with a better Dolby Vision profile is leaving it closer to the intended appearance.

[KC-Technerd]

Originally Posted by Geoff D

I think it’s the other way around, that these “classic” stocks resulted in something of a warmer tone at source, it’s just been dialled out by years of home video transfers making them look far too pink or far too greeny/yellow.

Maybe. For me (in many of the HDR grades of old films) there's just a number of scenes where skin tone seems to lack natural pink, and certain scenes with certain lighting where skin tones turn way more clay pot orange than I ever remember seeing in a theater. The color in the 4K TMP DE is growing on me, but the one scene in it and the theatrical 4K that keeps bothering me is the crew briefing in the rec room. It just looks way to warm to me, losing what I remember as a great blend of white, tan, and pastel blue, with good skin tones. I wish I could go back and see what it looked like projected on screen in 1979.

[Vilya]

Originally Posted by KC-Technerd

I wish I could go back and see what it looked like projected on screen in 1979.

You can; all you need is a

[Bobbyjoe766]

Got my UK set yesterday, in perfect condition.

Had a look at the new bonus features, and came across a clip, of Spock getting emotional (visibly teary) as he recounted his encounter with V’ger to Kirk and McCoy.
Is this a new deleted scene or a blown take? It’s in one of the featurettes on the bonus disc, which makes up part of a 48 mins (with “play all” option) documentary on the making of the film.

Also, liked the dailies of the unused angles of the Klingon ships. Wish the close-up shot of the partially ‘eaten away’ engine pod was used.

[HippieDalek]

Originally Posted by Bobbyjoe766

Had a look at the new bonus features, and came across a clip, of Spock getting emotional (visibly teary) as he recounted his encounter with V’ger to Kirk and McCoy.
Is this a new deleted scene or a blown take?

It sounds like you're talking about a scene that was removed from the theatrical cut but was restored in both the SLV and Director's Cut. In my opinion it's a rather crucial scene that should have been there in all versions.

If you've only seen the Theatrical Cut before then I highly recommend checking out the SLV or Director's Cut, you'll find plenty of moments like that to enjoy.

[SwissHD]

Originally Posted by Filmmaker

the inconsistency of the new effects’ quality and the ‘grain management’

The thing is:
There was always an inconsistency between effect shots and normal footage.
Its in the nature of older Films. A lot of older Films have that.

Especially TMP because of the rushed post production had this problem.

[SwissHD]

Originally Posted by KC-Technerd

From what I recall in 2000/2001, the new shots of Dochterman's digital Enterprise model (particularly during V'ger's plasma energy attack) were both promoted and lauded as carefully adjusted to blend seamlessly with the existing footage of the physical model combined with Doug Trumbull's effects (meaning they looked like 1979). So if a CGI Enterprise can look like a 1979 filmed physical model, then why can't a CGI V'ger?

The CGI Enterprise had to blend seamlessly because you have so many shots of the physical model in the movie. It would be rather awkward if the two wouldnt blend.
And quite honestly the 2022 CGI Model is far superior to the 2001 and blends in even better. They got also some small parts of the model better this time in the high def cg recreation.

BUT you dont have physical shots of the Vger Model. So that was a new creation based on original concept art.
It looked CGI in 2001 and it looks like (very good imho) CGI in 2022.

For me the 2001 DE never looked like it could be done that way in 1979 in certain shots.
That was pure marketing blabla in my opinion.

But on the other hand i didnt and still dont care. For me its the better version of the movie and because its in my opinion revisionism anyway i only want it to look good. It doesnt have to look like its all done in 1979 to make me happy.
But thats a matter of taste only. No right or wrong there. i can understand if someone dont like revisionist things that looks modern on old movies.

Another franchise showed how NOT to do CG enhanced Special Editions.
Star Trek TMP (except the lounge scene) shows how you can do such thing.
Also the original version is still there in high quality.

Originally Posted by KC-Technerd

For some reason when I watched on Paramount+ my attention was drawn to the new exterior V'ger shots looking out of place, but I'm not really experiencing that watching from the disc. Maybe I've grown used to it after watching a few times, or maybe the lower compression combined with a better Dolby Vision profile is leaving it closer to the intended appearance.

Im glad it works better now for you.

[Bobbyjoe766]

Originally Posted by HippieDalek

It sounds like you're talking about a scene that was removed from the theatrical cut but was restored in both the SLV and Director's Cut. In my opinion it's a rather crucial scene that should have been there in all versions.

If you've only seen the Theatrical Cut before then I highly recommend checking out the SLV or Director's Cut, you'll find plenty of moments like that to enjoy.

I’ve never seen the SLV nor the DE - and haven’t seen the film since a television airing back in the mid ‘80s.

I started my viewing last night with the 4K 1979 theatrical cut.

I’ll be watching the DE shortly (and the 4K Khan after it).

I’m saving the longest cut (SLV) for last.

I’ve been wanting to see the television version for years - the main reason for buying THE COMPLETE ADVENTURE set.

[Filmmaker]

Originally Posted by SwissHD

The thing is:
There was always an inconsistency between effect shots and normal footage.
Its in the nature of older Films. A lot of older Films have that.

Especially TMP because of the rushed post production had this problem.

What are you on about? I said inconsistencies in the NEW effects. Some of them simply look second rate and exceedingly CGI and don’t blend well with the original footage. I have always been of the belief that TMP represents the highest bar in cinema history of old-school, non-CGI practical visual effects, so it doesn’t really need 90% of the new spit and polish they’ve put on it. Now, it looks like some awkward 1979/2022 ‘genetic splice, Jeff Goldblum in THE FLY’ fusion that would’ve felt more natural with a) more money spent on it and b) less creative license taken since the last DE pass.

[Cook]

Originally Posted by Geoff D

Star Trek: The Motion Picture The Director's Edition (2022) 4K Dolby Vision review, UK Paramount UHD disc. HDR metadata: Mastering display colour primaries: DCI-P3. Mastering display luminance levels: 4000/0.005 max/min nits. Maximum Content Light Level: 1000 nits. Maximum Frame Average Light Level: 926 nits. Disc type: UHD100.

As my review of the 2022 theatrical/SLV UHD disc also links to my review of the 2021 theatrical disc then I might as well quote the former: https://forum.blu-ray.com/showthread...2#post20449232 (it's now a review within a review within a review, we have to go deeper!). This is just for orientation as to what/how the movie was shot and how those processes affect the movie that we see. Or rather how some of those processes previously affected the movie as it was rebuilt with updated digital VFX and fresh scans of existing VFX to form 'The Director's Edition' (TDE). First attempted in 2001 but completed at mere SD resolution, the idea was to finish what has long been regarded as an unfinished film, bringing in director Robert Wise to oversee the efforts and ultimately approve a 'final cut' of his film. It was a decent attempt for the time but with no recourse to an HD (or higher) version then TDE got creakier and creakier as the years progressed and it seemed destined to languish in SD hell. Another 20 years later and someone somewhere decided that the time was right to have another go at TDE, utilising modern tools like 4K, HDR and Atmos to bring the movie up to a standard that would theoretically exceed all that went before it. Wise passed away in 2005 so overall stewardship of the 4K TDE project passed to David C. Fein who also helped produce the 2001 version, bringing back a number of people who worked with him on the 2001 edition to help fulfil Wise's dream.

So far, so idealistic, but the end result is even more problematic than I'd feared. I'd seen all the forums hysteria about the poor quality of some of the redone VFX - some of which is hamstrung by the remaining film elements available, some of which is just plain sloppy as hell - when it debuted on Paramount+ but still hadn't seen the 4K TDE for myself until I sat down to watch this 4K UHD disc. If anything, those dodgy moments like the terrible roto in the captain's lounge and the shuttle stopping in mid-air in the starfleet transport hub scene weren't so bad because I knew what to expect (and no, they have not been fixed or sweetened for this disc-based version), though I'll grumble about them anyway later on. What I didn't expect was the amount of DNR that's been used on this 4K transfer, I mean Fein had literally said in interviews months ago that they went in and tweaked the grain shot by shot but it still didn't prepare me for this.

I do want to make it clear that this is not some pasty-faced abomination from start to finish, that is simply not the case, but what it is is infuriatingly inconsistent. Some shots may have only a mild tickle of grain management, some more severe, and some seemingly left alone, but there never seems to be any rhyme or reason for it in the live action footage. Fein wanted to knock out the blotchy dupey grain in the old composites of the V'ger cloud and that's fine (albeit at the expense of moving 'force fields' of grain around the Klingon ships when they approach/flee V'ger at the beginning) but the live action stuff comes off worse. The opening shot of the interior of the Klingon ship is smoothed over, though the rest of the sequence looks betterer, and the interiors of the Epsilon 9 station intercepting the Klingon distress call are badly smoothed over in some shots. There's even an instance where a two-shot of the guy who would be Xon and the communications officer is noticeably softer than a shot which follows it, it's literally the same shot just intercut with the distress call yet one is smoothed and the other is not. It's bizarre and has nothing to do with opticals or anything like that.

This routine follows with the rest of the film. You'll get a shot or a sequence that looks nice and crisp while others are blankly smooth, and some sit in the middle with some grain shaved off but some form of middling texture remaining. Much of the scene with the crew assembled on the rec deck looks great, very finely grained, while Ilia's arrival on the ship is consistently 'grain managed'. Kirk getting off the shuttle at Starfleet HQ is badly smushy. And so on. It seems to get less pervasive the more the film progresses or maybe I just got used to it, I dunno, but it's still a gut punch that I wasn't expecting for a film remastered in 2022. Then again, that's the point: Fein has said that this is not about making it look like a 1979 film, it's about revitalising it for modern audiences and, well, modern audiences sure don't like that nasty grain stuff (including Fein himself it would seem). When it gets to Ilia-bot and Decker unit merging in the beam of light at the end then the grain warps and gloops, those multiple points of light seem to trick out the DNR algorithm, verr similar to how looked in the massively DNR'ed 2009 transfer! If I pop in the theatrical UHD (either the 2021 or 2022, they're the same transfer at source) then the grain is back, baby! The kicker is that it's never some ugly snowstorm of the stuff, 5247 being nicely fine-grained for a stock of that period, it just looks like film on the theatrical UHD. There's a very slight amount of sharpening on TDE though, so when you get a shot that's untouched it actually looks grainier than its counterpart on the theatrical UHD! Maybe if they hadn't cooked the sharpness they wouldn't have had to selectively degrain the movie? Just a thought.

What about all that lovely redone VFX though? Surely that got my juices flowing? Ehhhhh. The clarity and quality of the newly composited VFX (finding all the original layers of the shot and recompiling them digitally) is undeniable but again, there's a lot less grain here. Not simply losing all that dupey optical build-up but further 'management' of whatever was on the OG elements, and without that texture it makes the redone miniature shots look more like, well, miniatures. The grain helps to dither the surfaces of the models, to scatter their detail and alter the depth perception of the image, but when you're able to see right into it it loses something of its sense of scale. Not that I'd prefer to have the DigiSmear™ approach of the theatrical 4K where a lot of the opticals are badly grain reduced...and yet even there there are a lot of shots that aren't too bad either, there's something about those OG effects in the theatrical 4K that simply have more filmic charm, even with all their faults, old and new. The 4K recomps are just too slick for my taste. And the new all-CG shots like the establishing shots of Starfleet HQ and some of the V'ger ship continue to stand out like a sore thumb, looking far too anachronistically modern and sharp next to all this old 1979 footage.

The weird thing is that some OG VFX shots (not all were recomped as they couldn't find all the elements) which look okay in the theatrical 4K actually look worse in TDE, there's a front-on angle of the Enterprise in spacedock at approx 32m16s in TDE where the dock and the black matte outline around the secondary hull shimmer and dance, yet in the theatrical 4K it's far more stable. Dupier, but more stable. And other older shots have had their grain removed while some have a layer of frozen stuff sitting there. And that redone wide shot of Kirk with Sonak in the Starfleet shuttle hub is just so odd. Yes, the elements of Kirk and the bystanders in the centre of the shot look great, really sharp, but the elements over to the left still look super soft and the newly pasted-in shuttles look terrible. I don't mean the mid-air stopping special, I mean the one that Kirk arrives in. Pull up the 1979 shot and you'll see that they originally had shadows for the shuttle on the wall and when it passes those two columns, it really sells the effect, but there's no such interactive lighting at all on the 2022 shuttle and it looks incredibly amateurish. Christ, even on the 2001 edition they remembered to include the shadows when they redid it. And on the redone matte painting behind Kirk and Sonak in the closer shot the shuttles are so bad on the 2022, like someone's clipped out an image and just stuck it on. It's simply not good enough.

The much-vaunted regrading of the film (they had only four days to time it back in 1979 etc etc) doesn't seek to turn it into something else. It's still The Beige Adventure but there's a more neutral hue to the white balance vs the warmer theatrical 4K, and the skin tones are slightly pinkier and have less of that classic slightly orangey sheen seen in the theatrical 4K. Even the Klingon ship has this deep red drench on the theatrical 4K while it's been toned down on TDE. Vulcan does not have the stronger red tint that the theatrical 4K has, still warm but not red, and while I know that that change didn't have its fans I love it, it really fits the red volcanic surface as depicted in the old VFX shot while the less intense colour suits the less dramatic skyscape of TDE. I could live with either colour scheme, don't get me wrongo, but making the colour more neutral in TDE is another aspect that makes this version of the movie look and feel more antiseptic and sterile to me.

HDR usage is more lively than the theatrical 4K too. The metadata may show similar figures between this and the theatrical/SLV disc (with the 2021 disc carrying no MaxCLL/MaxFALL at all) but TDE generally has a higher brightness level from scene to scene and the peaks in the smaller highlights seem a lot brighter than the theatrical 4K as well. It's still not overly aggressive with it but there's a definite intent to take more advantage of the HDR than with the theatrical 4K transfer. You don't get more visible range in whatever highlights, just more brightness. The blacks generally have quite a crushy look at times on the theatrical 4K, especially on interiors, but they're crushed down by another point or two on TDE. When Spock is shielding his eyes from the sun on Vulcan his hair is just a blank mass in TDE but there's a touch more shadow detail there on the theatrical 4K. It's all adding to the enhanced sense of contrast on TDE but without the grain to dither those darker areas they look a little more posterised than they do on the theatrical, particularly on hair where there are brighter highlights that meet the dark.

What really bugs me though re: the blacks is that space exteriors are much more variable in TDE. I made a post about how the opening shot of the camera swooping over the Klingon ships looked "grey AF" in TDE and I was mistaken, it's still decently dense but is nonetheless a shade brighter than the theatrical 4K shot which means that the matte lines around the ships aren't quite invisible any more. The thing that annoys me is the lack of consistency, there's a sequence when the Enterprise is preparing to leave spacedock and all the lights start to turn off, it's about 34m34s into the theatrical 4K and roughly 35m35s in TDE 4K. The shot of the light on stalks turning off and away is crushed so badly on TDE, it loses most of the spacedock with it yet the dock is perfickly visible on the theatrical 4K (and even on a 'raw dailies' version of the shot that's included in the new documentary on the bonus disc). The next shot with the lights turning off is much betterer, but the third shot looking out over the saucer of the Enterprise as a cargo transport flies overhead now looks really grey and thin in TDE, nothing like the black level of the two shots that preceded it. There are several other shots where the blacks are just too light, that one I mentioned a few paragraphs up of the flickering front-on spacedock shot also has space looking grey and there's some posterisation on the right hand edge of the image too. They're not all like this, many more have a deep 'letterbox' level of black but it's so uneven, this is while the theatrical 4K manages a far more consistent level of rich, dark black in space exteriors.

Indeed, that's the word I think sums up this 2022 restoration of the film: uneven. It's got grain, but it's all over the place from shot to shot. It's got some nice blacks in space but also some very grey moments. It's got shiny new digital VFX as well as pristine recomps of existing shots sitting next to 40+ year old optical VFX and they don't quite gel, as well as having redone shots that are badly flawed. Me, I'm a half-glass empty kinda guy (No, really? Ed.) and when I see something as inconsistent as this I start thinking that they shouldn't have bothered, while other people will rightfully be overjoyed that some of this iconic VFX can now be seen in such sharp modern quality. But again, that's the crux of the matter: the intent was to shine up the movie as if it'd been made yesterday but there's no doing that with 40+ year old material, not all of it anyway, and the incongruity just didn't let me settle into the movie. I became restless, bored even, but maybe I'm just TMP'ed out after watching it several times and doing multiple comparisons over these last few days. And even if they'd managed to redo every single OG shot with a new digital composite it would still be jutting up against live action scenes that cannot escape looking like a product of their time, even with Fein "managing" their grain shot to shot. That allied with the more neutral colour scheme also made the whole thing feel more anodyne to me, more middle of the road and less likely to offend modern visual sensibilities.

That's fine but it takes away from the character of the visuals for me, makes them seem more detached somehow, like a version of the film that V'ger itself would be proud of: technically pristine but emotionally inert. That's the irony I took away from Fein himself getting so emotional about this project in the new documentary, he sees himself as the keeper of Wise's flame and yet I can't help but wonder if he was too close to this project, that he just couldn't see the flaws for looking, for being so excited that they were getting to do this at all. Still, some of this is by his own hand e.g. the DNR edict which is purely a matter of taste, and for the rest of it I could be charitable and say that they were still working to such a tight budget and timescale (some things never change) that the unevenness of some of the grading and new VFX work just couldn't be helped. There's even a tacit admission to this in the new documentary, they say that the film got abandoned in 1979, got abandoned again in 2001 and also had to be left alone once more in 2022, that who knows what else could be discovered in the Paramount vaults in the future? For all the talk about how this was some legendary unfinished epic it honestly feels more unfinished to me now because of that ingrained inconsistency in the 4K remaster/rebuild. Therefore I can't wait for the 16K Director's Edition in 2042!

The compression is fine, not solely because they've lavished a UHD100 on it but also because of the 'managed' grain, there's less random stuff blobbing about for the encoder to deal with. It's got player generated subtitles for alien dialogue in the newer font that Wise chose for the 2001 version, albeit at a much smaller size than that seen on the DVD. (I've cropped these because the blooming on the black bars is just too distracting.)

2001 TDE DVD

[Show spoiler]

2022 TDE UHD

[Show spoiler]

THESE IMAGES ARE NOT INTENDED TO CONVEY THE ENTIRETY OF EITHER SDR OR HDR WITH 100% ACCURACY BUT ONLY SPECIFIC ASPECTS. THEY CAN ALSO BE MUCH DARKER THAN THE CONTENT ACTUALLY APPEARS OWING TO THE EXPOSURE NECESSARY TO CAPTURE THE DYNAMIC RANGE.

I'm gonna do a few photos to show the differences in the grain between one and the other, the colour and contrast IS NOT TO BE TAKEN AS SEEN because the exposure is set to capture the grain and not the bestest representation of the colour etc. There's a lot of blooming in these from the exposure and because that STUPID pause bar won't go away on Paramount discs (the camera uses that to set the exposure) so again, DO NOT TAKE THAT AS BEING INDICATIVE OF THE FINAL PRODUCT. Got that? Good. (I bet someone still comments on how much blooming there is. No, it doesn't look like that in actuality.) They're not always the same frame, it's not necessary.

From the scene aboard Epsilon 9. TDE is smoothed over dramatically, it looks worse in motion.

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

These are the shots I was mentioning that go from smoother to grainier between a cut yet there's no reason for that discrepancy at all, aside from someone not paying attention. Look at her face in particular.

First shot on TDE UHD:

[Show spoiler]

Second shot on TDE UHD:

[Show spoiler]

Compare that to the theatrical 4K rendition, there's no difference between the grain in the two shots. (Though if you compare the 2nd shot of each the grain looks much sharper in TDE, mainly thanks to the sharpening.)

First shot on theatrical UHD:

[Show spoiler]

Second shot on theatrical UHD:

[Show spoiler]

Kirk arriving at Starfleet, this whole bit with him getting out and meeting Sonak is smooth city.

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Kirk on the bridge, most of this scene is similarly smoothed over.

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Scotty lamenting the lack of grain, mayhap?

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

These are from where Ilia-bot arrives on Enterprise. Grain has not been eliminated but has clearly been toned down throughout this scene in TDE.

Kirk:

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Ilia-bot:

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Back to Kirk:

TDE UHD

[Show spoiler]

Theatrical UHD

[Show spoiler]

Can you do direct comparisons of the Paramount+ stream of the Director's Cut? I'm just curious if the grain and smoothing issue is baked into the DC or if it's unique to the disc. If you can't or don't have time its no big deal. Just wanted to ask.

Thanks for the review regardless.

[HippieDalek]

Originally Posted by Bobbyjoe766

I’ve never seen the SLV nor the DE - and haven’t seen the film since a television airing back in the mid ‘80s.

I started my viewing last night with the 4K 1979 theatrical cut.

I’ll be watching the DE shortly (and the 4K Khan after it).

I’m saving the longest cut (SLV) for last.

I’ve been wanting to see the television version for years - the main reason for buying THE COMPLETE ADVENTURE set.

You're in for a treat! I hope you enjoy your journey through all the different versions. I first saw the film in it's TV Cut form (SLV), which is odd because we rarely got those US Network extended cuts here in the UK, but for TMP we did.

[SwissHD]

Originally Posted by Filmmaker

What are you on about? I said inconsistencies in the NEW effects.

then i misunderstood you.

Originally Posted by Filmmaker

Now, it looks like some awkward 1979/2022 ‘genetic splice,.

I dont see a difference between the 2001 and the 2022 DE in that regard. (except for the lounge scene).
The 2001 DE also looked like a mix of modern an old.
Either you like it or you dont i think. Matter of personal taste.

[ShellBeacher]

Originally Posted by Jar Jar Stinks

Typically, Amazon won't list an item for sale if they don't have access to inventory. In other words, they've been informed by their supplier that inventory will be made available.

We'll see about that, in this particular item's case. I don't think anything Amazon does is "typical" any more, except for not fully satisfying their proclaimed obligations to customers...that's the new norm.

[hasslein]

Originally Posted by Vilya

You can; all you need is a

Or Tarantino’s New Beverly Cinema routinely shows a film print. (I posted this a few years back in The Black Hole Thread)

[Bobbyjoe766]

Originally Posted by HippieDalek

You're in for a treat! I hope you enjoy your journey through all the different versions. I first saw the film in it's TV Cut form (SLV), which is odd because we rarely got those US Network extended cuts here in the UK, but for TMP we did.

Thanks.

In Australia, we did get expanded television edits (JAWS, THE GODFATHER: THE COMPLETE NOVELISATION FOR TELEVISION, SUPERMAN I and II, KING KONG (1976), EXORCIST II: THE HERETIC, etc), so, who knows, I may've seen the SLV back in the '80s and not even realised it?

[lildemon666]

Did anyone order the deluxe edition and arrived damaged? Ugh not to return it and Amazon says ships in 2 months. I wish it was in a regular case without the swag or least make it in a hard box.

[Geoff D]

Originally Posted by Cook

Can you do direct comparisons of the Paramount+ stream of the Director's Cut? I'm just curious if the grain and smoothing issue is baked into the DC or if it's unique to the disc. If you can't or don't have time its no big deal. Just wanted to ask.

Thanks for the review regardless.

I don’t have P+. Cheers.