Good news : if the industry starts implementing structurally those practices with DNR and fake grain instead of proper respect of the original grain-field and film texture, some people won't even notice the shift ! (like with the couple of Turbine's UHDs whose fake grain that still got reviews mentioning "a thin layer of natural grain throughout" or, as Germans wrote, "man muss filmischen Look mögen" - "one must like filmic looks"). Not that I ever talked of a "DNR disaster" (that'd be Wake in Fright).
It's indeed missing :
Coming back to this : Some Like It Hot UHD vs BD definitely look close to each other, but 12 Angry Men UHD looks like a new 4K master from the OCN vs a much older master, either HD or 2K, most certainly from a scan performed on a DataCine-type scanner, possibly from an intermediate element (from what I'm reading from the booklet, that's indeed it : "high-definition digital transfer was created on a Spirit 2K from a 35mm fine-grain master positive" for the Criterion, "NEW 4K RESTORATION OF THE FILM FROM THE ORIGINAL CAMERA NEGATIVE" for the Kino UHD), not even accounting for the Criterion BD not even properly encoding such a thick source that shouldn't be that hard to encode in x264 (MGM did it better, but that's also simply what was happening when Pixelogic weren't prioritising the main feature over the extras and Criterion didn't care).
Well you gotta remember 20 years had passed and Gene was kinda...you know...dying.
True that happened with The Thing for example.
Especially when it comes to a film that one of them clearly liked, but one aspect of the film left them cold. Gene Siskel's initial admiration for this fine film was obvious.
