willyTass
Supporting Actor
- Joined
- Sep 9, 2005
- Messages
- 996
looks like excessive contrast to me.
HD-DVD version here I come
HD-DVD version here I come
Yes, but a remastered edition after all this time merited a much better transfer. Nobody wants EE, obviously, but this presentation is not the best that can be done in terms of sharpness by a long shot, thus the complaining. It looks blurry to my eyes even in a screencap, so I can only imagine what it will look like projected on a wall-sized screen. Had I seen these framegrabs beforehand, I would have waited until 2007. I guess you can blame Criterion for raising expectations when it comes down to remastering films on dvd...DaViD Boulet said:What are you guys complaining about? The new disc (by the screen caps) looks light-years better, even if the older disc has almost as much overall detail:
http://www.top40addict.com/BLADERUNN...?1157513654218
Look at the scene with the candles in Tyrell's room. The old disc is riddled with artifacts and EE which completely destroys all semblence of film. The new disc is natural and very film-like.
And the new disc *does* show more detail. It's jus the EE in the old disc made it look "sharp" without actual detail. Look at Rachel's lower lip in that close-up. The old disc is the one that looks air-brushed. The new disc shows much more detail in the folds of her skin.
I'll try to give this one a review once I get to see it on the projector if HERB doesn't plan to do it.
More and more I'm convinced that the score is one of the key players responsible for the moving depth of Blade Runner. Vangelis has drenched the film in a bath of melancholy and sadness, even the departure of a spinner is accompanied by wonder and beauty. The chemistry between Scott's futurism and Vangelis' synthetical blues made this film better than it should've been.Chuck Mayer said:I find it difficult to encapsulate why a seemingly cold and bleak film is so moving; it envelopes the viewer in it's world, so much so that the filmmaking seams drift away. It creates and maintains a tone and visual purity almost unmatched in cinema history...all in service of very meaningful questions.
I think you've hit the nail on the head -- this film has atmosphere to spare (a Ridley Scott trademark), and it's so strong photographically and musically that its many other flaws are glossed over. And those sets... what I would give to be able to walk on them...AlexCremers said:The chemistry between Scott's futurism and Vangelis' synthetical blues made this film better than it should've been.
I didn't mention the score, and I should have. I agree that the two components working together achieve something beyond their individual contributions. Both are uniquely compelling (I love the score), but taken together make that indescribable mood.AlexCremers said:More and more I'm convinced that the score is one of the key players responsible for the moving depth of Blade Runner. Vangelis has drenched the film in a bath of melancholy and sadness, even the departure of a spinner is accompanied by wonder and beauty. The chemistry between Scott's futurism and Vangelis' synthetical blues made this film better than it should've been.
I was too young to watch Han Solo be a dick to people.
People. . .or replicants?!?!?!
More and more I'm convinced that the score is one of the key players responsible for the moving depth of Blade Runner. Vangelis has drenched the film in a bath of melancholy and sadness, even the departure of a spinner is accompanied by wonder and beauty. The chemistry between Scott's futurism and Vangelis' synthetical blues made this film better than it should've been.
beautifully written.
what I would give to be able to walk on them...
Too bad you weren't with us at the first HTF meet in LA!
(Granted, the Warner backlot wasn't *exactly* as it was when BR was filmed. . .)