Zack Snyder’s $30m edit for HBO Max could be darker than Whedon’s 2017 film, it could give more screen time to Ray Fisher – or it could just be just as bad
It took almost two decades for people outside Europe to be treated to a four-hour edit of Sergio Leone’s final masterpiece, Once Upon a Time in America, by which time Leone had long since departed this mortal coil. Blade Runner managed 25 years before the 2007 Final Cut restored Ridley Scott’s dystopia to its full glory.
Few would argue that either movie deserved a second, or even third look in the edit bay. Leone’s sprawling tale of Depression-era New York mobsters was gutted for the North American market and the action became chronological, against the director’s wishes. Few Blade Runner fans would suggest that the original theatrical cut has any value other than as a warning against injudicious studio interference.
It took almost two decades for people outside Europe to be treated to a four-hour edit of Sergio Leone’s final masterpiece, Once Upon a Time in America, by which time Leone had long since departed this mortal coil. Blade Runner managed 25 years before the 2007 Final Cut restored Ridley Scott’s dystopia to its full glory.
Few would argue that either movie deserved a second, or even third look in the edit bay. Leone’s sprawling tale of Depression-era New York mobsters was gutted for the North American market and the action became chronological, against the director’s wishes. Few Blade Runner fans would suggest that the original theatrical cut has any value other than as a warning against injudicious studio interference.
- 7/10/2020
- by Ben Child
- The Guardian - Film News
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