FAN EDIT REVIEW: The Star Wars Trilogy – Harmy’s Despecialized Editons

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Original Films Directed by George Lucas, Irvin Kershner, and Richard Marquand, Written by George Lucas, Leigh Brackett, and Lawrence Kasdan
Fan Edit by Harmy
Category: Reconstruction

While most fan edits can usually be distilled down to the editor’s subjective goal for a film, there is a rapidly-growing facet of the community that involves the creation of reconstructions. These are edits which do not seek to create a wholly new version of the film, but rather to restore a previously unavailable version, using a number of different home video sources. One can say this method of fan editing truly came into being with Czech editor Harmy, and his excellent Star Wars Despecialized Editions.

First, a brief history lesson, courtesy of the first half of this very informative short documentary:

In case you can’t watch the video, in effect, everything that the original Star Wars film won Oscars for–the visual effects, the set and costume design, sound design–was significantly altered by George Lucas twenty years later to produce the Special Edition, a series of cuts that he felt lived up to his original vision for the trilogy. While the merits of these versions have been and continue to be endlessly debated by fans, the original versions are, at the time of this writing, MIA, in either original print form or on high definition (or acceptable standard definition, for that matter) video.

Enter Harmy, a Czech English teacher and video enthusiast, who sought to restore the original versions of the trilogy in the vein of an early effort by Revisited editor Adywan, by combining different video sources to bring the film back to its original state. Thus, the Despecialized Editions were born.

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The first versions of the edits, available in MKV form, concentrated on two major fronts: correcting the massive alterations to the color timings of the films, and of course, reversing the editorial and visual effects changes that Lucas has made over three successive variations of the Special Editions. Even in these lower-bitrate versions, made with upscales of the Laserdisc-derived 2006 DVD releases of the original trilogy, were quite a step above the official Blu-ray release of 2011 in fidelity to the first-released cuts.

In the years since, Harmy has kept up with changes in both video editing technology and newly-available preservations of the original films, updating each edit accordingly. For this review, I used v2.7 of Star Wars, v2.0 of Empire, and v2.5 of Jedi, in two forms: the full MKV files and a custom blu-ray set made by editor NJVC. While both versions contain the same multitude of audio and subtitle tracks, the blu-rays lower the bitrate slightly in order to fit every feature onto a disc. This doesn’t bother me much, considering I don’t sit close enough to my 40-inch TV to notice a difference, but pick accordingly to your tastes.

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Star Wars v2.7 is undoubtedly the centerpiece of Harmy’s set, considering how extensively the original film has been altered in 4 decades. In addition to the highest number of new visual effects, Star Wars suffered a heavily-skewed color palette, to the point that flesh tones begin to take on incredibly rosy complexions. The Despecialized Edition mercifully corrects this, using a well-preserved 35mm print as reference for correct theatrical color timing. The film is no longer forced to conform to the look of the prequels, appearing as it once did in 1977.

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Top: 2011 Bu-ray, Bottom: Despecialized v2.7

And of course, every successive VFX change is reversed–from things as huge as the original ILM Death Star battle to tweaks as small as restoring the orange blob of Vaseline under Luke’s desert speeder, nothing goes unnoticed by Harmy. Each original shot is returned through numerous different sources, depending on which is the highest quality version available; while most of the video is a color-corrected blu-ray rip, changes made to that master are reversed by taking from HD broadcasts of the 2004 DVDs or the 1997 Special Edition, and so on.

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When it becomes necessary to restore a shot that was only in the original version, fan-produced upscales of the 2006 DVDs are utilized, with elements taken from two noteworthy film preservations, Team Negative 1’s Silver Screen Edition and the 16mm Puggo Grande Edition. The video above explains the process in much better detail than I can in these paragraphs, but to over-summarize, the amount of work that went into creating these cuts prove that sometimes, the fans care more about something special than the creator.

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Empire and Jedi, while containing their fair share of VFX alterations, were less butchered by Lucasfilm, with the changes limited more to the inclusion of previously deleted footage and alternate audio takes. The latter example further displays the collaborative nature of the Despecialized Editions, with Harmy enlisting the approved usage of another fan project: a recreation of the original theatrical mixes. Produced by Hairy_hen mainly using the 1993 Laserdisc mixes, the main audio options replicate the standard 35mm stereo and the 70mm six-track mixes that were originally heard in theaters, with the first film also including the mono mix. All are presented in DTS-HD Master Audio, and while most certainly aren’t reference-material, hold up to the official releases quite well.

Each MKV file is quite massive, weighing in at an average of over 30 GBs, with bitrates approaching an average of 20 MBPS. The latest versions are still in 720p, but look stunningly beautiful in their original forms compared to the official releases, which are varyingly faded or glossed over with digital enhancements. The blu-ray set by NJVC doesn’t really handle the grain field as well, but as I mentioned before, unless you’re sitting right in front of the TV, this isn’t really something you will notice. Later versions of the MKVs are stated by Harmy to be in full 1080p resolution, owing to new elements pulled from Team Negative 1’s now finished Silver Screen Edition and a new set of prints being restored by an OriginalTrilogy Forum member known as Poita.

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But that’s not all! Both options include a selection of interesting and excellent features, many of which aren’t easily available anywhere else. On the MKV files, no less than twenty different audio options are available: in addition to the theatrical mixes, the original Laserdisc tracks are included in Dolby Digital form, along with a wide array of foreign dubs (my favorites are the German and Japanese tracks. So awesome and funny at the same time). There are also audio commentaries available from the Laserdiscs, DVDs, and Blu-rays, with Star Wars also presenting a rare official website podcast commentary by Pablo Hidalgo. Finally, each one provides an English Descriptive Audio track (so caring and thoughtful of the fans. If only Lucas could be the same).

In addition to the audio tracks, an equally-impressive selection of subtitles is collected from the Project Threepio effort, ranging from English to such overlooked languages as Thai and Navajo.

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The NJVC blu-ray set, available in several options, ups the ante in the extras field with several more commentaries such as Internet podcasts by Rebel Force Radio and Collider, and even Rifftrax by the MST3K crew themselves, along with a few more subtitle options. The bonus features discs include a collection of goodies from around the inter-webs, such as featurettes detailing the changes made to the films over the years, parody productions, documentaries, deleted scenes, trailers and TV spots, and even the excellent filmumentaries by Jamie Benning. All of the discs are finished with full motion menus which further push the official feel of this set.

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All in all, this is a great time to be a Star Wars fan. The dark years of the late 1980s have passed, as have the Lucas years, where Star Wars was kept under the stranglehold of a veritable Darth Vader, a man who has become everything about the Hollywood system he used to hate. Look at it now, with new, acclaimed films in theaters, TV series killing it on the small screen, and fan productions restoring to us our most treasured memories of the Galaxy Far, Far Away, things are finally looking up. So this Christmas, or Star Wars Day, or anytime you want, fire up the Despecialized Editions and enjoy yourself. You finally can again.

HOW TO GET IT:
Despite the crackdown on p2p file sharing going on these days, the Despecialized Editions are still easily and readily available in just about every corner of the web today, thanks in no small part to their popularity. If you are going through the official channels, visit this Harmy-approved guide, which will walk you through the different methods of obtaining the digital files, whether in the full MKV versions or lower-quality AVCHD files.

NJVC’s blu-ray set was briefly unavailable due to the creator pulling it from circulation–it appears that several unscrupulous individuals were selling the sets on Ebay. However, another fan has graciously and with NJVC’s support made them available again. All you need is a blu-ray burner and the discs, and you are good to go!

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REVIEW: Blade Runner 2049 (2017)

Directed by Denis Villeneuve
Written by Hampton Fancher and Michael Green, Story by Hampton Fancher, Based on Characters from the Novel Do Androids Dream of Electrip Sheep? by Philip K. Dick
Starring Ryan Gosling, Harrison Ford, Jared Leto, Ana de Armas, Robin Wright, Dave Bautista, Mackenzie Davis, Sylvia Hoeks

I really shouldn’t enjoy this movie at all, despite my unconditional love for the original film. Because I fully believe, nay, know, that Blade Runner is a film for whom any follow-up, be it a sequel, prequel, or remake, is completely unnecessary, I have approached this one cautiously and reservedly for over a year. I seemed to have gone through the stages of grief with this one before seeing it, and I am now in a comfortable stage of acceptance.

Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.

And now here I am, sitting in front of the computer, trying to find the words for what I just watched. I mean this in both good and bad ways, because 2049 affected me in a much different way than the original film. Much like Alien: Covenant earlier this year, I feel that it’s going to take time and multiple viewings to truly come to a conclusion regarding how much I enjoy this film.

First things first, let’s get something out of the way: I do not think 2049 surpasses the original. Not by a long shot. Anybody who thinks it does simply did not like the original, and I will stick by that observation to the death. The future world depicted in Villeneuve’s film is not as profoundly shocking as Scott’s, and the story is not as efficient or effective. This is not to say that it’s terrible; it just isn’t the same kind of simple, hard-hitting film noir that Blade Runner still is.

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2049 begins with a new adaptation of an original opening concept for the first film, no doubt a signal of Hampton Fancher’s influence, who has returned to help write this film. Officer K arrives on a futuristic farm, clad in bleak grays, with Dave Bautista taking the small role of the big replicant that K waits to retire. After he discovers a strange crate buried on the property, K returns to Los Angeles, which in the past 30 years has changed much–and also not much at all. LA is still choking with corporate product placement and diseased masses of humanity, but this time around, a lot of it seems more…clean? That might not be the right word, but many of the sets do possess a more sterile quality than their counterparts in the original, especially K’s apartment and the police station. I completely understand the reasoning behind this–30 years can do much to change architecture and style–I just miss the old retrofitted future.

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A most interesting addition to the Blade Runner mythos in this film is Ana de Armas’s Joi, K’s holographic housewife. Firmly cementing 2049 into a 21st Century evolution of the original, Joi is an interesting spin of Her‘s Samantha, a computerized companion in a world where even some of the humans are artificial.

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Speaking of artificial humans, in this film there are way more of them. In the 30 years since, human-replicant integration has taken place, to the point where replicants are now openly holding jobs on Earth among humans. There are still racial tensions that prevent replicants from fully enjoying human freedom, however, in a few nice tidbits of screenwriting by Fancher and Green. This increased acceptance of replicants into society draws neat parallels with the end of slavery and the beginnings of the civil rights movements in the United States, and poses some powerful questions about identity, segregation, and the state of humanity in a world that was already post-human decades ago.

K’s discovery eventually leads to something of an intriguing mystery that further sets 2049 apart from its predecessor. While Blade Runner is pretty straightforward in terms of its narrative, 2049 is more about mystery. I don’t want to say too much for fear of giving the best parts away, but I will say that the quest undertaken by K is intriguing, even if a little predictable.

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Ryan Gosling is his usual self as K, which is to say he is absolutely brilliant. Building on the performances of both Harrison Ford and Rutger Hauer as Roy Batty, Gosling combines the more subtle nuances of both to create a character as likeable. Everybody else is adequate, but not quite praise-worthy. Robin Wright and Mackenzie Davis are straight and narrow in their roles, while Jared Leto and Sylvia Hoeks play decent villains with a few nice quirks. On the whole, however, the acting front is pretty slim compared to the original, and I would level the blame on the fact that there is no Roy Batty counterpart in the film. His character was a very important counterweight to Deckard, and without one for K, the film suffers.

One more thing on the acting: Harrison Ford. While his performance here is decidedly more subtle than it was in The Force Awakens, I don’t feel Deckard had much to contribute to the narrative. Besides one deeply unsettling and wickedly good scene between him and Leto, I could have easily done without his inclusion. This is the third iconic character of his to return, and his entrance onto the screen was greeted with chuckles in the auditorium I saw it in, and I know that scene wasn’t meant to be funny.

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Do I hate Blade Runner 2049? Absolutely not. The film is a beautiful and stark vision of a future, paved-over planet, thematically similar yet visually separated from its ancestor, and Ryan Gosling and Ana de Armas more than made the experience worthwhile. Roger Deakins will for sure get an Oscar nod for his work here, and the score by Hans Zimmer and Benjamin Wallfisch comes pretty damn close to equaling Vangelis’ work. Villeneuve assembled a kickass team, and didn’t forget to raise deep and profound questions like Scott did. And yet, for all this praise, I still feel something missing. Perhaps it is just that it will never leave the shadow of Blade Runner in my eyes. But then again, what film truly could? For an unnecessary sequel, 2049 didn’t do too bad at all, and I’m sure I will love it more as time goes on.

REVIEW: E.T. The Extra-Terrestrial (1982)

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Directed by Steven Spielberg
Written by Melissa Matheson
Starring Dee Wallace, Henry Thomas, Peter Coyote, Robert McNaughton, Drew Barrymore

There are a few perfect films out there, not just for me, but for most of cinema-goers. Taxi Driver. Raiders of the Lost Ark. Star Wars. It’s a Wonderful Life. Blade Runner. These films are cherished and revered, often imitated but never fully copied. Steven Spielberg, probably the most recognized filmmaker in history, has had the fortune of making not one, but several perfect films in his career, with E.T. The Extra-Terrestrial probably being the best of the best.

After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott (Henry Thomas). Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother (Robert McNaughton) and his little sister, Gertie (Drew Barrymore), and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.

Right away, from the strangely ominous drones over the black-screen credits, you know you’re in for something memorable. As the opening titles give way to the familiar sight of a shooting star against a calm night sky, we are treated the arrival of an alien spaceship in the woods. But unlike the at-times frightening appearance of the visitors in Close Encounters of the Third Kind, these creatures are decidedly more benevolent; they waddle under the handicap of their comically-undersized legs, their hearts glow brightly to signal startlement, and their childlike curiosity of the new world before them is charming. And then the humans show up. Dark, silhouetted figures of meddling humanity who give chase to one of the visitors in particular, who misses his ride home and begins a trek down the wooded hill to find shelter on an unfamiliar planet.

So begins Spielberg’s E.T., a film that I discovered I am still absolutely in love with to this day. Like his immediately previous efforts in Jaws, Close Encounters, and Raiders, E.T. is a technical and storytelling marvel, with little-to-no faults to be had. Everything about this movie is just perfect. Tired of that word yet? Perfect, perfect, PERFECT!!!

Spielberg has longed dismissed the film’s ostensible genre as science fiction, and prefers to think of it as a family drama, with Elliott’s family straining under the still-fresh injury of their father leaving. It’s a theme that Spielberg often comes back to, a real part of his life that he finds therapeutic release in portraying on screen, either as part of the background or as the main focus, such as right here in E.T. Together with Close Encounters, this film is his most personal, presenting the children, Elliott, Mike, and Gertie, as struggling with the hurt of divorce and finding comfort in this diminutive creature from the stars who needs their help.

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In any film involving child actors, there’s the risk of the whole endeavor falling apart because of their inability to understand the work. That simply doesn’t happen here. Henry Thomas as Elliott is one of the greatest child performances around, as he exudes incredible chemistry with his on-screen siblings and mother as well as convincingly acting alongside the E.T. puppets. While McNaughton isn’t as large a factor, his role as the older brother Mike is still a source of much of the film’s comic relief and is such a valued member of the trio. Rounding them out is young Drew Barrymore, who doesn’t so much as act as she does truly converse with E.T. as a real being. Reportedly, at several points in production, she became convinced of E.T.’s reality, which isn’t too hard to believe considering how young she was and how good the on-set effects were.

Portrayed with a combination of various suits and animatronic puppets, E.T. is a fine example of the life a piece of latex can take on with the right design, execution, and tender love and care. From the design, evoking the old, wisened eyes of Albert Einstein, to the performance of the various instruments belaying a younger sense of wonder, E.T. is one of the best non-human characters ever realized. Such is his authenticity that, like the Yoda puppet from The Empire Strikes Back, never once do I look upon the old botanist’s face and see a high-tech gadget, but a living alien deserving of friendship.

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But E.T. isn’t the only technical marvel of the film. In what I assume was an attempt to create an ethereal, dreamlike atmosphere to the idealized suburbia of Elliott’s neighborhood, many scenes are filled with whisps of vapor, allowing the light in the nighttime scenes to really pop as well as shrouding E.T. with an air of mystique, as any alien being should have. This mist of the unknown also percolates around the adult characters, who in Spielberg fashion, are concealed in silhouette until the final act, further slamming home that this story is of children, told from their point of view. (This also places a lot of the slack onto Dee Wallace, who as the children’s mother is the only adult consistently portrayed in full.)

And let’s not forget another rousing score from the master, John Williams. Alternating between quietly beautiful themes for E.T. and Elliot, and grandiose, adventurous pieces that elevate the small town setting into a mythical quest, Williams’ has delivered another score for the ages. This is how film scores are meant to be.

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In 2002, for the film’s 20th Anniversary, Steven Spielberg decided to re-release the film in cinemas for a limited exhibition. Unfortunately, a little golem named George Lucas must have been sitting on his shoulder, because Spielberg decided to emulate the Star Wars Special Editions and significantly alter E.T., replacing almost all of the on-set puppetry with CGI, adding two unnecessary deleted scenes back into the film, and in the most asinine change, digitally alter the guns of the government agents chasing the children into walkie-talkies. This version was also released onto a special DVD set along with the original version.

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Luckily, Spielberg has changed his tune over the years. He admits that these alterations were a mistake, and in each subsequent re-release onto home video, he has left the Special Edition in the dust and focused solely on the original cut. If you still wish to view it however, track down the 2-disc DVD from 2002. I trust that’ll be the only viewing you have of it before you come to the same conclusion as Spielberg did.

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This review only came about because I finally had the pleasure of reintroducing E.T. to my video collection after it being absent for a decade. I’d almost forgotten how good of a film it is, how touching, how funny, how relatable. Even the “evil” government agent played by Peter Coyote seems to revel in the magic of E.T.’s presence on Earth during his talk with Elliott in the emergency tent. He displays a kind of childlike wonder and gratefulness to having this experience, even though he has tainted it with his government alignment. Needless to say, I was filled with that same wonder, even fistpumping the air as the kids made their escape on bicycles, with John Williams’ excellent track blaring in my living room. So many wonderful memories, so many happy tears. Thank you Steven Spielberg. It’s always nice to live that again.

Fan Edit Review: Paradise

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Original Films Directed by Ridley Scott, Prometheus Written by Jon Spaights and Damon Lindelof, Alien: Covenant Written by John Logan and Dante Larper
Fan Edit by JobWillins
Category: FanMix

JobWillins’ Derelict was quite the experience, combining two Ridley Scott films separated by over three decades into a coherent and suspenseful single storyline. After Alien: Covenant was released, I suddenly had a spark of inspiration; why couldn’t Prometheus and Covenant be combined in a similar way? After all, both films feature a central character in David, the murderous, disturbingly creative android, so why not give it a go myself? Well, little did I know that JobWillins was already on it, and let’s face it, he was always going to do a better job than I would.

As it turns out, JobWillins had conceived of the Paradise idea long ago. From his Tumblr:

“When I edited Derelict a couple of years ago, combining Prometheus & Alien in black & white, it was mainly because I found Prometheus unsatisfying as a standalone film.  Its ending promised (and begged for) a sequel, but that sequel kept falling behind other Ridley Scott productions.  With a sequel in doubt, I tried to use material from both films to make a single experience that felt more like a satisfying whole.
“We eventually did get a sequel 5 years later in Alien: Covenant.  Half of it felt like a Prometheus sequel and the other half an Alien prequel.  In my opinion it didn’t fully succeed in either role.  I enjoyed parts of Covenant very much as I did Prometheus, but also much like Prometheus, it ended on an intriguing promise of a sequel.  That sequel may never come thanks to its relatively poor box office performance.”

And so, here we are with another expansive, 2.5 hour sci-fi epic!

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Opening in the all-too-familiar black-and-white style of Derelict with the ominous Peter Weyland TED Talk, Paradise shifts into full color with the excellent prologue of Covenant, David’s first day of life in the company of his father. However, the prologue stops short, giving us the new title as the Prometheus flies through space. Throughout the film, this prologue will return periodically, as if to punctuate the themes of creation and godhood with increased clarity as the narrative bounces between time frames.

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While the transitions aren’t quite as good or numerous as those witnessed in Derelict, JobWillins covers this with a restrained hand, ensuring to keep both films at least thematically-synced. Probably the best example of this would be Covenant‘s backburster scene, intercut with Holloway’s agonizing death in Prometheus. As Ted Kurzel’s brilliant score pulsates away, the horror of both Shaw and Oram seeing their spouses’ deaths is compounded nicely. A lot has been cut from both films, including some of my favorite bits, like Milburn and Fifield’s run-in with the Millipede and various snippets of the Covenant crew’s first trek across Planet 4, but again, this is all in the name of ensuring the finished project isn’t so long that viewers check out for other offerings.

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As before in Derelict, several deleted scenes from both films are used, as well as some of the online viral content from Alien: Covenant. Major props to JobWillins for his beautiful rendition of the ‘Crossing’ prologue. As for changes wholly his own, some may or may not like his musical choices for the beginning and end of the Covenant storyline, but I for one enjoyed them.

For this review, I watched his full-quality offering of the edit from Google Drive, which at a file size of 9.62 GBs, is plenty enough for home theater viewing. The video bitrate is a little lower than Derelict‘s at 8 mbps, but this allows for the inclusion of both stereo and surround audio tracks, and I honestly didn’t see any video quality loss, at least on my 1080p equipment.

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While Derelict seemed to emphasize the mystery and intrigue of the films it sought to combine, Paradise is an edit more preoccupied with the grander themes at work within Ridley Scott’s mind: themes of creating life from nothing, of going against the natural order, themes more reminiscent of Shelley than Lovecraft, which is something I picked up from Covenant that I’m sure most viewers either didn’t see or didn’t appreciate. JobWillins certainly did, and that’s just one of many reasons why I love Paradise. I’m still thinking of doing my own Prometheus/Covenant fanmix, but not because Paradise was inadequate. On the contrary, if I never got around to it, I wouldn’t feel that bad. I still have this gem to come back to.

FAN EDIT REVIEW: Star Wars Episode V: The Empire Strikes Back – Revisited

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Original Film Directed by Irvin Kershner, Written by Leigh Brackett and Lawrence Kasdan
Fan Edit by Adywan
Category: FanFix

The home video history of Star Wars and of the art of fan editing itself are heavily intertwined. Beginning in 2000 with Mike J. Nichols’ The Phantom Edit, the resultant “remix culture” that has surrounded George Lucas’ more controversial 21st Century fingerprints on his magnum opus has now ballooned into a complete community as extensive as cosplay culture. Needless to say, there are now tons of Star Wars fan edits out there, and are as varied as the selection at a Baskin-Robbins; you have Harmy’s Despecialized Edition restorations of the original unaltered trilogy, grindhouse mixes like The Man Behind the Mask”s War of the Stars, Christopher Nolan-style time-benders like Star Wars: Renascent, and you have your basic fanfixes, like The Phantom Edit.

Emerging in the late 2000s with several restorations, editor Adrian Sayce–better known as Adywan–soon established his own indelible mark upon the Star Wars fan editing nation with Star Wars Revisited, a massive reimagining of the modern state of the original trilogy. While seeing the merit in the concept of a Special Edition, Adywan set out to heavily alter Lucas’ re-edited versions, in an attempt to produce “what the Special Editions should have been.”

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Adywan’s Revisited version of Episode IV – A New Hope was released in 2009, and quickly became a popular edit with its intricately-crafted new visual effects, massive color regrading, and subtle fixes to stupid mistakes that Lucasfilm should have repaired long ago (Obi-Wan’s lightsaber changing to a dimly-lit pole comes to mind). After 7 years of hard work, his long-awaited followup, The Empire Strikes Back Revisited, is finally here, and it was so worth the wait.

As of this writing, it is only available as a 720p x264 file at a size of around seven gigabites, but even on this relatively shrimpy format the edit is simply stunning. Even a cursory scroll-through of the screenshots from the x264 version reveals a picture far superior to even the official Blu-rays. While liberties are taken with many elements in order to bring the film in line with Adywan’s vision of a functional director’s cut, ESB-R is second only to Harmy’s Despecialized Edition in fidelity to the original theatrical image.

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Even the majority of his changes seem to minimize the shock inherent to seeing an altered version of a movie so many remember so well. For example, Obi-Wan’s Force ghost on Hoth is no longer lacking the characteristic edge sparkle it and all the others possess, but Adywan keeps the brightness on it down low enough to not break the mirage-like effect that particular ghost was always meant to have. Many other changes, while substantially more noticeable, always make sense: the Battle of Hoth now contains more AT-STs to offset the out-of-place original occurrence of the vehicle; the swamps of Dagobah are a little more crawling with exotic creatures; the asteroid field is even more intense with an expansion of the field on the z axis. Every change is not forced or full of nonsense.

Like with A New Hope Revisited, the film has been through a complete color re-grading, although this time it seems less noticeable, no doubt due to how screwed up the previous film’s color palette was by Lucasfilm. In addition, various technical gaffes and limitations have been fixed, including all new starfields and smoothed out jump cuts. Lightsaber and blaster effects have all been completely rotoscoped by Adywan.

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Not every change is perfection, however; in what I believe will be his most controversial, Adywan has used CG to further animate the Yoda puppet’s mouth. In some scenes it works, in others it’s just distracting. Hey, at least it’s not a full CG Yoda, right?

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With ESB-R, Adywan has reclaimed his place at the top of the fan edit mountain. With picture and sound even better than the official blu-rays, and additions and fixes that, for the most part, greatly improve upon Lucas’ own hair-brained ideas, The Empire Strikes Back Revisited should be in everyone’s fan edit collection.

HOW TO GET IT:
Visit Adywan’s how-to-download page for details on getting the 8gb .mkv. DVD-5, DVD-9 and Blu-ray versions will be available sometime in the future.

 

Maestro’s Picks – August 25, 2017

It’s Friday, and that means it’s time for Maestro’s Picks!

Because this is the glorious(?) return of my first on-going series, I’ve decided to go with two picks this time around. Also, because I just couldn’t pick one of them. This time, both are from the illustrious and bottomless world of Tumblr!

First, as you may or may not know, I am working on my first full-length fan edit, and a major factor in this finally happening is the excellent editor Red Menace, of RedMenaceOfficial on Tumblr. Specializing in HD reconstructions, Red Menace has delivered the kaiju goods on multiple occasions, bringing back to life such lost American versions of Godzilla films as Godzilla 1985, Destroy All Monsters, and Monster Zero, in addition to a fan edit series of Neon Genesis Evangelion. He is currently working on several projects including a hotly-anticipated Godzilla vs. The Thing reconstruction, and of course, makes tons of shitposts. Check him out!

Second is the interesting newcomer Alien Covenant: A Gothic Fiction in Space. My recent rewatch of Covenant has convinced me of its merits as a great science fiction and horror story, and this Tumblr came along at the right time to help form words to my exploding thoughts regarding Ridley Scott’s newest piece. Prerusing the table of contents post reveals an expansive attention to the details of Covenant, analyzing everything from character motivations to specific, indelible images that link Scott’s film with the greatest gothic fiction of the past, including, yes, Mary Shelley’s Frankenstein. Give this one a serious read, even if you weren’t a fan of Covenant. You just might change your mind.

And now, here comes the second half of Maestro’s Picks: where I share one video and one image which I found myself drawn to this week: Presenting:

The new poster for Blade Runner 2049, opening October 17 of this year and starring Ryan Gosling, Harrison Ford, and Jared Leto:

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Medley Weaver‘s mashup trailer for Godzilla (1954), featuring the music and editing of the 2014 film’s famous trailer:

Well, that’s all for today! Stay true, believers!

A Taste of Tumblr and The Subversive Genius of Alien: Covenant

Last night, I threw in my Alien: Covenant blu-ray for my first viewing of Ridley Scott’s divisive return to the universe of the Xenomorph since May. Before, I knew I could see merit and even inspiration in Covenant, but I was still a bit on the fence. And then the blu-ray kicked back into the menu, I took to my Tumblr account to spill the excited beans. This was supposed to stay exclusive, but I felt it was too good to let my blog readers go without, so enjoy:

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