Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
人文色彩相较于导演其他的灾难片显得极弱，剧情相比较之下更加拉胯，特效还可以，但是相较于2012好像也没惊艳多少，最后想搞个科幻阴谋论，硬生生给整得挺玄幻的了（桑尼这演员不知道谁，就这部演的甚至比我都不知道的华人女演员还要差，属实拉中拉）
这不是硬科幻也不是软科幻，这特么是扯科幻，但其实你一直科幻下去也行，但是太多没必要的emotional damage啦
好一只缝合怪。
然后套了德国艾灾难片的皮，属于是人文部分完全没学到，商业奇观部分又很敷衍无脑，极其的乱炖
灾难片，妥妥的“灾难片”。我不在乎剧情但是场面也不行啊，2012好看因为他聚焦在了人类受难，人被风卷走，被山崩巨石砸，这部不一样就是来个全景毁灭场景，人类怎么样没有！只有主角儿子和后爹开着赞助商的车狂奔。
吉吉国王真的很吉星高照，把自己代入吉吉国王视角真的很爽，感觉自己的智慧也是可以在古代闯下一番大事业的呢。
作为灾难片，一点临场感都没有，也就谈不上紧张刺激。作为科幻片，一直在为那个鬼扯的设定做解释，越解释越可笑，更可笑的是看结尾他们好像还有拍续集的打算的……
在高深和爆米花之间横跳，如果要深沉那就不要表面的光鲜。
无论和作为网剧赘婿的一部分，还是单拿出来看，都非常优秀
@@（2022-02-04）Moonfall（月球陨落）
罗兰最爱的不是灾难，而是被抢走孩子的父亲。
220404，2022院线#4，博纳瑶海龙湖IMAX
Sam, you are not a joke. This movie is a joke.
中规中矩喜剧。我一个想成为首富的男人，没想到成为了首富的男人～哈哈哈哈哈哈哈哈哈
我觉得有点小浮夸，不过喜欢这个设定，其实设定挺好的，地球线也挺有真实感觉的。
应该叫《智商陨落》，也只有后20分钟的特效能拿分，其它剧情纯属凑数，千篇一律的文本，假大空和说教齐飞，家庭和亲情成了灾难片的不二标配，前90分钟充斥着偏激的对话和无意义的争执，看腻了类型片穷途末路的一再复制，空泛的太空理论，毫无逻辑的AI分形粒子和祖先创造月球，又一次稀松平常的止损行动，一个扫地的吊打NASA闲饭总局的饭桶们，总之给了个设定在里面任其胡诌，老美总扮演救世英雄的上帝角色，狂妄自大又惺惺作态，还是先救救你们身处水深火热疫情下的子民吧。★★
编剧脑子瓦特了，乱几把写，怎么不令人信服怎么写。
用脚写的剧本都能比这强，强行煽情注水，套路化工具人角色，毫无末世气质，逻辑随时随地硬伤，阴谋论又老又俗，看似特效大片其实棚拍痕迹严重，场景规模小气得要死。不过也算在意料之中，不是陪朋友我本身也不会来看这部片，只能说电影的社交意义远压过了本体质量。
艾默里奇善用的灾难套路，可是很明显，他对这个创意的知识储备并不是很足。
罗兰·艾默里奇大概是被华谊绑架了。前半段四星剧情，后半段不知是否经费不够了，从「文戏」矫揉造作，大打老掉牙父子、母子亲情牌，破有催育之感，到「武戏」令我全程笑到无语，只剩「阿巴阿巴」。若用一个词来形容剧情走向，那就是——荒谬至极，无比鬼扯。在本片中，罗兰设定的科幻猜想是：月球，是人类祖先建构的一个框架结构，是保护地球的「卫星」。虽为科幻，但令我无法信服。特效制作，感受到片方经费在“燃烧”，但故事主题和人物结局落点，都像是罗兰拿了10年前剧本——这种惊愕之感。不亚于看许鞍华《第一炉香》；求求导演们，请跟上形势发展，不要埋头苦干。故事内核俗套和老旧，已然令我失去评价欲望。而影片从头到脚，透露的华裔、汉语元素，真是为本片内地送审，提供「枪支弹药」，真是加分了——没猜错的话，幕后主使就是华谊了。
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