The fact that this destructive bacteria, whom actually shares the namesake of PKD’s imaginarium of a false, withdrawn, corrupt & corporate overlord disrupting and frantically attempting to massage civilisation is beyond satire – and when was the last time you checked the legitimacy of your pets?;
I knew it was coming, I’ve been turning over in my mind for months how I might respond to this, and maybe it’s the fact that we’re in the romantic, nostalgia laden period of the seasonal cycle but there was one reaction which I hadn’t anticipated. I burst into tears;
Now, in my defence (and stop laughing at the back you heartless swine) I’ve just been disappointed with a revisit to a certain other SF legend today, and as regular readers might be aware Blade Runner occupies a monolithic position in my life, cinematically speaking, and thus I have been waiting to see this through rumours and numerous false starts for over thirty fucking years. I love the look of it, I really loved the soundtrack which took all the appropriate cues, although those glimpses we saw of the world didn’t seem to have significantly moved on from 2019 to 2049 eh? Now, if you’ll excuse me gentle reader, I shall spend the rest of the evening going on a carnage strewn speculation marathon – will they weave in some of other dormant themes from the Dick book, like the Mercism religious material and absence of animal life? Will Tyrell or Rachel cameo? Will they, actually scratch that, how will they tackle all those ‘he’s a replicant’ debates that have raged for decades – I mean, that’s inevitable, right? Is that desert wasteland off-world? A lightly terraformed Mars maybe? Am I the only person who got a strong Hardware vibe from that preview? Oh Deckard’s wielding the same blaster……(swoons)……
OK, OK, there might be, and I stress the might be, some miniscule hairline cracks developing in my indomitable opposition against the Blade Runner sequel which is now officially shooting next summer. First of all nominated director Denis Villeneuve has had a storming Cannes with his new thriller getting astounding plaudits, and then today they announced that only Roger Fucking Deakins has signed up;
So with original screenwriter Hampton Fancher also in the mix I guess we couldn’t ask for a more promising mix of talent, but I still have severe reservations. Lets see who gets cast before we break out the Moet shall we? What’s that? Gosling is in negotiations?….Hmmm…(rubs chin nervously)……that might work……..
Weird. I’m sure it can all be explained away with the imminent release of the remake but this week has already given me a distinct feeling of deja-vu. Certain Picturehouse Cinemas in London are having a one-off special screening of the original Total Recall this evening, I would have popped along to Greenwich as coincidently I have just read the chapter behind its torturous expedition to screen in this which I got for my birthday, but I revisted the film on TV a few days ago and I really cannot face sitting through the film again, plus it’s raining, plus that would cost money, and I actually have seen it on the big screen when it originally came out twenty two years ago;
For the record, the Cronenberg version – you did know that Cronenberg was originally attached to direct and spent a year penning the screenplay didn’t you? – sounded like it would have been a real mindfuck with much more manipulation of reality going on, but of course that wasn’t going to fly with ole Ahnoldt in the lead role and the inevitable requirement for squibs and quips now was it? I still think it’s fun although it has dated badly on the SFX front, but sequences such as this remain original. The commentary looks like it could be worth a listen. OK, yes, this is another filler post while I feverishly put together part two of a long-awaited reprise post, give me a few days, OK? In the meantime, here is some violence;
Unsurprisingly, there’s a lot of Ridley Scott related material spinning around cyberspace at the moment, whilst I am selecting a few choice nodes for my Prometheus review I figured this deserved its own post;
Gotta love that soundtrack, not exactly Vangelis is it? So press screenings for Ridders latest effort start tonight, can you resist the urge to read any reviews over the next few days? I’m just glad we don’t live in a world with strange weather patterns, and rogue governments conducting clandestine electronic warfare……
You can’t beat a good Dick movie. Regular readers will appreciate that I love a good Dick film, in fact one of my all time favourites movies is almost certainly the greatest translation of Dick on-screen. I enjoyed Ahnoldt’s Dick movie, on the flip-side I didn’t particularly enjoy Peter Weller’s appearance in a Dick. Keanu Reeves Dick film was one of the best Dicks of recent times, and in my estimation it was better than the Tom Cruise Dick movie although I would concede that that was one of the more exciting recent films to be culled from a Dick. When I first saw the trailer for this particular Dick film I immediately thought of Rod, specifically this Rod which has always stuck in my mind since I saw it back in the late eighties, the imagery of those blue hued creatures assembling reality has built quite the cultish fan-base over the past couple of decades. Yesterday I saw the latest addition to the Dick movie canon and although the Dick in this instance has been somewhat diluted – Blunted even – as Dick films go this was still an enjoyable ride, a film which moderates one of the central philosophies of Dick to make it more palatable to the masses.
In The Adjustment Bureau, based on a short story with the slightly less catchy title of Adjustment Team a rising young senator named David Norris (Matt Damon) is about to find his life and understanding of reality inverted. Storming ahead in the polls during his fight to become the youngest ever elected official to the House of Representatives a youthful indiscretion hits the press and his campaign is fatally wounded. Retiring to the mens restroom whilst preparing to deliver his resignation speech David collides with the vivacious Elise (Emily Blunt) and the sparks begin to fly as the orphaned and siblingless David finally meets a kindred spirit whom ignites an incendiary passion in his otherwise career focused existence. Elise cautiously provides David with her number and makes a graceful exit before things start to turn strange, soon a group fedora clad ‘case officers’ kidnap him and explain that this chance meeting was not meant to be and the fates have an alternate path in store for our plucky young protagonist. With their unusual spectral powers this mysterious organisation attempts to thwart David’s noble attempts to resume his embryonic romance, when his agile activities supersede their obstructions they promote the case to a more sinister superior, reallocating their task to the malefic Agent Thompson (Terrence Stamp), and the stakes accelerate from mere heartbreak to a potentially sanity threatening fate.
The Adjustment Bureau is essentially a romantic thriller written by David Icke or any other conspiracy theorist of your choice, a successful blend of alternate reality brain scrambler and conundrum chivalry that is far more successful than its uncertain trailer suggests. Crucially Damon and Blunt fructify a convincing relationship in a few scant character scenes between each other, these films live or die by their on-screen chemistry and I for one was convinced that our hero would risk his career and sanity for his love at first sight. Screenwriter turned debut director George Nolfi cloaks some philosophical questions amongst the surface SF thriller histrionics – do we operate with free will? What is destiny? Can any higher power justify its interventions in the lives and decisions of us mere mortals? – with some adequate chasing and running montages to subjugate these cognitive distractions into the mêlée. The film is handsomely photographed by the capable John Toll (The Thin Red Line, Vanilla Sky) and yes the vertical and horizontal visual alignments of corporate New York do remind one of the rotating and collapsing mise-en-scene of Nolan’s recent triumph, but this film is much more gentle and modest in its intentions, where Inception seemed to be aiming for the epic The Adjustment Bureau is happy to concede with the intimate. It swiftly builds the mythology of its universe – the qualities of the hats, the modest deployment of SFX with some dimensional tampering teleportation, a vision of a spiritual realm structured around a distinguished Manhattan legal practice – all of which reinforces an infectious suspicion of the executive class that is increasingly prevalent in Hollywood cinema. If you accept the sanity vaporizing revelations that both David and Elise suffer during the films final act then you’ll enjoy this movie, the film has a neat and appropriate climax which should satisfy both genders. If Wings Of Desire hooked up with A Matter of Life and Death then this may be their offspring – all in all not a bad for a Dick*.
*It’s hard to believe but I’m approaching forty years of age yet can be so juvenile isn’t it?. And the Icke and Loose Change links are for interest only, those dudes are mentalists. But watch that Arena documentary, it’s my attempt to apologise.
A very slim post I’m afraid as I’m busier than the proverbial one-legged man in an ass kicking contest, however I wanted to try to get something published this week. Emily Blunt, a Philip K Dick adaptation, Emily Blunt, Matt Damon, ominous blokes in hats and Emily Blunt are certain to pique my interest. It looks like its been shunted back from a Summer to Autumn release which might mean it’s a little too cerebral for blockbuster season, it has a sort of Dark City vibe to it and a first time director – I’m intrigued.
Oh well, it doesn’t sound great and that trailer isn’t hugely inspiring but I’ll probably give it a visit. Its reminded me of a film I caught on the off chance in Leicester Square back in 2002 and enjoyed, another low key PKD adaptation called Cypher which I think deserves a revisit as one of those turn of the millenium, paranoid dystopian SF fable type pictures. I wonder how they will stack up against Inception, now that’s a trailer that has me counting down the days….
To celebrate their 75th anniversary the magnificent National Film Theatre held a poll to determine which one film their panel felt most appropriate to share with future generations, a nice alternative to the usual ‘Best Film Ever’ tradition and I think a sign of our entrenched, forward looking cultural temperature. It wasn’t a huge shock to see the mighty Blade Runner steal the top spot, it regularly and appropriately gets nominated as one of the most intriguing and prescient movies ever made, as the years slip away and the inexorable march to 2019 continues it seems that more and more of its 1982 predictions come incrementally closer and closer to realisation. I was naturally overjoyed at the award to one of my favourite films and couldn’t wait to see the arrangement of events the NFT had programmed, it was quite an agenda which I’ll outline for you here. After the Kubrick retrospective and this event I wonder if I’ve accidentally sold my soul or something, if a John Carpenter season emerges toward the end of the year then I will run shrieking to the nearest cathedral. Again.
The day kicked off with a screening of the superb Mark Kermode narrated documentary On The Edge Of Blade Runner (it’s been pulled from Google Video I’m afraid) which is always worth a look, it’s an ideal primer which delivers all the essential details of the movies tortured production history, its genesis in the amphetamine addled mind of Philip K Dick through to the release of the films directors cut in 1992. It’s one of the better documentaries on the movie with some insightful observations, this moment got a huge laugh (1:28) from the terrific M. Emmet Walsh. I also love the story of David Fincher going to see the legendary screening of the recently unearthed pre-director cut print in LA back in 1991, (the reaction to which prompted Scott and Warner Brothers to work on the Directors cut), Fincher attending the screening with the editor on his then current project Alien III, Terry Rawlings who of course was also the editor of Blade Runner and, um, the first Alien which of course was directed by Ridley. How’s that for the incestuous world of film-making?
The documentary was followed with a lengthy panel discussion of the film including producer Michael Deeley, academic Will Brooker (curator of the recently released ‘The Blade Runner Experience‘) and probably the worlds foremost authority on the movie Paul M. Sammon, author of Future Noir which I strongly urge any film fan to pick up not simply for its comprehensive coverage – Sammon was actually on set for 75% of the film’s shooting schedule – but also for a prime exemplar of the very best of film writing, at least from a production and trivia modus operandi. Sammon has spent years trying to identify who in the art production department came up with the films specific marketing font used in the poster art and VHS packaging, that’s just one example of the obsessive level of research. The first section of the panel discussion was a little idiosyncratic, focusing on the projects financial construction, the $21 million budget parsed equally between domestic theatrical US rights for Warner Brothers, foreign theatrical territories resting with Sir Run Run Shaw and the peripherals, the VHS, merchandising and TV transmission global rights resting with the idiots Jerry Perenchio and Bud Yorkin who are entirely responsible for the production difficulties, the constant heckling and interference culminating with the sacking of Scott and Deeley once the film went $1 over budget and the subsequent poor quality releases of the film over the intervening twenty or so years. Deeley outlined exactly how they are essentially the archetypal Hollywood money men, utterly uninterested in any artistic merit who only invested in the film as a complex tax evasion strategy. Responding to the inevitable sequel questions Deeley remarked that those rights now rest with Yorkin due to a complex sequence of legal manoeuvring which gives them preference over any new material, according to recent lore his son is in the midst of writing Part 2. Yeah, can’t wait for that…
Every film fan loves a tale of their beloved artists pitted against the philistine executives who fuck up a potentially outstanding piece of work by constantly turning the screws to make a project more ‘commercial’, more marketable with more merchandising opportunities however Deeley quite rightly conceded that sometimes that sense of pressure and conflict on set can actually push people to produce even more outstanding work, a peaceful and harmonious production environment sometimes resulting in bland and tepid films. A fair point I think, nothings changed in the past 25 years it seems. Some more specific anecdotes and general observations were then discussed including the films title being culled from a William Burroughs story, the antipathy between Ford and Scott, the outstanding model and effects work and other well known facets to the film that I won’t regurgitate here. I did enjoy Brookers observation that one of the alluring facets of the film beyond its core as a movie itself is the existence of the many different versions of the film, the inconsistencies (the differing number of replicants in many of the versions for example) and amendments that occur in each incarnation reflecting back on the films central themes – a detective story within a detective story – making it a truly meta-textual post modern masterpiece. Heh, yes I guess he is an ivory tower academic but what can I say, I unapologetically love that kind of observation. As you’d expect the discussion concluded with the most obvious question, is Deckard a replicant or not? Does he even know he is if he is? Does he think he’s a replicant even if he isn’t? The usual arguments were expressed, I prefer to keep it ambiguous and treat it as a logical reaction to the films intrinsic depths and strengths.
In the interim between the discussion and next event I rushed to the NFT bookstore and picked up a hardback copy of Future Noir and got it signed by Sammon, (he quite amusingly penned ‘Have A Better One’ before his signature which may raise a knowing smirk amongst you fellow fans out there) along with a copy of Brookers book, some photos of the set-up from a fellow blogger
here (EDIT – Alas the link has been updated to the homepage). I’m a nerd I admit when it comes to certain films, I was in amused awe however at the fellow attendees who produced some truly remarkable pieces of Blade Runner memorabilia such as Roy Batty action figures, original UK story annuals and most impressively in front of me one acolyte unfurled a perfectly preserved original movie poster signed by at least fifteen people (including Scott, Ford, Hannah and screenwriter Hampton Fancher from what I could see) for Deeley to add his autograph too. That’s far beyond my level of obsession I have to add, I have never been in the least bit interested in the (for me) irrelevant action figure Otaku sub-culture that coalesces around these events, I will however confess a secret ambition to one day develop an expensive film poster acquisition obsession but that’s just me. Whatever floats your boat I guess, using my ESPER I’ve located some links to deleted and alternate scenes of the film that may interest you.
Naturally such an event would have to include an actual screening of the film, right? I’ve seen the movie in its various incarnations around a half dozen times on the big screen but the pristine digital screening of the Final Cut version that followed in the enormous NFT1 was something special, far and away the best screening I’ve enjoyed. When I first saw the Final Cut version of the film it was at the cosy Ritzy Picturehouse in Brixton which was fine, you may remember my previous report on that event which I’ve already published on this blog but the scope and scale of the image and sound coupled with the electric atmosphere in this auditorium was quite a different experience, especially since I wasn’t distracted by geekily identifying the slight changes to the film that dominated my previous viewing. Every time, without fail that opening sequence as the music swells up and the Los Angeles hades of 2019 materializes on screen I’m in total and utter cinema heaven, simple as that. The sound of the Spinners reverberating around the theatre, the crystal clear fascinating imagery and the now defunct practice of presenting the credits for a good two minutes before launching into the movie itself, acclimatising the viewer to the cinematic experience and the future world we will be exploring are all unbeatable to me.
How do you beat that? Well, you have an interview and Q&A with Roy Batty of course. The event was appropriately chaired by Sammon, Hauer was thoroughly charming and very, very funny. Sammon had a curious tendency to begin talking about himself and his history with the film during the interview which was fine for the panel discussion but I and the audience begin to feel impatiently uncomfortable with his recitals as hey, we’re here to see Rutger and get his perspective and recollections of the film not your admittedly impressive but inappropriately timed recollections. When one anecdote relating to Sammon’s close relationship with Philip K. Dick started to trail on and on and on Rutger cheekily interrupted his speech with the question ‘Let me tell you about my mother‘?, you can imagine the reaction:
Once the crowd had stopped laughing we got some insights and further anecdotes, how he and Ridley envisioned the replicants as being essentially children (‘wow, you’ve good some really nice toys here…’) coupled with adult senses of mortality given their four year life span which informed his approach to the character. Roy’s unusual tattoos seen during the final scenes were never explained by the production designer or make-up artists, it was concluded that they may be the results of the gene bank style birth of the replicants rather than some adolescent stab at individuality. On the production side Rutger explained that he became increasingly aware of the outside pressures on the film which centred around the ‘hero’ – Deckard – being essentially an impotent, incompetent jerk who ‘ends up fucking a washing machine’ as the emphasis began to turn on the replicants and the themes surrounding their existence and experiences – he barely spoke to and never connected with Ford.
Finally of course the discussion turned to that scene. Quite honestly I always believed until relatively recently that the story of Rutger conjuring up that speech himself, independent of the screenwriters was one of those myths that actors sometimes verbalise, especially when talking about film moments that enter public consciousness and can effectively build an actors future career. Well, another slice of humble pie was choked down by the Mint when I saw this confirmed a few years ago, Rutger explained how he calmly developed the speech himself as the shoot came to its close, called Ridley into his trailer and delivered his soliloquy which resulted in Ridley pausing for a moment, looking down in a pensive fashion, smiling and enthusiastically murmuring ‘Lets shoot it now’. That’s how film history is born.
Unfortunately I didn’t manage to get tickets to the final event, an interview and discussion with none other than the great Sir Ridley Scott himself which given his commitments (he’s got two movies on the go and of course is based in LA) was quite a coup for the NFT. I’m in two minds on missing out on this one, on the hand I was furious with the NFT for once again releasing tickets for anyone, members and non-members alike at 11.00am on a phone line when the event was announced – I spent half an hour on the phone trying to get through to the Box Office without success whilst simultaneously attempting to book on-line (yes, I can multi-task) with a system that crashed every couple of minutes before you could get through to the payment section. Absolutely useless and I ask again, why do I pay my £40 yearly membership subscription again? A fair crack of the whip with other BFI members would have been fine, that’s life but such an approach to ticket allocation is not ideal. On the day however since I hadn’t had the chance to catch anything to eat since breakfast due to running around to buy books and signatures between events I was quite happy to slip away although I’ve had trouble tracking down any coverage of that interview since. C’est la Vie.
I’m normally a glass half empty kind of guy but given the pedigree of the previous segments of the day I had a fantastic time, I got some pointers on new avenues of exploration regarding the film – apparently there is a wealth of outstanding mash-up cuts out there on bittorrent (the ‘white rabbit‘ edit allegedly being the best) which normally don’t interest me but hey, this is Blade Runner. I’ve made a promise to visit LA ten years hence to see how things turn out, a pilgrimage I’m sure which won’t be unique amongst us film fans and new devotees who fall in love with this remarkable movie over the next ten years. Lets finish with a potentially controversial clip of the original ending to the movie, famously culled from out-takes of Kubrick’s opening scene of The Shining. I love the fact that some filmmakers still trumpet the original ending, Del Toro is on record for actually preferring the original theatrical noir voice-over and ‘bad ending version’, of course I agree that the re-dux versions are superior and the happy ending is nonsensical, however there is just something about this sequence that I will always love and enjoy. ‘Have a better one…..’
At last. Finally the ‘Final Cut’ of the classic SF film ‘Blade Runner’ hits London. If there is one film I consider myself to be something of an expert on then it’s this one. I must have seen it well over 100 times, in my mis-spent youth I’d watch portions of it every week and can pretty much predict every line of dialogue, every edit, every sound cue…..I’m also good fun at parties. Therefore be in no doubt that this will be a particularly nerdy fan boy type post – you have been warned. Naturally, major spoilers also abound so go see the movie if you haven’t already. Do you really need a plot synopsis? Oh, OK then. Los Angeles, 2019. An unspecified environmental disaster has rendered the earth almost uninhabitable with many of the planet’s wealthy citizens emigrating to off world colonies leaving a predominantly East Asian miasma of citizens to survive in the cluttered West coast metropolis. Harrison Ford is Deckard, a policeman in the Blade Runner unit whose responsibility it is to tracking down and exterminate (or ‘retire’ in the films parlance) any rogue replicants – synthetic, engineered human like androids who are used as slave labour, for military or pleasure purposes in the new frontier of the outer colonies. These ‘Nexus 6’ replicants have a mere four year lifespan installed by there corporate masters and as the film opens we learn that a squad of six replicants have escaped their servitude, murdered their human masters and returned to earth in an effort to eradicate their impending death sentence.
This is a film which you simply have to see at the cinema. I literally had the hairs on the back of my neck standing up as the film dissolved in after the opening crawl to present the inferno of future-noir LA as the Vangelis score echoed around the auditorium. The new digital print is exquisite – the neon illuminations blaze through the omnipresent rain, smoke and shadows. The Final Cut really is a perfect example of seeing films on the big screen as intended – seeing the movie again I was reminded of the horrendous pan & scan versions circulating on VHS in the 1980’s and those being screened on TV, those transfers essentially lose 30% – 40% of the image and dramatically reduce your appreciation of all the efforts that Scott and his Production Designers Syd Mead and Lawrence Paul laboured over.
Right then, the changes but quickly I’ll nod to some nice references to Von Sternberg in that article, very insightful. The film is essentially a hybrid of the US Domestic so called ‘gory’ cut (a moniker coined due to the extended scenes of violence such as Pris being shot an extra time, more inserts and lengthy shots of Roy’s murder of Tyrell and his impaling a nail through his hand during the finale) and the 1992 Directors Cut which exorcised the pointless voiceover and eliminated the ludicrous happy ending. I noted two new lines of dialogue and two amended lines of dialogue, one of which corrects a long standing plot hole in the film concerning the number of adversaries that Deckard faces and another which occurs toward the end of the film that I’ll come to later. There are two inserts at the start of Deckard’s chase of Zhora and Zhora’s death has been partially re-shot with Joanna Cassidy replacing the obvious stuntwoman crashing through the glass in previous versions of the film. Scott has tidied up some of the special effects, erasing some of the spinner cables all inserting some CGI spinners to blend some of dated Matte shots more seamlessly into the image – this all works superbly, we’re not talking Lucas style visual pollution and the efforts enhance the vision. Oh, and the symbolic release of the dove after Roy’s death speech has also been treated. Stop sniggering at the back, I told you I know this film.
And so, alas we come to the change that essentially rendered the final cut as deeply flawed for me. Full disclosure, I got my first and only A+ of my academic career for writing a dissection of the scene where Roy visits Tyrell, his maker and master, for my A Level way back in the early ninties. They have changed the opening dialgue of the scene from Roy’s assertion that ‘I want more life….fucker’ to ‘I want more life…..father. Now, this still makes sense in the context of the scene but it just seems…..wrong. I honestly can’t imagine why they felt they had to do this – I doubt it was to placate any censororing authority given the very limited nature of the re-release so why screw with this pivitol encounter? Perhaps I take these things too seriously but this essentially ruined the cut for me. I have a solution though – I am getting to gips with the media software on the new top range imac I recently treated myself to so I could conceivably upload the film and with the careful application of the editing software restore the line and produce the ultimate Minty cut of the film !! Seriously though, it warrants progression if only for my education of the software and who knows where that may lead….
Normally I have a strong dislike of tampering with films, the so called re-dux and director’s cuts (surprise surprise, Minty’s a pedantic purist – who’d have thought) but given the studio and focus group test screened imposed first cut I can just about forgive Scott – we’re not talking Greedo shooting first or FBI agents being neutered from wielding shotguns to walkie talkies in the re-release of ‘ET’ for example. The Vangelis score. The density of themes and ideas coupled with the incredible projection of a gloomy and uncertain vision of the future – it is a seminal film of the 1980’s and has influenced every worthy SF film since. I also admire the lack of explanation for some of the sub-texts in the film such as the apparent extinction of animals which is never telegraphed by a character speech and gives the film an ambiguous edge. On another note, Sean Young had quite an impact on my adolescent ‘development’ – I don’t think I need to elaborate any further on that….
I’m not going to regurgitate any of the hundreds of academic analysis of the film, many of which I studied at college – the post-modernists loved this movie so it was always a quick fix to cite this film as a source of ‘intertextuality’ or the ‘homogenous discourse of late period capitalism’ when writing an essay and it enabled me to then incoherently bang on about the film for the next 300 words. 25 years later the film still holds some clear contemporary resonance and has ultimately proven to be chillingly prescient in a number of ways. We do seem to be sliding toward an environmental catastrophe. The films theme of the advance of capitalism to it’s ultimate, logical (and ironically) inhuman conclusion of ‘human’ beings themselves being the apotheosis of commerce has it’s echoes in the advent of globalisation and connects to the third and developing world sweat shops that keep us ‘off-worlders’ in the west in our Prada, our Gucci, our Dolche & Gabbana.
For any fan of the film, this is an essential purchase. I’m still quite surprised at how cheap this is, I was expecting and prepared to pay more than double that for this wonderful looking package. I had to exercise astonishing self control in HMV yesterday to not pick it up but since it was my brother who turned me on to the film and it was his copy I wore out with repeat viewings it seems appropriate that he gets me this ultimate release for Xmas – I hope you’re reading this !! I can’t wait to see the work print cut of the film, a holy grail amongst us film geeks As well as five distinct cuts of the film you also get three commentaries, a three hour documentary, various deleted scenes <wipes tears from eyes…..> Man, Christmas is going to be memorable this year…