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It has a couple good set-pieces, but overall... blech... not one I ever want to watch again.

I saw Mission to Mars in the theater. It did not go over well with anyone in the audience, myself included. Lots of exasperated grumbling as the credits rolled.

For those unfamiliar with the film and puzzled by the acronym, the CR here is Cliff Robertson. More than just considered. Hoskins was signed for the role with a big paycheck, but was then let go when De Niro (whom De Palma really wanted) became available. Even aside from the director's...

True enough, and to be honest, I generally prefer the 16:9 versions of those seasons, even with the occasional flubs. It's not like the regular 4:3 version didn't also have its share of boom microphones dipping down into the top of the frame, anyway.

Right, and shooting in 3-perf this way saved them a lot of film (and thus a lot of money) versus shooting the traditional 4-perf format that feature films used. Some of them took this more seriously than others. Famously, the 16:9 transfers for Buffy the Vampire Slayer have a number of flubs...

The 16:9 HD versions of Gilmore Girls have a significant number of scenes where the characters will be cramped together in the center of the screen with empty space around them on the sides. It get to be kind of comical when there a large group of characters in the scene. The show was definitely...

I watched the show a bit back in the day, but remember it more in concept than in detail. Is this another one of those cases where home video and streaming releases have been stymied by music licensing issues?

The previous regime at Warner Bros. went all-in on HBO Max as the future of the studio. Zaslav rejects that entirely - less because he has any great love of cinema or the theatrical experience, than simply that he wants to dismantle everything his predecessors did in his ultimate goal of...

I believe he's saying the 70mm projector is mounted too high above the screen, and as a result the image it projects onto the screen is trapezoidal in shape with incorrect picture geometry for everything in the photography.

Well, I don't believe there's anything HDR about either The Abyss or True Lies. On Aliens I might be fooled into believing it has mild HDR (though a YouTube reviewer supposedly ran tests that prove otherwise), but these other two have no sign of it.

OK, I get that. But James Cameron objecting to Aliens or True Lies or The Abyss being released in their original theatrical forms, with grain and colors as he himself originally photographed them before changing his mind years after-the-fact, is not a moral objection. It's just Jim Cameron being...

My belief remains that all of these James Cameron remasters were based on existing masters the studio already had on hand, run through the new A.I. processing to remove grain and enhance detail. None of the movies received new film scans and no completely new masters were struck. The source...

Off the top of my head, Kino's UHD releases for Clint Eastwood's "Man with No Name" trilogy (A Fistful of Dollars, For a Few Dollars More, The Good the Bad and the Ugly) don't bother with HDR in any form. The discs are authored as 4K SDR. These James Cameron UHDs pretend to be HDR. If you put...

Whatever the metadata may say, there's visible clipping in highlights, and absolutely nothing about the disc looks remotely HDR or Wide Color Gamut.

That's what I'm saying. The phrase "moral right" is basically nonsense designed to sound more meaningful than it really is. I'm not arguing whether James Cameron has the legal right to do what he did to these movies. He clearly does. Philosophically, however, I wish there were better safeguards...

Despite use of the term "moral rights," this is entirely a legal argument and has nothing to do with actual morality. Had Snow decided that his sculpture would be improved by defecating on it, and sued to force the mall to comply with his change, would that also be his moral right as author of...

The UHD doesn't really have HDR either. It's SDR mapped inside an HDR container.

It's an age-old philosophical question whether an artist really still "owns" the art after it's been released to the public. Does the work not belong just as much to the audience as to the artist at that point? In any case, unlike painting or sculpting, film is a collaborative medium. Although...

I guess my question is whether the moral responsibility should be to the artist or to the art. The artist is just a person, and as has become increasingly clear in recent years, all people are fallible and most of them are jerks. The art itself is the thing that should survive and transcend, but...

I didn't go to the theatrical event in December, but I can't imagine that it was derived from anything other than this Park Road Post remaster. The whole point of Cameron finally allowing the film to be re-reissued is that he fell in love with this A.I. degraining and enhancement process.

After many delays from Amazon, my copy of the disc finally came in last week. Finding three hours to watch the whole Special Edition then took another few days, but I finally did, and have now reviewed it. I agree that this is the best-looking of the three Skynet-derived remasters. Even without...

I find the use of the phrase "moral right" interesting. I understand what you're saying, but my feeling is that if an artist has a mental breakdown and tries to desecrate their work - and that work is a piece of art that has proven very meaningful to millions of people around the world since its...

Cameron did recolor all of his movies teal-and-orange. Also, before you say "nobody would," I think perhaps you should remember the example of William Friedkin tinting The French Connection purple. Filmmakers lose their marbles and do weird things to their old movies all the time.

What DCP is that? The one that played theatrically in December? Would not that have been from the new Cameron-approved Park Road master? When did The Abyss ever have a DCP that wasn't part of this Park Road remastering process? As far as I was aware, prior to this past December, the Special...

Also, for those pining for a 4K release, I would point out that Gravity was shot with Arri Alexa 2.8K cameras and was finished on a 2K Digital Intermediate. That's not to say that it couldn't be upscaled to 4K, or that such an upscale wouldn't potentially benefit from HDR or Wide Color Gamut...

What we've been told (whether true or not is unclear) is that True Lies is the first of these four James Cameron movies to undergo the Park Road Post A.I. processing. What we don't know is how many other movies or projects Park Road Post experimented on prior to True Lies. In that respect, True...

I still live in the area and almost never get to any of those theaters anymore. Age and having kids will do that. I haven't been to the Coolidge since the remodel. Was about 30 years ago I went on my first date with my now-wife at that theater.

That's the story Digital Bits was told, I believe. I also expect that The Abyss got the most human oversight and scrutiny during the process because it was planned for a theatrical re-release. And True Lies got the least scrutiny because Cameron doesn't especially like that movie very much anymore.

I think the issue for Cameron is as much about control as it is about him being a perfectionist. Cameron insists on having oversight of home video masters for his movies because he doesn't trust anyone else to do it. Yet at the same time, in recent years he's lost interest in revisiting his...

The Flash may not have been successful in its day, but it has a significant cult fandom, especially since that version of the character was made canon with numerous appearances in the CW network's very popular Flash reboot series and other Arrowverse crossovers. Superhero content in general...