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.
挺好，用商业片的方式来普及电信诈骗的套路，比起我们那种死板的样板戏式的反诈宣传电影，哪种更让人有兴趣？
6分。和第一部一样，主要看情怀和金凯瑞，剧情就算了。视效还是可以的，还有几个大场面非常不错的。
超级赛亚索尼克！
题材很吸睛 就是剧情走向没把这个题材的看点发挥到最大 最后又是个人英雄悲壮he 索然无味
可以当成一部电信诈骗的反诈宣传片，就和警察在片尾说的一样，千万别接奇怪的电话，一提到钱就赶紧挂电话。
本以为是个纯动画，偶然发现居然有金·凯瑞，这才意识到是个真人电影而不是配音，那就看个乐呵吧，结果却还是毫无看点，呵呵
首先，小刺猬够可爱，红色的那位出场也够帅，但是我搞不懂电影里为什么有机器人，看到后半段都猜到剧情了，还是喜欢第一部索尼克来南方小镇交朋友的故事
这个反派的机器人造型太让人想起反浩克装甲了。
总体剧情还是那么俗套，但是总给人一种制作漫不经心的感觉，表演也显得随意，很多场景其实是可以做得更好的。最大的看点就是三个可爱的游戏角色了。
Power bump
能在韩国中秋院线电影票房登顶
娱乐性比第一部好，热热闹闹简简单单的剧情，感觉小朋友会更喜欢~
这是个最贴近现实的韩国片，源头指向沈阳的电信诈骗。彻底观摩了下什么叫专业诈骗。可以当做披着惊悚外衣的教育片。团伙太tm专业了。
1.这一部的文戏和台词是真的不能忍，简直是各种废话+热血亚撒西台词的奇葩融合体，明目张胆地拖时长，还不好看。
好好拍尼玛的电影，没事老是黑我们干嘛，死棒子
呼叫中心就在模仿《華爾街之狼》嘛，作爲騙子高調得不太正常。
剧情本身还算可以，但咱就是说能来中国瞅一眼嘛，说句何不食肉糜的话，东三省还不至于为了三十万就要死要活的……既然实在是离了中国不能说故事，那就下个国家反诈app吧也算是帮着完成任务谢谢了！
对中国的贬低有点过分了，电信诈骗头子被电信诈骗了也是没谁了
跟前作差不多的feel。果不其然的红毛狗要洗白。果不其然地合伙打金凯瑞。怎么？还有第三部啊……
合家欢的改编电影，美式意识形态太重了。有点不伦不类。
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