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.
比1强，剧本虽然没有惊喜，但是好莱坞那套流水线算是玩转了，特效也够看。。。文戏是真的尬，不过白人跟班倒是挺成功的，武戏算是七龙珠的现实版，就是女主无敌强，但是好多武力值和设定的bug，看了不亏系列
不如第一部，但是多了很多笑点，超能力也升级了，第三部可以期待…
这一部应该走搞笑路线的，魔女2号，鬼佬和Chief二人组都有这个潜质，可惜后面杀疯了
外国影视只要沾中文和中国准砸锅，下一部你给我说清楚中国上海是怎么回事，不然肯定差评！
漫威系列之韩国分威。把动作戏拼接一下，看看就行了。
韩国人好好拍自己的电影不行吗？干嘛老是喜欢q中国，自卑心作祟？高潮的战斗还不错，只是这战力估计下集要崩，都TM快会时停了……
真的很无聊，超能力大战呢，纯堆特效了，完全不如十年前的超能失控……片子本身4分吧，给金多美和李钟硕加一星，浪费朴恩斌，那个队长角色你不如让韩素希演，反正演技都差不多长得也有点像。
下一部要进化到超级赛亚人了，我给你个气功炮，赶超超体近在眼前
不愧是网飞的风格，每次都以做连续剧的方式做电影，我猜下一部一定是拍妈妈的故事对吗？然后又来一遍出逃实验室又干掉追杀她的人
整部感觉只有打斗，故事没有主体被忽略了，空有一个外壳
算得上过瘾，但是你这升级的有点快啊。我建议第三部可以叫
魔女1令人惊奇，很大部分源自角色的反套路设定，即使故事人物都极其单调，但仍有一种磁性，可以说是一部“高颜值”影片。以至于期待了魔女2很久。2拥有更复杂的角色阵营，但只是好莱坞爆米花里常规套路片一样的耍花枪，画蛇添足，故事上也比1更复杂，但没有带给影片更深厚的内蕴，反倒令叙事松垮。
满级女主屠杀新手营。反派太少了，都不够女主杀的。另，能不能找几个专业中文配音，台湾的也行啊。
原来跟上一部完全没啥关系...韩国脸太美，让我完全无法分辨，打斗戏依旧非常“超人范”，非常不错。世界观太大，几个小分队同时追杀“魔女”，故事线太乱，这一部感觉记者姐姐、美女队长才是真正的主角，而魔女妹妹的戏份反倒不是特别多啊。
韩国人听我说：全世界都在说中国话～他们说中文真的有被笑到呵呵，尬得我难受
前面铺垫无聊太长，后面动作戏特效又吊打国产了
没看过第一部太吃亏了，以至于我直接看2满头问号这主角怎么就这么强，刀枪不入想怎么虐其他人都易如反掌。小西巴说中文真好笑，一股子棒子味，黑我们真是够够的。另外女主这个吃货反差萌的设定也挺过时的，好多年前的好莱坞超英电影套路了…
故事线太多，人物像走马灯一样轮番上阵，于是剧情便开始出现了不小的问题，甚至连主角都没塑造出来，剧情碎片化严重。打戏和特效确实可以，但这种忽快忽慢的剪辑，则真的值得去考量效果究竟如何。
这能力差也过于碾压了………就…全靠意念了吗？？
emmm.....该不该期待第三部.....
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