Of course, there are plenty of other extras to get excited about, including 16 deleted scenes (most of which feature Will Shortz, since he was
the initial focus of the film), a 21 - minute featurette on director Patrick Creadon's Sundance experience, and the short film, «Waiting for the New York Times» by Patricia Erens.
Not exact matches
While
initial rumors pointed to the Manson Family murders as a potential point
of focus for Tarantino's
film, he later clarified, «It's not Charles Manson, It's 1969.»
The distinctly fractured narrative - coupled with an exceedingly deliberate pace - does ensure that one's
initial impression
of the
film is that
of an art - house mess, yet there reaches a point at which Egoyan's muddled modus operandi comes into
focus and one is subsequently drawn into the proceedings.
Marginalized in the
initial sequences was Reeves, the lone actor well - known in the U.S. Universal opted to reshoot a major fight scene near the end
of the
film, as well as a few other scenes to sharpen the
focus on Reeves» character Kai.
Moving on quickly and before I digress even further, Reichardt's
film stars Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard plus Rising starlet Katherine Waterston (click here for more info on her) and
focuses on those
initial three and their plans
of blowing up a hydroelectric dam.
Many criticized the
film on its
initial release for largely ignoring the plight
of the locals while
focusing on a privileged European family, while others lambasted it for further Anglicizing the project by casting Naomi Watts and Ewan McGregor instead
of Spanish actors as the parents.
Scorsese, for his part, offers a concise but perceptive take on what he perceives to be the central import
of the
film (he
focuses on the blacklist angle), and adds an amusing and honest anecdote about the
film's
initial reception.
The
initial announcement
of the
film came out a few months ago, and with the internet
focused on the aforementioned movie, this one sort
of slipped by without much
of a reaction.