...as much as I enjoyed the Director's Cut of Daredevil, I still wish Colin Farrell had played the hero and Ben Affleck had been in some other movie.
Affleck as the lead is still too laid back and bland for my taste in superheroes. He's supposed to have grown up a roughneck in the toughest neighborhood of New York, but Affleck strikes me as the all-American boy-next-door from Cambridge, Massachusetts. Yet in the Director's Cut, Affleck's character is more tortured than before and less reserved, making him not quite so colorless. Maybe because his Daredevil is shown in the Director's Cut to be more human, too, it helps us to accept Affleck's innately sweet nature on screen better as the vigilante avenger with the warm spot in his heart.
The Director's Cut of "Daredevil" is closer to what I expect from a Frank Miller graphic novel. The director calls it "the story" version of the movie as opposed to the previous action version. Maybe he's right, but in addition to more story giving greater dimension to the plot and characters, there continues to be plenty of action; more so, in fact. The keep-case blurb says the Director's Cut is "grittier and edgier than the original theatrical release," which may be true. I certainly found it more engaging than the theatrical release and, as a result, more entertaining.
"Daredevil" still doesn't compare to something like "Spider-Man 2," which I think may be one of the two or three best superhero movies of all time, but the "Daredevil" Director's Cut is a darn sight better than the release that appeared in theaters.
Video:
The video quality appears to be about the same as before. It is reasonably well defined, with clean edges, and virtually no grain in a wide 2.13:1 ratio anamorphic screen size. The deliberately murky, often steel-gray or sepia- tempered colors come off well, and detail remains good even in dimly light areas of the screen. On the deficit side, there is occasionally some line flutter, and one can't help noticing most of the time the image is somewhat hard and glossy. Like the picture's noir tone, I'm sure these rigid, glassy properties were intentional in order to give the film a tougher, more severe appearance, but they are probably too much of a good thing, another example of the film's never knowing quite when to stop.
Audio:
The sound in Dolby Digital 5.1 is excellent, as I'm sure it is in its alternate DTS 5.1 mode. The dynamic response is strong, the stereo spread wide, and the balance fairly natural. It is only the deepest octaves that are slightly lacking in punch. The surround channels carry out their duties impressively, creating an all-enveloping environment, a good depth of field, and imposing side and rear audio effects. The soundtrack also well serves composer Graeme Revell's background score, reminiscent of Danny Elfman's music for "Batman." What's more, it's not five minutes into the film before the soundtrack offers up the obligatory helicopter flyover just to ensure we know this is a modern action movie, only the helicopter flies over our head in the rear channels, a novel approach.
Extras:
Where the first DVD of "Daredevil" in its theatrical-release edition was a two-disc set filled with a myriad of extras, this Director's Cut is on a single disc with only two bonus items of importance. There is a must-listen audio commentary by writer/director Mark Steven Johnson and producer Avi Arad, and a fifteen-minute featurette, "Giving the Devil His Due: The Making of Daredevil Director's Cut." In addition, there are brief trailers for "Alien Vs. Predator" and "I, Robot" (but none for "Daredevil"); forty-four scene selections (but none of them indicating where new material has been added); English and French spoken languages (but no Spanish); and English and Spanish subtitles (but no French). Moreover, no booklet insert came with the package I received.
Parting Thoughts from John:
I have to admit that as much as I enjoyed the Director's Cut of "Daredevil," I still wish Colin Farrell had played the hero and Ben Affleck had been in some other movie. Affleck does not look or behave like he belongs in a film so gothic and moody, but at least this time we can see what he was attempting to do with his characterization and what was missing before.
Unquestionably, this "Daredevil" Director's Cut is still a strange film. It remains fun to look at, with some characters that have taken on interesting new facets, some fight scenes that are more spectacular than ever, and some plot twists that are harder than ever to accept. Overall, though, while the Director's Cut may not be a great film, it goes a long way toward restoring my faith in the cinema's ability to do justice to the idea of the superhero.
The Movie According to Justin:
My original thoughts on "Daredevil" as it appeared in theaters are fairly succinct. It had a brilliant premise and the setup was decent, and it featured a few brief flashes of promise; however, it fell flat in the execution. Having recently seen "The Incredibles" and reading the magnificent "Identity Crisis" comic series from DC, I'm able to quantify my narrative problems with the film in the dichotomy between a hero and his or her secret identity.
In a place like Hell's Kitchen, it would seem that keeping the fact that you're a vigilante whose ruthless vengeance is enacted on the host of villainous characters who populate the area isn't as important as picking up a stranger in a park. The character of Matt Murdock wasn't fleshed out fully and seemed contradictory. He's a loner, a pill-popper who has to sleep in a sensory deprivation tank to sleep, whose powers are a curse as much as they are a gift. If given the chance to trade his powers for a normal life, he would be torn because he is able to enact true vengeance on those who he feels deserves to feel his wrath, yet he would love to see and have a normal life. This dichotomy was touched on briefly in the film's early stage; however, it was lost once Murdock did the combat-dance with a complete stranger in a public park in front of a host of witnesses. Part of the problem lies in Ben Affleck's portrayal of the titular character. He's great when he is in the Daredevil leather, but he gets the "Affleck Smirk" on his face while playing Murdock, and it seems completely out of place. He wouldn't have been my first choice, but he does well in his part. Unfortunately, the same cannot be said of Jennifer Garner who looks lost and has none of the menace I imagined Elektra should have. Thank goodness for good villains in Michael Clarke Duncan and Colin Farrell.
The majority of my complaints regarding "Daredevil" stem from the treatment of the film's characters. I never read "Daredevil" as a youth; however, I had a little introduction to Kingpin in the "Spider-Man" series, and I always thought it was interesting that he was the complete, mirror opposite of a superhero, as he had a public profile that he had to keep separate from his work as an underground criminal mastermind. In "Daredevil," he seemed to flaunt his status as the latter, thus taking some of the pleasure of his downfall and exposure at the film's conclusion. The same goes for Elektra, who had little displayed motivation and acted fairly irrationally and contrary to the story. Ultimately, I felt the theatrical cut of "Daredevil" lacked a complete worldview. Director Mark Johnson focused on action beats and flash over a fully-realized story. When I finished the movie and the lights came on in my home theater, though I enjoyed parts of the movie, I felt that it was an incomplete and rushed picture that lost its guts in the editing room.
So what does this Director's Cut do to benefit "Daredevil"? A lot. Unlike their DC comic counterparts, Marvel heroes are as much about the mask as they are about the secret identity. While Superman and Batman stories feature the hero and a global crisis with the secret identity a footnote, Peter Parker and his curfew and girlfriend are as important to the story as his battles with Doc Ock and the Green Goblin. In this Director's Cut we are introduced further into the world of Murdock the lawyer with a newly included subplot featuring Coolio and his trial for a murder he didn't commit.
The investigation and trial gave me a better understanding of the dichotomy of Matt Murdock and Daredevil, how he operates on both sides of the law. It also expands Daredevil's world and the roles and reach of Kingpin and reporter Ben Urich, characters that felt hollow and tacked-on in the initial theatrical cut. The story flows much better with this material included and it shifts the focus from Daredevil and Elektra, which is rather flimsy and better kept in the background, to Matt Murdock and Daredevil himself. This gives a logical restructuring to the climactic narrative, making the less-than-stellar showdown between Elektra and Daredevil not the apex of the crescendo but instead a natural extension of it, giving Bullseye, one of the more interesting characters in the film, the respect he deserves.
Murdock now seems tortured by his powers, treating them more as a curse than a gift. He wants to live both lives yet wants to live neither. Batman, Superman, the X-Men, and even Spider-Man, to a lesser extent, all have the luxury of separation of their lives, but Murdock lives in the neighborhood he patrols; he doesn't fight costumed villains, he fights men who, by a twist of fate, he could have become. The words, "I'm not the bad guy" don't seem as clichéd in this version of the film, and the script as a whole has a better flow.
Final Thoughts from Justin:
Had this version been released to theaters, I'm convinced it would have had a "Blade" level of success. Instead, with editing that tried to play up a contrived and forced love angle and downplay true character development, it failed. Let this be a lesson, studios. Mess with a story you bought after it's completed and this is what happens. I put this movie on par with the original "Blade" and "X-Men." Recommended.
The Director's Cut of "Daredevil" is closer to what I expect from a Frank Miller graphic novel. The director calls it "the story" version of the movie as opposed to the previous action version. Maybe he's right, but in addition to more story giving greater dimension to the plot and characters, there continues to be plenty of action; more so, in fact. The keep-case blurb says the Director's Cut is "grittier and edgier than the original theatrical release," which may be true. I certainly found it more engaging than the theatrical release and, as a result, more entertaining.
"Daredevil" still doesn't compare to something like "Spider-Man 2," which I think may be one of the two or three best superhero movies of all time, but the "Daredevil" Director's Cut is a darn sight better than the release that appeared in theaters.
Video:
The video quality appears to be about the same as before. It is reasonably well defined, with clean edges, and virtually no grain in a wide 2.13:1 ratio anamorphic screen size. The deliberately murky, often steel-gray or sepia- tempered colors come off well, and detail remains good even in dimly light areas of the screen. On the deficit side, there is occasionally some line flutter, and one can't help noticing most of the time the image is somewhat hard and glossy. Like the picture's noir tone, I'm sure these rigid, glassy properties were intentional in order to give the film a tougher, more severe appearance, but they are probably too much of a good thing, another example of the film's never knowing quite when to stop.
Audio:
The sound in Dolby Digital 5.1 is excellent, as I'm sure it is in its alternate DTS 5.1 mode. The dynamic response is strong, the stereo spread wide, and the balance fairly natural. It is only the deepest octaves that are slightly lacking in punch. The surround channels carry out their duties impressively, creating an all-enveloping environment, a good depth of field, and imposing side and rear audio effects. The soundtrack also well serves composer Graeme Revell's background score, reminiscent of Danny Elfman's music for "Batman." What's more, it's not five minutes into the film before the soundtrack offers up the obligatory helicopter flyover just to ensure we know this is a modern action movie, only the helicopter flies over our head in the rear channels, a novel approach.
Extras:
Where the first DVD of "Daredevil" in its theatrical-release edition was a two-disc set filled with a myriad of extras, this Director's Cut is on a single disc with only two bonus items of importance. There is a must-listen audio commentary by writer/director Mark Steven Johnson and producer Avi Arad, and a fifteen-minute featurette, "Giving the Devil His Due: The Making of Daredevil Director's Cut." In addition, there are brief trailers for "Alien Vs. Predator" and "I, Robot" (but none for "Daredevil"); forty-four scene selections (but none of them indicating where new material has been added); English and French spoken languages (but no Spanish); and English and Spanish subtitles (but no French). Moreover, no booklet insert came with the package I received.
Parting Thoughts from John:
I have to admit that as much as I enjoyed the Director's Cut of "Daredevil," I still wish Colin Farrell had played the hero and Ben Affleck had been in some other movie. Affleck does not look or behave like he belongs in a film so gothic and moody, but at least this time we can see what he was attempting to do with his characterization and what was missing before.
Unquestionably, this "Daredevil" Director's Cut is still a strange film. It remains fun to look at, with some characters that have taken on interesting new facets, some fight scenes that are more spectacular than ever, and some plot twists that are harder than ever to accept. Overall, though, while the Director's Cut may not be a great film, it goes a long way toward restoring my faith in the cinema's ability to do justice to the idea of the superhero.
The Movie According to Justin:
My original thoughts on "Daredevil" as it appeared in theaters are fairly succinct. It had a brilliant premise and the setup was decent, and it featured a few brief flashes of promise; however, it fell flat in the execution. Having recently seen "The Incredibles" and reading the magnificent "Identity Crisis" comic series from DC, I'm able to quantify my narrative problems with the film in the dichotomy between a hero and his or her secret identity.
In a place like Hell's Kitchen, it would seem that keeping the fact that you're a vigilante whose ruthless vengeance is enacted on the host of villainous characters who populate the area isn't as important as picking up a stranger in a park. The character of Matt Murdock wasn't fleshed out fully and seemed contradictory. He's a loner, a pill-popper who has to sleep in a sensory deprivation tank to sleep, whose powers are a curse as much as they are a gift. If given the chance to trade his powers for a normal life, he would be torn because he is able to enact true vengeance on those who he feels deserves to feel his wrath, yet he would love to see and have a normal life. This dichotomy was touched on briefly in the film's early stage; however, it was lost once Murdock did the combat-dance with a complete stranger in a public park in front of a host of witnesses. Part of the problem lies in Ben Affleck's portrayal of the titular character. He's great when he is in the Daredevil leather, but he gets the "Affleck Smirk" on his face while playing Murdock, and it seems completely out of place. He wouldn't have been my first choice, but he does well in his part. Unfortunately, the same cannot be said of Jennifer Garner who looks lost and has none of the menace I imagined Elektra should have. Thank goodness for good villains in Michael Clarke Duncan and Colin Farrell.
The majority of my complaints regarding "Daredevil" stem from the treatment of the film's characters. I never read "Daredevil" as a youth; however, I had a little introduction to Kingpin in the "Spider-Man" series, and I always thought it was interesting that he was the complete, mirror opposite of a superhero, as he had a public profile that he had to keep separate from his work as an underground criminal mastermind. In "Daredevil," he seemed to flaunt his status as the latter, thus taking some of the pleasure of his downfall and exposure at the film's conclusion. The same goes for Elektra, who had little displayed motivation and acted fairly irrationally and contrary to the story. Ultimately, I felt the theatrical cut of "Daredevil" lacked a complete worldview. Director Mark Johnson focused on action beats and flash over a fully-realized story. When I finished the movie and the lights came on in my home theater, though I enjoyed parts of the movie, I felt that it was an incomplete and rushed picture that lost its guts in the editing room.
So what does this Director's Cut do to benefit "Daredevil"? A lot. Unlike their DC comic counterparts, Marvel heroes are as much about the mask as they are about the secret identity. While Superman and Batman stories feature the hero and a global crisis with the secret identity a footnote, Peter Parker and his curfew and girlfriend are as important to the story as his battles with Doc Ock and the Green Goblin. In this Director's Cut we are introduced further into the world of Murdock the lawyer with a newly included subplot featuring Coolio and his trial for a murder he didn't commit.
The investigation and trial gave me a better understanding of the dichotomy of Matt Murdock and Daredevil, how he operates on both sides of the law. It also expands Daredevil's world and the roles and reach of Kingpin and reporter Ben Urich, characters that felt hollow and tacked-on in the initial theatrical cut. The story flows much better with this material included and it shifts the focus from Daredevil and Elektra, which is rather flimsy and better kept in the background, to Matt Murdock and Daredevil himself. This gives a logical restructuring to the climactic narrative, making the less-than-stellar showdown between Elektra and Daredevil not the apex of the crescendo but instead a natural extension of it, giving Bullseye, one of the more interesting characters in the film, the respect he deserves.
Murdock now seems tortured by his powers, treating them more as a curse than a gift. He wants to live both lives yet wants to live neither. Batman, Superman, the X-Men, and even Spider-Man, to a lesser extent, all have the luxury of separation of their lives, but Murdock lives in the neighborhood he patrols; he doesn't fight costumed villains, he fights men who, by a twist of fate, he could have become. The words, "I'm not the bad guy" don't seem as clichéd in this version of the film, and the script as a whole has a better flow.
Final Thoughts from Justin:
Had this version been released to theaters, I'm convinced it would have had a "Blade" level of success. Instead, with editing that tried to play up a contrived and forced love angle and downplay true character development, it failed. Let this be a lesson, studios. Mess with a story you bought after it's completed and this is what happens. I put this movie on par with the original "Blade" and "X-Men." Recommended.
Average user rating (1-5):
[release]12984[/release]