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.
是第一部的延续，不看前面后面接不上的。单线叙事，特别爽。这个科学家还挺牛，一直活到最后了。本集主要讲述草原英雄小姐妹互帮互助，激情四射，感染了第一集被干死的男的双胞胎兄弟，加入正义的队伍的故事。升级打怪依旧爽，快挂变身的时候一定要记得吃血包，女僵尸妹妹这次把哥哥也咬了，变成兄妹僵尸组了，炸药也炸不死那种，最后从火堆里出来明显告诉大家we are back。等第三集吧
太脏了，好像夏季暴雨过后的排水沟，泥沙俱下。
丧尸对人类已经够不成大的威胁了！废土朋克风格，还是可以的！！
爸爸很好，结局很一般。干嘛婚礼现场要出变故，干嘛非得原谅骗子
看似煽情，实则很烂，男主为了个女人，牺牲全机人性命，不符合特工特质，女主也太难看了，如果漂亮点儿男主这么做还有点值得，最后的反转也老套，纯是为了煽情用的，女主最后要是被杀了，就会精彩一点，也就是男主的颜值还行，
「Love is a habit. When habit ends. You die.」
《僵尸来袭2：末日》比第一部还烂，只有更多的血浆更多的暴力更多的动作戏，剧情忽略不计，结尾显然又留个坑，需要的话可以再拍（属实看不下去了）
全程都在毫不负责、想来就来地堆砌着廉价的情绪
挺娱乐的，尤其是改造人丧尸，有日本怪兽片那种B级味了
I’m tired of watching all these rich people’s little problems cuz let’s face it, they were never a big deal.
第一部里的男女主在这部跟疯子一样。
绷不住了 还要出第三部
婚礼永远美好且令人动容，尽管婚后各有各的一地鸡毛。
钴蓝从颜色具象成痕迹，而隐匿的爱由诗歌变为实体。夏日碎花床单上Sony随身听的声音，渲染中调和的剥落墙壁，绵密长满肌肤的泡沫，随着铃铃的自行车响声远去。池塘底部传来聂鲁达的文字，颜色的介入，每件“钴蓝”的符号物，以色示爱，最终所有虚无都倾如瀑布。“以情人的嗓音呼唤自己的名字”是《请以你的名字呼唤我》，而“以情人的眼睛注视自己的样子”是《85年盛夏》，而最后的出离是《然后我们跳了舞》。
全程都在毫不负责、想来就来地堆砌着廉价的情绪
当Billy听到做慈善的准女婿家有一个足球队的时候 估计心里所有的不满都烟消云散了吧 之后所有所谓的遵循传统 只不过是因为自己的格局太小罢了 就像Billy自己说的一样 如果我老爷子也有一支足球队 我也去搞慈善了 整部电影的人设 剧情都很有问题 没有任何拍摄的意义 很好奇票房的表现最后会是怎样的
关于一对年轻兄妹对爱情和人生有所收获的成长故事，唯一的特别之处是两个人恋爱的对象是同一个男人，剧情温吞，不算狗血，但是节奏慢得像20级电视连续剧一样，失去了张力，要是节奏控制得再好一点就好了。缺点：男主的几场船戏都没有荷尔蒙气味，不好看。
继续第一部的设定，故事倒是无聊得多了，看了50分钟犯困果断关闭播放器
这片如何立项的让我困惑。是因为演员所以成了的？
没觉得有什么太惊奇的地方，就是特效更难看了。
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