{"id":13185,"date":"2016-02-23T15:20:10","date_gmt":"2016-02-23T20:20:10","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=13185"},"modified":"2016-02-23T15:20:10","modified_gmt":"2016-02-23T20:20:10","slug":"martyrs-2015-the-vanishing-1993-the-domestic-versions","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=13185","title":{"rendered":"Martyrs (2015) + The Vanishing (1993): The Domestic Versions"},"content":{"rendered":"<p>I fully admit I\u2019m fascinated by comparing things. Movies with different scores (<strong><a href=\"http:\/\/kqek.com\/mobile\/?p=1105\">The Battle of Britain<\/a><\/strong>), butchered theatrical versus director cuts (<strong><a href=\"http:\/\/kqek.com\/mobile\/?p=9647\">The Disappearance<\/a><\/strong>), early sound versions with different casts for German \/French \/English languages (1933 and 1935\u2019s <strong>The Tunnel<\/strong>), simultaneously shot full-frame and widescreen films (<strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/b\/3320_BigTrail1930.htm\">The Big Trail<\/a><\/strong>,<strong> <a href=\"http:\/\/kqek.com\/mobile\/?p=5191\">The Robe<\/a><\/strong>) and simultaneously shot CinemaScope and Todd-AO versions (<strong>South Pacific<\/strong>), and remakes, especially those in which the original foreign director or a local domestic writer and director(s) was ensnared by Hollywood to redo, but with changes tailored to the local folks.<\/p>\n<p><img loading=\"lazy\" class=\"alignleft wp-image-13187 \" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/02\/Martyrs2015_poster-202x300.jpg\" alt=\"Martyrs2015_poster\" width=\"70\" height=\"104\" srcset=\"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/02\/Martyrs2015_poster-202x300.jpg 202w, https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/02\/Martyrs2015_poster.jpg 600w\" sizes=\"(max-width: 70px) 100vw, 70px\" \/>Such is the case with <strong>Martyrs<\/strong>, a French-Canadian co-production in which the heroine is beaten \/ electrocuted and flayed alive, depending on which version; and <strong>The Vanishing<\/strong>, in which a boyfriend\u2019s need for closure blinds him to the insanity of riding with his girlfriend\u2019s killer to truly know what happened to his soul mate, plus a few twists and turns (depending on which version).<\/p>\n<p><img loading=\"lazy\" class=\"alignleft wp-image-13190\" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/02\/Vanishing1993_poster.jpg\" alt=\"Vanishing1993_poster\" width=\"70\" height=\"105\" \/>Both reviews of the remakes contain big blatant spoilers, so don\u2019t read them unless you don\u2019t care or have seen the films or are curious. They\u2019re less formally comparative assessments and more attempts to find some virtue in the attempts by theor respective directors to make their English-language versions palatable for studios, for North American audiences, for the MPAA ratings system, and their own sensibilities.<\/p>\n<p>Pascal Laugier\u2019s 2008 <strong>Martyrs<\/strong> was remade by the Goetz brothers in <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=13196\">2015<\/a> <\/strong>and is available via Anchor Bay on DVD and a lovely Blu-ray transfer, and George Sluizer\u2019s own remaking of <strong>The Vanishing <\/strong>\u00a0\/ <strong>Spoorloss<\/strong> (1988) in <a href=\"http:\/\/kqek.com\/mobile\/?p=13192\"><strong>1993<\/strong> <\/a>was released by Twilight Time on Blu, and sports a similarly lovely HD transfer.<\/p>\n<p>Again, there\u2019s oodles of spoilers, but they\u2019re necessary to dissect what works, what doesn\u2019t, and the few new additions that are interesting.<\/p>\n<p>Cheers,<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Mark R. Hasan<\/strong>, Editor<br \/>\n<strong>KQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Spoiler-bleeding reviews of two controversial American remakes: Martyrs 2015 (Anchor Bay) + The Vanishing 1993 (Twilight Time).<\/p>\n","protected":false},"author":1,"featured_media":13186,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[2562,2563,4270,4273,4274,4282,4271,4272],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2016\/02\/Martyrs_featured_flat.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3qF","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13185"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13185"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13185\/revisions"}],"predecessor-version":[{"id":13207,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13185\/revisions\/13207"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/13186"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13185"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}