Payback: Straight Up Download Di Film Interi In Hd

[Jennifer Santos]

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Original Title: Payback: Straight Up

Genge: Action,Crime,Drama,Thriller

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Porter is shot by his wife and best friend and is left to die. When he survives he plots revenge.
After watching "Point blank" I decided to check out the new (and hopefully improved) version of Payback. I just finished watching it and I must say WOW!!! While I liked the theatrical version I found it to be trying too hard to be too cool. After the first half or so it became pretty much a different movie. It began as a hardcore movie in the spirit of the 70s and ended as a standard popcorn 90s cinema. I was kind of disappointed, because Porter was a tough guy and in the end became sort of Martin Riggs character which would be OK - but in a Lethal Weapon movie.

To make a long story short - what I miss from the theatrical cut is the blue filter, the soundtrack and maybe the voice-over. This is not a major problem and on the other hand all the things that annoyed me are missing as well - gone is the comic relief (I have enough of action-comedies, it is nice to see a major star like Gibson in such a gritty, grimy, cold and misanthropic film, in a role like nothing he's ever done except maybe for Mad Max), gone are all the funny faces that Gibson used to make, gone is the whole third act - instead we have a few shootouts more and a completely different and ambiguous ending. Porter is much more brutal and cold blooded (like killing a guy over something he said), much more like Lee Marvin - very aware of his environment and not committing stupid mistakes anymore. Gone is also the romance or at least is not so emphasized. Porter's meeting with his wife is also not what it used to be, he is no more the knight who wouldn't hit a woman. Kristopherson is gone (don't get me wrong - not that I had a problem with his character, and he himself is always enjoyable to watch)... Gone is also the scene where Porter blows up some goons using his cigarette to light up the gasoline, which I've never tried but according to most people is impossible (we still have the moment where Porter fires up I don't know how many rounds from his revolver when the Chinese gangsters try to assassinate him though). I have the feeling that in many scenes all we have changed are just minor cuts - just before characters smile - but they change their facial expressions in the particular scene and thus their reaction to what's happening and the overall tone of the movie. An example is when Porter is looking for Stegman at his office and has to beat up the guy at the desk who tells him to **** himself - in the theatrical cut we see him looking pretty funny - as he wants to say "Well now, that wasn't a very nice thing to say, was it?" - here we don't, cut to the chase. Porter doesn't look funny anymore - he looks like a mean person that you really really don't want to have to deal with. And i think that's exactly how Porter/Parker was intended to be (By the way I still can't figure out why did they change his name both in "Point blank" and "Payback"). Pretty much like Marvin acted him. The difference between the two versions is basically like the difference between Guy Richie's films and "Layer cake" (or "The long good Friday", while I am at it). Or the difference between the Brosnan Bond films and Casino royale - however the funny thing is that here we don't have Brosnan vs Craig - we have Gibson and he is playing the same character, here we watch Porter with different eyes though - he is a real antihero (and not supposed to be such just because he is a criminal) - which comes to show how important editing actually is. In the end to me this is the superior movie - I gave the theatrical cut 7 or 8 out of 10, this version gets well deserved 10. I have to agree with the previous poster's comments. I do miss Mel's voice over a bit and especially the opening score. Overall this version is better, but just edges out the original. It is really cool to see a movie which was good to begin with, but with a twist and still good. I found Maria Bello's performance towards the end especially powerful. I'm still on the fence about the very end.

A lot of good extras on the DVD, the director's narration in particular. You have to feel for Brian; it never ceases to amaze me some of the BS the directors have to coupe with from the studio executives. For the most part, the successful films have been ones which are new and original, where the studio exec's always seem take the exact opposite stance.
Here are some general differences between the theatrical cut and the director's cut:

* Porter's voice over and the "blue tint" are absent in "Straight Up".

* The score by Chris Boardman has been replaced by a new one by music editor Scott Stambler. All of the songs featured in the theatrical cut are missing, except for "Ain't That a Kick in the Head" performed by Dean Martin.

*Terry Hayes's writing credit is absent.

* Improved picture and sound quality, as well as editing in some scenes.

* Some minor changes/additions in the opening and the closing credits.

These are scene-specific differences between "Straight Up" and the theatrical cut:

The theatrical version begins with Porter in the doctor's apartment, and he has the bullets removed from his back. The director's cut begins with Porter walking on the bridge, returning to the city as dialogue from the double-cross is heard.

In the theatrical version, Porter climbs over a railing in the subway station. The director's cut removes this bit.

In the theatrical version, the bum on the street thanks whoever drops change into his hat. In the director's cut, he's ungrateful, calling it small change. Also, the camera angle is different when Porter steals his money and chokes the bum.

In the theatrical version, after Porter kicks in the door to Lynn's apartment and searches for Val, he carries his wife into the bedroom and puts her to bed. In the director's cut, after he doesn't find Val, Lynn and Porter drink coffee in the kitchen. Porter questions her about Val's whereabouts, but she doesn't know. All she knows is that he is back in with the syndicate, and he pays her rent every month by way of messenger. Porter beats Lynn up and throws her hard on the floor. He then shows her the picture of him and Rosie together, saying that it was before he met Lynn. His wife asks about Rosie, and Porter tells her he used to drive her back in the day, when they both worked for a pimp. Then he carries Lynn into the bedroom.

In the theatrical version, a close-up of Porter's mouth piece on the ground is shown (during the Chow's robbery). The director's cut removes this bit. Also, in the theatrical version Porter says to Lynn "Daddy brought home the bacon, baby" before entering the getaway car. The director's cut removes this line.

In the theatrical version, when Porter confronts Stegman with the heroin and they talk outside, all of Stegman's dialogue is audible. In the director's cut, sounds of a train passing by mute some of Stegman's lines, showing that Porter knows he's lying and he is getting annoyed by it.

In the theatrical version, when Pearl enters the elevator in Val's building, a man can be heard making a noise like a dog. The director's cut removes this noise.

In the theatrical version, after Val hangs up the phone and tells Pearl that he's working, she motions for him to come closer and then hits him in the crotch, telling him that she's working. The director's cut removes Pearl's last hit.

In the theatrical version, Porter questions a hooker in a bar about Rosie. He bribes her to point him in the right direction of someone who may know where she is. She tells him to talk to Michael, the bartender. The director's cut removes this scene, and cuts from Val hanging up the phone to meeting Stegman in the restaurant.

In the theatrical version, Rosie tells Porter where Val lives and then he leaves. In the director's cut, after she tells him where Val lives, she says that after all this time Porter hasn't even asked her how she's doing. Porter groans and asks her if she needs any money. She throws an object at him, but he catches it in his hand. Rosie tells him to get killed and says that she ought to warn Val that he's coming.

After being beaten in his apartment, the film cuts immediately to Val meeting with Carter in his office. In the director's cut, Val goes to meet Carter but is first frisked by Gary, who finds three guns hidden all over his body. Val says that he's just been having some trouble recently, and Gary says that he knows. Once he clears him, he allows him to enter Carter's office.

In the theatrical version, after Val leaves, Phil contemplates killing Val but Carter says that he's more worried about Porter. He also says that he doesn't want Bronson to find out about the situation, since it would make Carter appear soft. The director's cut removes this scene.

In the director's cut, after Val leaves Carter's office, Val's thugs learn that they are being reassigned to someone else. Val walks outside and acts like everything's alright, but his thugs tell him about being reassigned. As they leave, Val calls them useless and berates them for not protecting him the previous night. After they drive off, Val says "I'll do it myself. Do it myself. You want it done, you got to do it yourself! It's the American way!" while standing in front of Carter's building.

In the theatrical version, when Val calls Pearl, she beats a client of hers for making noises while she is talking on the phone. The director's cut removes this bit and plays the phone call scene more seriously.

In the theatrical version, when the Chows hit Porter with their car, they circle around him and then Pearl says "Yeah, that's Porter. He's shit for brain". The director's cut removes this line.

In the theatrical version, Val shoots Porter the dog but it lives. In the director's cut, the dog dies.

The theatrical version has Phil and two thugs trying to blow up Porter and Rosie while they stay at a hotel. Porter sees the trap and kills the thugs (including Phil) by blowing up their car. The director's cut removes this scene.

In the theatrical version, Porter goes to Carter's building and asks to meet with Carter. While being frisked by Gary, it cuts to Porter walking inside the office and knocking out Gary and another thug. In the director's cut, the frisking scene is longer. Gary thanks Porter for killing Val, and then finds a roll of coins in his pocket. He sarcastically asks him if he's saving up, and Porter tells him that every little bit counts. He then uses the coin roll to knock out the thugs.

The dialogue is different when Porter meets Carter. He has Carter call Bronson and says that he wants to talk with him, but Carter corrects him by stating that Bronson is a "her".

In the theatrical version, when Carter raises his left arm into the air after being shot. The director's cut removes this. Also, Mrs. Bronson can be heard sending thugs over to Carter's building once he dies, and then she threatens Porter.

In the theatrical version, Rosie nervously waits for Porter in a restaurant. Porter's softer side is then shown during their following conversation. The director's cut removes this scene.

In the theatrical version, while waiting for Porter outside of Fairfax's house, Stegman says "Porter and Fairfax. I bet that will be a short conversation". The director's cut removes this line.

The dialogue is different when Porter meets Fairfax. After Porter fires a shot into Fairfax's luggage, Bronson caves in and asks Porter where to meet so that she can give him his money. He sets up the drop-of for the subway station, at the end of the line, and tells her to have one man carry the money in a backpack. Fairfax survives this version.

In the theatrical version, after Stegman is shot to death, he makes a squeal noise when his body slumps forward. The director's cut removes this bit.

In the theatrical version, after the shootout with the Chows, Porter and Pearl try to shoot each other but they are both out of bullets. Shortly afterwards Porter is knocked out, kidnapped, and tortured by Bronson's men for kidnapping Bronson's son. In the director's cut, after Porter tries to shoot Pearl but finds that his gun is empty, he walks off and steals a nearby shipping truck. Since the Bronson subplot has been significantly changed, Porter is no longer kidnapped and tortured.

The ending is vastly different from this point on. In the director's cut, Val's thugs wait for Porter outside of the subway station. Rosie drives the stolen truck in front of one car so that Porter can sneak into the backseat and hold the thug at gunpoint. He forces him to pick up the other thug (who's on the other side of the street), and then Porter handcuffs them together in the back of the truck. One of them makes a lewd comment towards Rosie, and so Porter tells her to meet him at the other side of the station. After she leaves, Porter executes the thug in cold-blood. He then walks into the station and spots another hitman waiting for him. The hitman tells him that there are others in the mens bathroom, so Porter knocks him out and goes to the bathroom. Porter stands in a stall between two hitmen. They recognize Porter and try to kill him, but Porter is faster on the draw and kills them both (the gunshots are muted by the passing trains). Porter goes out to the track, where he spots two more hitmen waiting for him. He sneaks up behind one and forces him to sit down next to the other, who's disguised as a working man. The disguised hitman has a gun in his lunchbox and hands it over to Porter. A train arrives, and Porter forces both of them to board it while he stays behind at the station. The train leaves and a woman tries to get on but is too late. Porter gets suspicious of another man waiting for the train, but it turns out he's innocent. Porter spots a man carrying the money in the backpack like he ordered. The thug tries to leave after giving him the backpack, but Porter orders him to open it. When the thug bends down, a female hitman (the same woman who tried to get on the train with the other hitmen) shoots Porter in the chest. Porter and the hitwoman shoot at each other, causing the thug to get caught in the crossfire. Porter kills the hitwoman, and then finishes the wounded thug off. He groans in pain, reloads his gun, grabs the backpack, and stumbles outside. Phil, Gary, and their driver are waiting outside when they spot Porter. Phil can't believe that Porter is still alive. Gary gets out and tries to shoot him, but Porter kills him and fires a shot through the windshield, wounding Phil. The driver and Phil speed off as Porter sits down on the ground. He thinks about all that's happened, and as he does Rosie pulls up and helps him get into the car. They drive off and Rosie asks him what they're going to do about his bullet wound. Porter says that he knows somebody, and the film ends with them driving off (with the backpack of money). Much like Superman II: The Richard Donner Cut, Payback: Straight Up - The Director's Cut has a significant number of changes, ranging from new scenes added to other scenes being removed/changed. On top of this, the entire color scheme was reworked, 98% of the music has been changed, and the finale of the film is completely different. In short, the two cuts are so different that they are just barely the same film. Ayashii Onna full movie in hindi 1080p download
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