Review Detail
9.1 65 10
Overall rating
10.0
Audio/Video Quality
10.0
Audio Editing
10.0
Visual Editing
10.0
Narrative
10.0
Enjoyment
10.0
I enjoyed this immensely! This edit is gangsta creative, something different. Like the next guy, I like mubi fixes, but there's something about remixes that speaks to my heart, and Pulp Empire, I was fuckin' listening.
Inventiveness comes at you every which way: the restructuring of the narrative, funked-out montages during the introduction of key players, some stylish fades (smoove Lando), and above all, the sonic redesign.
Tremendous attention went into the sound, the most obvious change being the new soundtrack. The non-Williams score is used brilliantly in places, with just the right tune adding humor or cool to an event or introduction. There's a perfect soundtrack for Luke in the ice cave, and another at the end of the Hoth chapter. Yoda's intro nails it silly, and the D. Vader and Fett intros are appropriately bad-assed. And one simply does not fuck with flying guillotine techno.
Also, what can I say about Yoda's dazzling Cantonese that hasn't been said? Oh, yes—as Yoda walks deeper into the swamp, his new voice becomes fainter, more distant. Now that's attention to detail.
But wait—njvc gives us more. Listen closely, and you'll hear background noises that aren't in the Lucasian version. The wind in Cloud City's donut hole echoes the winds of Hoth, mournfully reminding us of the fellowship's scattering or the desolation of spaghetti western environs. Frodo Skywalker's electronics now hum in Dagobah's swamp. And the Falcon has a new dilapidated purr.
Everything I love about the sonic creativity rocks the audio score to an eleven. Alas, I must regrettably deduct a point for a few issues. Song-to-song transitions could have been smoother in some places. Sometimes a song's crescendo coincides with some other audio ejaculation—e.g., the song in the wampa cave is deliciously righteous, but I would have wanted to hear the vocals start after the wampa's roar. Some songs, despite being perfect for their scenes, seem somewhat flat as they come out the speakers, missing the robustness of songs with a heavier bass presence, but this likely reflects differences in how these tunes were originally produced. Lastly, there is something off in the audio balance, the audio mix, in several scenes, as if the dialogue, background noise, sound effects, and music hadn't quite made friends yet with each other. But these are small beans compared to Pulp Empire's considerable sonic strengths and the rich enjoyment that comes thereof, and the adjusted audio editing score still comes out to ten, so there, mofo reader, so there.
I have gazed into the face of Quentin and George's love child, and it was good, delightfully good. This edit marvelously transforms a classic, is the kind of edit that I'd want to show fanediting virgins, and in my opinion is amongst the very best fanedits ever made.
[And I like what you did with my handle, Never-ending Jalapeno Volcano.]
Enjoyjoy: 10 enthusiastic pelvic aerothrusts, each one almost ceiling-high.
Inventiveness comes at you every which way: the restructuring of the narrative, funked-out montages during the introduction of key players, some stylish fades (smoove Lando), and above all, the sonic redesign.
Tremendous attention went into the sound, the most obvious change being the new soundtrack. The non-Williams score is used brilliantly in places, with just the right tune adding humor or cool to an event or introduction. There's a perfect soundtrack for Luke in the ice cave, and another at the end of the Hoth chapter. Yoda's intro nails it silly, and the D. Vader and Fett intros are appropriately bad-assed. And one simply does not fuck with flying guillotine techno.
Also, what can I say about Yoda's dazzling Cantonese that hasn't been said? Oh, yes—as Yoda walks deeper into the swamp, his new voice becomes fainter, more distant. Now that's attention to detail.
But wait—njvc gives us more. Listen closely, and you'll hear background noises that aren't in the Lucasian version. The wind in Cloud City's donut hole echoes the winds of Hoth, mournfully reminding us of the fellowship's scattering or the desolation of spaghetti western environs. Frodo Skywalker's electronics now hum in Dagobah's swamp. And the Falcon has a new dilapidated purr.
Everything I love about the sonic creativity rocks the audio score to an eleven. Alas, I must regrettably deduct a point for a few issues. Song-to-song transitions could have been smoother in some places. Sometimes a song's crescendo coincides with some other audio ejaculation—e.g., the song in the wampa cave is deliciously righteous, but I would have wanted to hear the vocals start after the wampa's roar. Some songs, despite being perfect for their scenes, seem somewhat flat as they come out the speakers, missing the robustness of songs with a heavier bass presence, but this likely reflects differences in how these tunes were originally produced. Lastly, there is something off in the audio balance, the audio mix, in several scenes, as if the dialogue, background noise, sound effects, and music hadn't quite made friends yet with each other. But these are small beans compared to Pulp Empire's considerable sonic strengths and the rich enjoyment that comes thereof, and the adjusted audio editing score still comes out to ten, so there, mofo reader, so there.
I have gazed into the face of Quentin and George's love child, and it was good, delightfully good. This edit marvelously transforms a classic, is the kind of edit that I'd want to show fanediting virgins, and in my opinion is amongst the very best fanedits ever made.
[And I like what you did with my handle, Never-ending Jalapeno Volcano.]
Enjoyjoy: 10 enthusiastic pelvic aerothrusts, each one almost ceiling-high.
User Review
Format Watched?
Digital
S