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Payback
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| Additional DVD options | Edition | Discs | Price | New from | Used from |
|
DVD
April 10, 2007 "Please retry" | Collector's Edition | 1 | $26.60 | $2.41 |
|
DVD
September 26, 2017 "Please retry" | — | 1 |
—
| — | $3.37 |
|
DVD
April 10, 2007 "Please retry" | Special Collector's Edition | 1 |
—
| — | $11.69 |
Purchase options and add-ons
| Genre | Action & Adventure |
| Format | Multiple Formats, Anamorphic, Closed-captioned, Color, Dolby, NTSC, Widescreen |
| Contributor | Terry Hayes, Mel Gibson, Lucy Liu, David Paymer, William Devane, Jack Conley, Deborah Kara Unger, Gregg Henry, Brian Helgeland, Bill Duke, Donald E. Westlake, Kris Kristofferson, Maria Bello, John Glover, Mark Alfa See more |
| Language | English, French |
| Runtime | 1 hour and 40 minutes |
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Product Description
PAYBACK (DVD) ACTION/ADVENTURE PORTER IS A CAREER CRIMINAL BENT ON REVENGE AFTER HIS PARTNERS IN A STREET HEIST PUMP METAL INTO HIM AND TAKE OFF WITH HIS $70,000 CUT. LITTLE DO THESE THUGS KNOW IS THAT IF YOU PLAN TO DOUBLE-CROSS PORTER, YOU'D BETTER MAKE SURE HE'S DEAD. PORTER RESURFACES, WADING INTO A LURID URBAN UNDERWORLD OF KINGPINS. MEL GIBSON KRIS KRISTOPHERSON
Product details
- Aspect Ratio : 2.35:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Package Dimensions : 7.5 x 5.3 x 0.7 inches; 2.4 Ounces
- Item model number : PARD336327D
- Director : Brian Helgeland
- Media Format : Multiple Formats, Anamorphic, Closed-captioned, Color, Dolby, NTSC, Widescreen
- Run time : 1 hour and 40 minutes
- Release date : July 27, 1999
- Actors : Mel Gibson, Gregg Henry, Maria Bello, David Paymer, Bill Duke
- Subtitles: : English
- Language : English (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Surround), English (Dolby Digital 5.1)
- Studio : Paramount
- ASIN : B00000JDIQ
- Writers : Brian Helgeland, Donald E. Westlake, Terry Hayes
- Number of discs : 1
- Best Sellers Rank: #8,417 in Movies & TV (See Top 100 in Movies & TV)
- #374 in Mystery & Thrillers (Movies & TV)
- #1,001 in Action & Adventure DVDs
- Customer Reviews:
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Payback (1999)
Porter’s a ruthless thug who goes after what he wants with a vengeance. After he's been double-crossed by his partner and wife, he wants some "payback" for the betrayal he's endured and the money he's owed. However after Porter learns that his partner has used the money to join "The Outfit," he decides that they owe him instead. With the aid of a prostitute he used to work for, he pursues what he's entitled to. The theatrical version and director’s cut share the same material. Although they are similar, the endings are not. Porter’s more edgy, brutal and less humorous in the director’s cut. Also the film's color is less noir-suggestive and more dynamic looking. Some of the actors have changed too. Other changes include a score replacement, narration removal, and no softening quips. Either way, ‘Payback’ is a tour de force of single minded unfettered brutality!
In the spring of 2006 the Director's Cut was produced and it comes close to Helgeland's original version. The latter, however, probably never existed as a final cut.
The Director's Cut still differs a little from it. As in the theatrical version Porter enters the syndicate hotel without having to distract the guards in the hotel lobby.
In general the new version has been tightened a little bit and thus runs a little shorter than the first version. Other differences include music, which has partially been re-written for the DC. As peculiar struck me that many shots in the DC are a few frames shorter. If this has been intentionally arranged while editing the movie or if it was depended from the material that was used, is unknown. Those differences aren't mentioned in the report. Please, Decide for yourself. Finally I recommend the Director's Cut for everyone who liked the theatrical version. It heavily differs from the latter and is worth another sit-through. Theatrical Version: 97 minutes; Director’s Cut: . 90 minutes.
This time Mel Gibson's Porter doesn't have a voice over to excuse his actions, and they're not diluted by focus groups either. So he steals from a homeless guy? So what, it's not as if the guy is faking a disability in this cut, he just wants his money. So he asks a barman for information by breaking his hand? So what, he doesn't have time for subtlety, he just wants his money. So his wife O.D.s after he beats her up? So what, she shot him anyway, he just wants his money. So he kills a handcuffed heavy after disarming him? So what, he didn't like the guy, he just wants his money. In fact, Porter doesn't care what happens to anybody as long as he gets his money. The only thing that makes him the hero is that the guy who has his money is even worse than he is.
Unlike most Director's Cuts, this really is a very different version of the film: while the first hour has more or less the same structure as the theatrical version, the last third is a significant departure. Running some ten minutes less than the theatrical version, there's no convoluted kidnapping subplot, no Kris Kristofferson character in this version, only a couple of shots of prominently-billed John Glover at the end, though sadly no Angie Dickinson either: although originally providing a link with John Boorman's film as the voice of the syndicate boss in Helgeland's first cut, for some reason she's here replaced by Sally Kellerman on speakerphone. Instead we get a much better realized and rather more organic finale at a transit station that brings the film to a more convincing conclusion and is more attuned to the character's strengths and weaknesses than the kind of plot contrivances that gave the theatrical version its more explosive resolution. Oh yes, and everything doesn't look blue anymore.
There are differences from the first cut that Helgeland submitted that was floating around as a bootleg for years - the fire truck diversion to get into the outfit hotel and the infamous elevator scene where Porter blinds a henchman are missing, while this time round the money doesn't end up in the hands of a homeless guy - but while it's a shame these aren't included on the DVD, it's a leaner, meaner movie, playing it down and dirty (none of Boorman's "Is he really dead?" ambiguity here) and on its own terms. Is it a great film or a lost masterpiece? No, just a good movie with a heart of darkness underneath the studio sheen, but that's good enough for me.
Paramount's DVD is a good package, with a three-part documentary on the making and unmaking of the film (with Gibson surprisingly prominent among the new interviews) and an interview with author Donald E. Westlake that run longer than the main feature itself, as well as an audio commentary by Helgeland.
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Si tiene subtítulos en español, pero no audio en español


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