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.
很像cod单人剧情模式，一镜到底的镜头展现确实是加分点。
俗套
挺硬核的，拳拳到肉，小场景小成本能拍成这样很不错！
人肉炸弹炸完恐怖分子不立刻清扫战场，
2.我这辈子什么时候才能看到坦迪牛顿的🔞镜头
一镜到底，打斗极其清晰。可太喜欢这种干净的打斗了。
一镜到底的拍摄手法还是蛮好的，尤其战斗场面
最后一个人那么小场地干掉几十号持枪恐怖分子，太假了
【B+】导演对于镜头的调度还是有一定能力的，全片动作戏干净利落、拳拳到肉，「伪一镜到底」也使这个小成本影片获得了不错的观感。
酣畅淋漓，除了一车皮反派永远打不完之外，毫无槽点
以一当百
全世界的恐怖分子似乎得到了武林秘籍……
斯科特阿金斯近几年最出色的动作片，没有复杂的回旋踢套招，也没那么多逼逼赖赖，上来就开干，中弹特效不错，打击感也有，孤岛省成本，剧情上也能圆过去，就是总有一群煞笔看动作片非得扣剧情挑毛病，小成本B级片拍的又刺激又爽要尼玛自行车，看特么王家卫不迷糊就高级，到这就晃晕了又要吐的，一群煞笔
法国雇佣大军披阿拉大旗占领山寨关塔那摩，囚徒分枪，报名处刑，人肉炸弹育成教程；阿金四人小队百人斩突围保护要犯，手雷RPG刀枪互补潜入搏击；（伪）一镜到底的低成本动作设计精神可嘉，洗白虐囚的意识形态极其错误；阿金一直跟这位红脖导演合作B级动作片，估计也是彻底放弃好莱坞主流市场了
三星半。最后的打斗居然看出来一点疾速特攻的感觉。
剧情挺硬伤的，一开始告诉他妻子怀孕就没那么多屁事了，女主也是自找的，硬是要拖到临死前才说…
3星半，动作戏非常扎实，一镜到底拍的很是漂亮
大名鼎鼎的中情局基地一部大卡车带人过去就能团灭……
近身肉搏拍的很不错，干净利落，枪战很有射击游戏的感觉，还挺紧张，就是对手总也打不完有点扯，毕竟就一辆卡车
本片虽然从海报到制作都透露着一丢丢低劣的气息，在光影和摄影的运用上也远远不及萨姆·门德斯的《1917》，但用一镜到底的手法拍摄如此密集的枪战和打斗，导演如此复杂的场面调度着实出彩。晃动的镜头和朴素的摄影反而给电影增加了更多的真实性，走廊的枪战和斯科特左刀右枪一路潜行击杀去调试无线电的桥段可圈可点，没有花哨的动作，刀杀干净利落，紧张感十足。不过影片后半段的枪战也因为处理得太过干净，有一种主角在玩吃鸡游戏的感觉，反而显得精彩不足，有些虎头蛇尾了。（潜心那段太有《杀手》的感觉了哈哈哈）
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