Nightmare(s In a Damaged Brain), 8. Films Vs. Code Red. Films' blu- ray of Nightmare(s In a Damaged Brain) has just landed, and I'm pretty excited! How does the new transfer compare to the previous US blu from Code Red?

How are the extras different? Is it a different cut? Well, I've got them right here, so we're about to find out everything for sure. But just to give you a hint up front? I'm smilin'. 😃. The only reason I'm not even more excited than I am is that, frankly, I'm not a huge fan of this movie. It's got a stilted, semi- amateurish feel in places, with kind of a cheap look and a few really hammy performances.

Plus, the story is kind of a mess, like maybe they had trouble getting 1. But, I think our quasi- protagonist C. J. is great.. he reminds me a lot of the kid in Trick Or Treats in all the best ways, and the showdown at the end of the film is terrific. And if you're looking for sleazy sex and violence along the way, Nightmare certainly delivers.

But let me stop beating around the bush and answer your #1 question: does 8. Film's new version feature the missing footage from the old Dutch VHS release, as detailed by movie- censorship? Yes! Yes, it does. That shot above is the infamous shot of the killer behind the kid in the house everyone was asking about, and that Code Red put up on their storefront. Here it is, in HD for the first time, looking great. And yes, the extra shots of the babysitter being stalked and the extra stuff at Gatsby's bar is all in here as well. The shot of the kid walking up to the house is also longer.

So this is 1. 00% uncut in that it features absolutely everything in Code Red's cut, plus these long missing bits. Update 1. 1- 2. 9- 1. Actually, having examined things a little closer with user Trampled on the blu- ray. In the babysitter scene, the some of the shots are restored as I described above, but there's also a bit where the kids come that is still missing. Then, the barroom stuff is 1. Of course, that shot is missing entirely from Code Red's blu, and the almost all of it is restored on 8. But there is still a smidgen missing._______________Now, don't misunderstand.

Pre-Code Hollywood refers to the brief era in the American film industry between the introduction of sound pictures in 1929 and the enforcement of the Motion Picture. Includes downloads, cheats, reviews, and articles. Help Robbie & Stephen Amell make their first feature film together! Get the latest slate of new MTV Shows Jersey Shore, Teen Wolf, Teen Mom and reality TV classics such as Punk'd and The Hills. Visit MTV.com to get the latest episodes.

This all adds up to, what? Less than ten seconds of footage?

And none of it exactly whips the plot around in thrilling new directions. But after all the mystery that was surrounding this footage when people first started mentioning that maybe these shots were out there, and wondering if 8.

Films had in fact found it - especially since we had to blind buy it to find out - it's very gratifying to see it here. And the transfers are fairly different, too. Different but pretty equal.

It had been assumed for a long time that 8. Films was just going to use Code Red's transfer, which they created, to release in their market until they announced they were making their own. Watch Oslo: Burning The Bridge To Nowhere Online Earnthenecklace. And it's visibly pretty different. It's hard not to see the differences in color timing in the shots above, especially.

In general, Code Red's transfer leans towards purple and 8. Some shots on 8. 8's disc, frankly, look too green. But others look as good or maybe even preferable. In the shots above, for example, I think the babysitter in the stairway is too green, but the kids running are too red. All of it really varies shot by shot and will ultimately boil down to viewer's preference. Framing- wise, both are at full 1. What's the title of the film the killer's walking past in the second set of shots?

Only Code Red knows for sure. What's also interesting about that, is 8.

Code Red's older DVD release, as Simon M. AVManiacs forum. Which is truer to the director's vision?

I don't know, but I do kinda prefer getting to read "Caligula" to seeing more of the car in the foreground, personally. And how about print damage? You may remember when 8. Films released the first screenshots of their new transfer as compared to Code Red's, their screenshot had cleaned up all the ugly green emulsion spots that had dirtied the film (or at least used a different source print that didn't have that damage on it). But now that we've got both complete transfers, is 8. Well.. The new transfer doesn't have the damage the old one does, but it has new damage.

And both are just flickering specks and smudges that only last for a single frame (this isn't like Code Red's Redeemer or anything, which is really damaged). Look at the shots above. Is the white spot to the left of the lamp really preferable to the green spot on the mom's shoulder? They both have flecks and smudges. Maybe 8. 8's is a little cleaner overall, or maybe it just feels that way because it's a brighter image. I'm not sure. Personally, it feels like a tie in this area to me. Both discs also have solid LPCM mono tracks.

Oh, and fun fact: despite 8. Film's disc being labeled region B, they're both region free. So everybody gets to choose, which is nice. When it comes to extras, it's all good news. Code Red's is really loaded with an audio commentary by star Baird Stafford and the make- up artist Cleve Hall, on- camera interviews with Stafford, Hall, distributor Tom Ward, producer Bill Milling, effects artist Ed French, and co- star Mik Cribbon. It also has the full interview with director Romano Scavolini subtitled (the same interview was on Code Red's previous DVD, but spoken in Italian with no English subtitles).

And there's two different Nightmare trailers. Films doesn't have quite as much, but what it has is all new..

Their stand- out extra is an all new audio commentary by producer Bill Paul. He's wonderfully free about his opinions and has great, specific memories - you definitely don't want to miss this commentary. They've also got an on- camera interview with Tom Ward, which is very short but interesting, and a segment on 4.

St. When I originally heard 8. Nightmare, I was imaging them finding all those wild Florida spots, but instead this just feels like deleted scenes from Calum Waddell's 4. Street Memories. At least the killer did go to 4. St in the movie for a couple of minutes, so it kinda syncs up, and I'd rather have this than not. Scavolini and Stafford, a trailer, and reversible artwork (the side I didn't show uses the same basic poster art as the Code Red cover), so it's a very nice package.

At the end of the day, I'd say Code Red has more and better extras, but they're both rewarding special editions. Film's cut is preferable for having the extra footage, but it's all very minor stuff that only serious enthusiasts will notice or care about. And which transfer is better?

I'd say it's a tie.

Motion Picture Production Code - Wikipedia"Hays Commission" redirects here. For the investigation by Arthur Garfield Hays into the 1. Ponce, Puerto Rico, see Ponce massacre. Motion Picture Production Code cover.

The Motion Picture Production Code was the set of industry moral guidelines that was applied to most United States motion pictures released by major studios from 1. It is also popularly known as the Hays Code, after Will H. Hays, who was the president of the Motion Picture Producers and Distributors of America (MPPDA) from 1.

Under Hays' leadership, the MPPDA, later known as the Motion Picture Association of America (MPAA), adopted the Production Code in 1. The Production Code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States.

From 1. 93. 4 to 1. Joseph Breen, the administrator appointed by Hays to enforce the code in Hollywood. The film industry followed the guidelines set by the code well into the late 1. Otto Preminger) pushing boundaries, and intervention from the courts, including the Supreme Court.[1][2] In 1. Production Code was replaced by the MPAA film rating system. Background[edit]In 1. Hollywood stars, the studios enlisted Presbyterian elder Will H.

Hays to rehabilitate Hollywood's image. Hollywood in the 1. William Desmond Taylor and alleged rape of Virginia Rappe by popular movie star Roscoe "Fatty" Arbuckle, which brought widespread condemnation from religious, civic, and political organizations.

Many felt the movie industry had always been morally questionable.[3] Political pressure was increasing, with legislators in 3. Faced with the prospect of having to comply with hundreds, and potentially thousands, of inconsistent and easily- changed decency laws in order to show their movies, the studios chose self- regulation as the preferable option. Hays was paid the then- lavish sum of $1. Hays, Postmaster General under Warren G. Harding and former head of the Republican National Committee,[7] served for 2. Motion Picture Producers and Distributors of America (MPPDA), where he "defended the industry from attacks, recited soothing nostrums, and negotiated treaties to cease hostilities".[4]The move mimicked the decision Major League Baseball had made in hiring judge Kenesaw Mountain Landis as League Commissioner the previous year to quell questions about the integrity of baseball in the wake of the 1. World Series gambling scandal; The New York Times even called Hays the "screen Landis".[8] In 1.

Hays introduced a set of recommendations dubbed "The Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the plots of pictures they were planning on making.[9] The Supreme Court had already decided unanimously in 1. Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures,[1. National Association of the Motion Picture Industry (NAMPI) in 1. New York became the first state to take advantage of the Supreme Court's decision by instituting a censorship board in 1.

Virginia followed suit the following year,[1. By the 1. 92. 0s, the New York stage — a frequent source of subsequent screen material — had topless shows, performances filled with curse words, mature subject matters, and sexually suggestive dialogue.[1. Early in the sound system conversion process, it became apparent that what might be acceptable in New York would not be so in Kansas.[1. Moviemakers were looking at the possibility that many states and cities would adopt their own codes of censorship, requiring a multiplicity of versions of movies made for national distribution. Self- censorship seemed a preferable outcome.

In 1. 92. 7, Hays suggested to studio executives that they form a committee to discuss film censorship. Irving G. Thalberg of Metro Goldwyn Mayer, Sol Wurtzel of Fox, and E. H. Allen of Paramount responded by collaborating on a list they called the "Don'ts and Be Carefuls", which was based on items that were challenged by local censor boards. This list consisted of eleven subjects best avoided and twenty- six to be handled very carefully. The list was approved by the Federal Trade Commission (FTC), and Hays created the Studio Relations Committee (SRC) to oversee its implementation; [1.

The controversy surrounding film standards came to a head in 1. Pre- code: "Don'ts" and "Be Carefuls", as proposed in 1. The Code enumerated a number of key points known as the "Don'ts" and "Be Carefuls": [2. Resolved, That those things which are included in the following list shall not appear in pictures produced by the members of this Association, irrespective of the manner in which they are treated: Pointed profanity – by either title or lip – this includes the words "God", "Lord", "Jesus", "Christ" (unless they be used reverently in connection with proper religious ceremonies), "hell", "damn", "Gawd", and every other profane and vulgar expression however it may be spelled; Any licentious or suggestive nudity – in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture; The illegal traffic in drugs; Any inference of sex perversion; White slavery; Miscegenation (sex relationships between the white and black races); Sex hygiene and venereal diseases; Scenes of actual childbirth – in fact or in silhouette; Children's sex organs; Ridicule of the clergy; Willful offense to any nation, race or creed; And be it further resolved, That special care be exercised in the manner in which the following subjects are treated, to the end that vulgarity and suggestiveness may be eliminated and that good taste may be emphasized: The use of the flag; International relations (avoiding picturizing in an unfavorable light another country's religion, history, institutions, prominent people, and citizenry); Arson; The use of firearms; Theft, robbery, safe- cracking, and dynamiting of trains, mines, buildings, etc.