Does the incredibly taut script, honed by almost laser precision into a simple propulsive mystery narrative that at once enables thinly drawn characters on paper, its almost impossibly insane special make-up effects work and breathtakingly visceral and tension-filled set pieces to all shine without detracting away from its clinical and hugely nihilistic simplicity need, ironically, any more words being spent on it?

For more about The Thing and the The Thing Blu-ray release, see the The Thing Blu-ray Review published by Dr. Stephen Larson on July 21, 2019 where this Blu-ray release scored 5.0 out of 5. I was looking for original The Thing, and couldn't find a decent, ahem, low cost alternative for a bum like myself, and then once again the Internet Archive came to the rescue.

creating a more spacious listening area and boosting some of the more complex sound elements, such as when the creature extends to the ceiling and

The production intended to use a camera centrifuge – a rotating drum with a fixed camera platform – for the Palmer-Thing scene, allowing him to seem to run straight up the wall and across the ceiling. Again, the cost was too high and the idea abandoned for a stuntman falling into frame onto a floor made to look like the outpost's ceiling.[69] Stuntman Anthony Cecere stood in for the Palmer-Thing after MacReady sets it on fire and it crashes through the outpost wall. The Thing was storyboarded extensively by Mike Ploog and Mentor Huebner before filming began. Their work was so detailed that many of the film's shots replicate the image layout completely. Cundey pushed for the use of anamorphic format aspect ratio, believing that it allowed for placing several actors in an environment, and making use of the scenic vistas available, while still creating a sense of confinement within the image. It also enabled the use of negative space around the actors to imply something may be lurking just offscreen. Cundey worked with Bottin to determine the appropriate lighting for each creature. He wanted to show off Bottin's work because of its details, but he was conscious that showing too much would reveal its artificial nature, breaking the illusion. Each encounter with the creature was planned for areas where they could justify using a series of small lights to highlight the particular creature-model's surface and textures. Cundey would illuminate the area behind the creature to detail its overall shape. He worked with Panavision and a few other companies to develop a camera capable of automatically adjusting light exposure at different film speeds. He wanted to try filming the creature at fast and slow speeds thinking this would create a more interesting visual effect, but they were unable to accomplish this at the time. For the rest of the set, Cundey created a contrast by lighting the interiors with warmer lights hung overhead in conical shades so that they could still control the lighting and have darkened areas on set. The outside was constantly bathed in a cold, blue light that Cundey had discovered being used on airport runways. The reflective surface of the snow and the blue light helped create the impression of coldness. The team also made use of the flamethrowers and magenta-hued flares used by the actors to create dynamic lighting. Actor Wilford Brimley in 2012. He was cast for his everyman persona which would allow audiences not to notice his absence from the story until the right time.excellent depth and accuracy without absorbing detail or devouring shadowy elements within. General tones are far more vivid and pure. Viewers will This cookie, set by YouTube, registers a unique ID to store data on what videos from YouTube the user has seen. DTS:X audio. A few supplements not included on Universal's original Blu-ray are now available on the UHD disc. The bundled Blu-ray is identical to For information or assistance, call Cineworld on 0330 333 4444 Mon-Sun 09:00 - 22:00. Calls to this number are charged at standard national rate and are included within your mobile network minutes.