I was deeply disappointed when I caught an allegedly magnificent 70mm print of John Ford‘s The Searchers last July at the Museum of the Moving Image.

“No ‘bump’ at all over the versions I’ve watched on various formats over the years,” I angrily wrote. “No bump whatsoever, fuckers! Plus some shots looked overly shadowed, and some looked a tad bleachy.”

But of course, trusting sap and sucker that I am, I’ve bought the forthcoming 4K Bluray, which looks extra-marvelous according to various reviewers. I don’t trust these whores at all, but I want the 4K to be extra-special so I’m talking the plunge.

If I feel burned again after watching it later this month, there will be hell to pay.

From my 7.21 review:: “Immediately my eyes were telling me that the 70mm restoration is some kind of reverent con job, and that ticket-buying schmoes like myself were being gaslit.

“’This?’, I was angrily saying to myself. ‘Where’s the enhancement? Where’s the extra-exacting detail that a ‘straight from the original VisaVision negative’ 70mm print would presumably yield?”

“The MOMI theatre is seemingly a technically first-rate operation with a nice big screen, but what a fuming experience I had. I was ready to hit someone.

“Technically sophisticated friendo who knows his stuff: ‘In order to present a film print properly — especially 70mm — more things must come together than you might imagine in your worst nightmare.’

“Thanks, powers-that-be! Thanks for lying right through your teeth!”