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.
中规中矩吧～为了童年情怀看的，整体制作很有诚意，但故事过于套路化～还有，其实这个运动系列完全可以再上一个层次，有些时候不用把体育精神都放在最基本的那些东西上面。
虽然很燃…但是我实在接受不了《喜羊羊与灰太狼》没有羊狼斗智斗勇，而是在同一支队打篮球的剧情…真的就是挂着羊头卖情怀了
其实还蛮不错的 虽然我个人对篮球这项运动不是很了解 然后再加上电影中该燃的点我的感染度还不是很高 但不失为是一部十分优秀的子供向动画 虽然文戏部分很薄弱撑不起来 道理叙述稍显生硬 对于已经成年人的我 热爱一词涵盖所有已经不是我可以完全接受的了 但是 看到社畜的灰太狼 重新投入球场 不知道为什么 那股劲就起来了
12年前看虎虎生威 12年后看匡出未来 总觉得时间就是这么快 令人恍惚
还可以，故事完整，虽然说是套公式，也完成的不错，各种融梗致敬，也模仿了同题材的电影，娱乐可以，内容高度不够，虽然主要对象是小孩，但感觉有想要去做全年龄段的作品，那这样还不够，相比之下度的把握很好，缺点就是没有新东西
不喜欢蹭外卖员（快递等等）热点，其他还行。
越来越好吧，希望是这样的。我给外公打了个电话他没接，应该是睡着了。
2022.2.8上座率意外的很好！孩子没情侣多。就觉得怎么每隔几秒钟就开始莫名的励志口号，本来很燃的篮球比赛设定，并没有真的燃起来。主创应该没少看SD,灰太狼拿的樱木花道的剧本？被科普了“回表”和羊村还有个烈羊羊(安西教练)
整体还是偏低幼化，但是能普及一下篮球知识也挺好的，只不过现在看喜羊羊的小朋友真的不多了
中间：设定好像还可以，就是画风太幼龄。
天哪，阿尔兹海默症太可怕了，以前只是在文献中看到，但不太了解病人的生活
谁能想到我一个二十好几的人还会因为别人的安利和惨淡的排片而腆着老脸去电影院看喜羊羊，而且看完还发自内心地觉得很不错！虽然是简单到有些老掉牙的故事，但是表达得很真挚很动人。动画电影做到了真人电影无法实现的视觉呈现，比赛场面真的燃爆！听到最后喜羊羊说“我们大概认识五千多集了吧”感觉非常感慨，不知不觉居然这么多年了~
就是说，看完片头已经泪眼朦胧了。
和同学们一起看电影的感觉永远不一样。
虽然歌是抄的，但是最后一场比赛实在是太燃了，这还是喜羊羊吗？
3+
以前大学室友特别爱看喜羊羊，所以每年一部的大电影我也都没有落下。记得当年的主题是每年的生肖，然后狼羊合作一波。这么讲，这次难得的大电影回归，就略显草率了。套在一个篮球故事里本身就不咋吸引小孩子，又没有特别多的灰太狼的搞怪内容，只剩纯惨，情怀类内容都给丢了。
很燃很感动，恭喜《喜羊羊与灰太狼》摆脱了幼龄化，开始做出了成年人也可以看的作品。
电影整体上还不错，《绝杀慕尼黑》同款结局。
有点意思的大电影，说明了梦想和坚持，动画还可以。
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