Comparison between the Theatrical Version (rated R) and the Unrated Director's Cut (both represented by US DVDs from Lions Gate, RC1)


- Theatrical version: 87:20 min without credits (92:10 min with credits) NTSC format
- Unrated Director's Cut: 90:13 min without credits (95:03 min with credits) NTSC format









- 69 edited scenes including
* 30 extensions of the storyline
* 25 extensions of violence
* 22 times alternative frame material
* 10 spots, where only the theatrical version features additional material
* 6 edited cuts
* 1 change of color

- Difference: 172,8 sec (= 2:53 min)
* Additional material unrated version: 276,5 sec (= 4:37 min)
* Removed material in the theatrical version: 103,5 sec (= 1:44 min)

The movie

The time has come again, where the fans and the with their heads shaking film reviewers can launch into new Jigsaw games even though he’s already deceased a long time ago.
And to follow a tradition, the meanwhile 5th part of the endless saga was released exactly to Halloween 2008 in the US, whereas the german movie fan not until 3 months later (at 01.15.2009) has the dubiously pleasure - (almost) on time with the US-Release of the movie on DVD and Blu-Ray at 01.20.2009, usually in 2 different cut versions.

In this years movie the primary focus is on Jigsaw successor Hoffman (Costas Mandylor). So, like in part 2 before, the again in a group fought next trap game, gets rather into a minor matter, because his development to Jigsaw’s student is described and related to it also in reviews on previous traps some logical gaps are closed ( and new ones as appetizer for the successor results from).
The level of violence was kindly not again increased, on the contrary director David Hackl (who displaces the in Saw II-IV working Bousman) emphasizes more the advance of the storyline. But this is with the rather halfhearted operating Mandylor and on the knowledge of the predecessors based storyline certainly a matter of taste.

The Unrated Director's Cut

Not only as fan, in the meantime one can be quite sure with the Sawsequel: the release of the unrated appendix is guaranteed. Sometimes even on it an extended Director’s Cut of the unrated version like it was in part 3…
But ok, an alternative cut release is sufficient for the beginning and like in the 4th movie these two well known keywords are combined again this time so that the customer besides the theatrical version can although buy an “Unrated Director’s Cut”.

Especially Bousman, who not only has reintegrated a handful of deleted scenes into part 2 to 4 but he also has altered many shots. His successor Hackl even started a promotion campaign for his new release very early: some days before the US cinema release he announced that his Director's Cut of Saw V runs about 14 minutes longer and features scenes in a new arrangement various extensions of violence.
Well in the meantime everybody knows that he has overstated. Just nearly 3 minutes longer what the release finally runs, however some scenes from the theatrical version have been removed for the Director’s Cut. Even if you exclusively count the new material you do not get close to the 5 minutes. But it is the content of the movie that matters…

And it is to his credits: No other movie of the sequel has been so extensive re-cut respectively the storyline reorganized in such a manner how it is now the case with Jigsaw’s fifth coup. In particular the final of the movie where the characters partly appear in total different order or only act within a continuous plot whereas before in the theatrical version they acted episode-like and vice versa.

If this raises the success of the movie here and there or enhances the plot can be doubted and the judgment is up to the audience. At least, one cannot deny that here a really own cut version was created, which was rather in the director’s interest.

Apart from that there were no more noteworthy new plot scenes added. In fact there have been added little details here and there or as already mentioned given a new direction with a change of the plot. Also conspicuous especially like in the successor is the loss of certain scenes from the theatrical version. E.g. the scene in the unrated version where Jill has a look into Jigsaw’s deposited box is less mysterious because the unanswered demand of her lawyer is not shown anymore.
Mostly these are peanuts and some people might wish the used course from the theatrical version how it happened with the shortened end in the unrated version of part 4.

What might be much more interesting for the fans is the question of violence extensions. ‘Cause always the MPAA was bothered more or less of the movies severity so each part of the sequel had featured in its own unrated release version extended peaks of violence (how far these had to give way for a rating R may be doubted in particular case).
And here too in Saw V one can say: Yes, the unrated version already features some more distinct changes / extensions compared to the theatrical version with comparatively well dosed violent shots. In the pendulum trap at the beginning bowel flying around and Seth hast to suffer a much longer time, as well as for e.g. Mallick’s painful encounter with a saw at the end was highly elongated.
This surely doesn’t make the movie better but might be a reason for some people to avoid the theatrical version.


By all means the new cut version deserves its name, even though many of the changes are rather irrelevant for the audience.

The DVDs

Besides the Unrated Director's Cut the theatrical version was released on DVD at the same time in the U.S., unfortunately with significantly less specials. The unrated disk features the movie in widescreen 16:9, two audio comments, delivers insight of the specific traps and the original cinema trailer. With the rated R version there only comes the already mentioned trailer (as well as on both DVDs the preview of the other program of Lions Gate) furthermore the movie is only contained in full screen format
Both releases come packed like the US DVDs of the previous parts before: in a bare Amaray box in a transparent slipbox. The back of the cover is glued on as an additional print out what do not look fancy.

The at the beginning announced Unrated Collector's Edition is unfortunately hard to get any more. Hereby it concerns of a special package with a millboard sawblade attached at the Amaray which starts turning and playing a senentce of Jigsaw at the push of a button. Such a release was already available for part 4 from the U.K.
Apparently the production has been stopped and the internet reservations have been cancelled very early.

Cut report

Some words to the desription of the comparison before.
It was tried to classify any change closer than action or violence extension, whereas it is not always explicit and may reach another individual decision in particular cases.
Different arranged plots are only listed as re-cut at that moment they are shown in the new unrated version. When the same plot occurs in the original theatrical version this is also mentioned for the sake of completeness but in italic type. The particular length of each plot is also specified but marked with a "*", because it is not included in the calculation of the above cutting time of the individual releases (as already mentioned this is only new arranged and no version relevant material). If more direct sequenced scenes are new arranged, this is only summarized as a re-cut – in principle there have been more single scenes new arranged as the above named amount let assume.
The as "additional material theatrical version" labeled plots material has been totally removed from the theatrical version and not compensated with alternative scenes.




Running time details upon the following schema
Theatrical version running time in NTSC (running time Unrated Director’s Cut in NTSC)

plot scene
00:45 (00:45-00:58)

After the hint onto "Twisted Pictures" in the theatrical version the next credit is shown immediately while in the unrated version a tracking shot onto the door is first.

13,3 sec

plot scene / alternative image material
00:52-00:59 (01:05-01:24)

In the theatrical version there is only a tracking shot onto the tied up Seth followed by the next insert "A movie by David Hackl".
(+ 7,6 sec)

On the other hand the unrated alternatively shows from a further point away how the camera moves onto Seth and furthermore a close tracking shot sideways along his body.
(19 sec)

unrated 11,4 sec longer




additional material in the theatrical version
02:14-02:15 (02:39)

Seth can be looked on a little longer in the theatrical version.

+ 0,9 sec

plot scene
02:23 (02:47-02:51)

Now the unrated version shows Seth a little longer when he tears at the chain around his neck. Also the Jigsaw doll appears some single frames earlier.

3,6 sec

cut of violence / alternative image material
04:31 (04:59-05:06)

In the theatrical version the view from above onto Seth has 5 more frames and also the following shot starts 4 frames earlier than in the unrated version.
(+ 0,4 sec)

The unrated version however first shows a side view followed by some blood splattering against the wall.
Again the close-up of Seth as well as a very bloody view from the other side onto the pendulum ripping through his chest.
Then a short view from above and again the pendulum swinging through Seth’s chest now in a view from the left side.
In a close-up Seth yells again in pain.
(7,1 sec)

unrated 6,7 sec longer




cut of violence / alternative image material
04:32 (05:07)

The following shot was reduced by single frames at the end – only in the unrated versions you can see Seth’s bowels hurtle off.
(0,3 sec)

Therefore the following take of the plastic tarp starts 3 single frames earlier in the theatrical version.
(+ 0,1 sec)

unrated 0,2 sec longer




cut of violence / alternative image material
04:33-04:34 (05:08-05:09)

The tarp can be seen a little longer in the unrated version then followed by a very bloody front view of where more bowels are removed by the pendulum from Seth’s chest.
(1,3 sec)

The theatrical version on the other hand only shows Seth in a side view , further away as in the similar takes in the unrated version of the previous cut – the pendulum again flies through the screen.
(+ 1,3 sec)

no time difference




cut of violence / alternative image material
04:35-04:36 (05:10-05:11)

Just when the pendulum is over Seth’s chest a close-up view of the now swinging up again pendulum is shown in the theatrical version.
(+ 0,5 sec)

The unrated version however shows the previous take of Seth longer where still bowels hurtle off – as well as in an additional take onto the floor.
Then the unrated continues in the middle of the take from the swinging up pendulum of the theatrical version.
(0,9 sec)

unrated 0,4 sec longer




cut of violence
04:36 (05:11-05:18)

In the unrated version, after the short view onto the pendulum, first there is a close-up of Seth where Seth stretching his arms up.
Then the close-up from above and turning close to his chest from the side where the area around his stomach is still ripped apart.
He yells and there is another very bloody shot from the front – the following scene then starts some single frames earlier then in the theatrical version.

6,8 sec

cut of violence / alternative image material
04:37-04:38 (05:19-05:20)

While the close view onto Seth is a little longer in the theatrical version, there is an additional side view onto another rip through his chest in the unrated version.
(both 0,5 sec)

no time difference

theatrical	unrated

plot scene
04:45 (05:27-05:31)

In the unrated version you first can see Hoffman from farther away wearing his pig mask and yet another view of Seth.
Also the following sight of Hoffman starts a little earlier.

4 sec

cut of violence
04:48 (05:34-05:35)

The take of Seth begins earlier.

1 sec

cut of violence / alternative image material
04:49-04:51 (05:36-05:42)

The theatrical version shows directly the machine and then Seth in a side view a little earlier then in the unrated version.
(+ 1,6 sec)

Only in the unrated version there are two more views, one of pig mask Hoffman and one of the weak Seth whispering :"I did what I was supposed to do...".
Finally the machine rotates in an alternative shot.
(5,6 sec)

unrated 4 sec longer




cut of violence
04:51 (05:42-05:43)

This shot is aborted in the theatrical version a little earlier. In the unrated version you can see at the end his bowels flying around and in an additional take where they end up on the floor before Seth spits blood.

1 sec

cut of violence / alternative image material
04:56-04:57 (05:48-05:55)

In the theatrical version the view on Seth from the front when the collar around his neck opens is longer.
(+ 1,7 sec)

The unrated version shows this shot from another ange (from behind), then Seth spis again blood.
(7,6 sec)

unrated 5,9 sec longer




additonal material in the theatrical version
05:13-05:25 (06:11-06:13)

Only in the theatrical version you can see, right after the title insert, how agent Strahm enters the building where he meets Jeff.
(+ 11,5 sec)

In the unrated version however there is a longer black frame where you already can hear Strahms order: "Let me see your hands, let me see your fucking hands!" – and it then starts with Jeff raising the weapon (shortly after the pan shot in the theatrical version).
(2,4 sec)

the theatrical version runs 9,1 sec longer




additional material for the theatrical version
05:58-06:06 (06:46)

The theatrical version shows in between how Hoffman locks the door and leaves while the unrated version stays with Strahm.

+ 8,4 sec longer

additional material for the theatrical version
06:08-06:10 (06:47)

Also the next shot of Strahm starts a little earlier in the theatrical version.

+ 2,4 sec

plot scene / alternative image material
14:45-15:02 (15:22-15:28)

Again the theatrical version is longer in total and features more material.


In the theatrical version you can again see Jill after she closed the box in a close-up scene.
Mr. Feldman asks: "Miss Tuck, if you don't mind, what's in the box?"
Jill leaves and means: "Thank you for your time, Mr. Feldman."
The first takes of the press conference directly followed by a close-up of the speaker and one of the audience.
(+ 16,7 sec)

The unrated version only shows the closed box a little longer (shortly 3 sec) and you can hear the first sentences of the press conference in the off, Jill’s mysterious leaving has been omitted totally.
From the press conference there is only one pan shot from farther away.
(5,5 sec)

the theatrical version runs 11,2 sec longer
With the words "...that the Jigsaw murders are over" both versions again run parallel.













plot scene / alternative image material
15:07-15:15 (15:33-15:34)

After the first applause in the unrated version, the take of the reporter who still wants to ask another question but is refused, is missing.

"Why isn't this a joint press conference with the FBI?"
"Please not today, Miss Jenkins."
Disappointed she takes her seat again.
(+ 8,1 sec)

Therefore the unrated version shows the following take a little earlier.
(0,8 sec)

the theatrical version runs 7,3 sec longer




16:22-17:34 (16:41)

In the theatrical version you can see after Hoffmans promotion how Ericksson visits agent Strahm in the hospital telling him that he does not work any longer on this case.
In the unrated version this scene has been inserted at a later date, see "20:05 (19:41)"

* + 72,1 sec *




plot scene
18:13 (17:20)

The corridor can be seen a little earlier in the unrated version before Hoffman steps outside the door.

0,4 sec

re-cut
18:16 (17:24-17:52)

While Hoffman directly hurries to Strahm in the hospital in the theatrical version, one first can see how he finds Strahm’s mobile phone in the unrated version – the theatrical version comes up with this scene at "67:31 (69:42)".

Just when he gets it out of the protective shield and wants to leave, a security guard approaches from behind, "Detective Hoffman, you're wanted at the hospital,.it's about Agent Perez."
This end of the scene is missing at a later date in the theatrical version e.g. has been replaced there through alternative material – the difference of this alternative part is mentioned later.

* 28 sec - 5,8 sec = 22,2 sec *




re-cut
20:05 (19:41-20:53)

In the unrated version there has been inserted the previous cut scene in which Ericksson announces Strahm that he does not longer work on this case.

In the unrated version Strahm gets twice a visit, first from Hoffman and then from Ericksson (while it took place vice versa in the theatrical version interrupted by an insert of Hoffman at the police station).

* 72,1 sec *




38:08 (38:56-38:58)

More black frames after the chambers trap.

2,8 sec




color change
38:21 (39:11)

When Strahm opens the dossier of Seth there is a difference in coloring between the two versions: The unrated version is suddenly a little brighter e.g. the color filter is missed so that Seth’s dead body can be better seen.

Could be less result from the censoring than of a better cross-fade to the only in the unrated available scene in the same look, refer next point.

theatrical	unrated

cut of violence / plot scene / alternative image material
38:24-38:33 (39:14-39:40)

Only a few seconds of the same scene (only once without color filtering) and both version diverge.


theatrical version


The take of the photograph showing Seth can be seen a little longer then Strahm in a view from the front and a shot from above where he realizes "After Seth, you were involved in every investigation" – the unrated starts later after this sentence in same take.
(+ 9,2 sec)

unrated version

There is a little zooming onto the photograph followed by some more photographs of Seth’s dead body in the typical Saw cutting-style.

Then there is a new short scene of Hoffman talking to Fisk in the hall.
Hoffman: "Everything all right with Detective Kerr in the Seth Baxter case?"
Fisk: "Yeah."
Hoffman: "Good. Fisk. You keep me posted."

Now Strahm realizes in an alternative view from the front: "After Seth, you were involved in every investigation".

The there is another scene of Hoffman in his office where he finds the meant for him envelope from Jigsaw in a dossier.
(25,6 sec)

the unrated version runs 16,4 sec longer




plot scene / alternative image material
38:37 (39:44-40:06)

Strahm can be seen longer for 4 insignificant frames in the theatrical version.
(0,2 sec)

In the unrated version however you can see how Hoffman reacts on Jigsaw’s envelope.
Inside he finds a note saying "I know who you are".
A Re-cut onto Strahm with that special note in his hand then again Hoffman sticking it into his pocket.
At last Hoffman enters the apartment a little earlier than in the theatrical version.
(21,7 sec)

21,5 sec




plot scene
60:22 (61:51-62:14)

Mallick cuts off Brit directly in the theatrical version with "I don't give a shit", in the unrated version however she may tell before these words what kept her busy in the outside world.

"I build condos in one of the most densely populated cities in the country. You don't put up a new building without tearing down a few old ones."
Mallick: "So we're all bags of shit that deserve to be here. That's good. That's great. Fucking great."
Brit: "So is that what you think this is? You don't think there's any other connection?
Mallick: "No, I do. I do. And..."
(The rest of this shot then is like in the theatrical version)

23 sec

plot scene
61:29 (63:20)

Mallick can be seen longer for a handful of single frames.

0,2 sec

plot scene
61:30 (63:21-63:22)

The next take of him starts earlier.

0,4 sec

plot scene
61:31 (63:23-63:24)

...and is minimal longer at the end, also the following view of Luba starts some single frames earlier.

0,9 sec

plot scene / alternative image material
61:33-61:35 (63:26-63:45)

Now finally a really reasonable extension; only in the unrated version Luba discusses longer with Mallick, before she throws him into the tub.


The theatrical version only features a view of Mallick, then Luba attacks.
(+ 1,6 sec)

In the unrated Luba means: "You're gonna get in the tub...and we're gonna connect the five cords to you."
Mallick: "But you're gonna kill me too."
Luba: "Get in."
Mallick: "Yeah, I'm more of a shower guy. I don't think I'm gonna do that right now."
Luba: "Get in the fucking tub."
Mallick: "Fuck you, you bitch. You get in the fucking tub."
Hereupon Luba prepares for a strike but in an alternative shot and also the following take starts minimal earlier (may be both due to reasons to catch up with because Mallick was looking into another direction in the theatrical version).
(18,8 sec)

the unrated version runs 17,2 sec longer




67:32-67:54 (69:42)

Not until here one can see the scene in the theatrical version where Hoffman finds Strahm’s mobile phone (in the unrated version at the beginning before he visits him in the hospital).

* + 22,2 sec *




plot scene / alternative image material
67:54-67:57 (17:46-17:52)

As already mentioned before, the end of this scene runs different in both versions.


The theatrical version shows the evidence a little longer then Hoffman put it in his pocket and leaves.
(+ 3 sec)

In the unrated version the shot of Strahm’s mobile phone in Hoffman’s hand is aborted a little earlier and the guard informs him about agent Perez.
(5,7 sec)

the unrated version runs 2,7 sec longer




plot scene
69:38 (71:23-71:31)

Hoffman looks again on his desk and the monitor is shown again before he leaves.

8 sec

plot scene
69:39-69:54 (71:32-71:33)

In the theatrical version already to see here when Michelle locates Strahm’s mobile signal and Ericksson then hits the road. Refer the following cut.
(* + 15 sec *)

Therefore the unrated version shows the previous take a little longer (Hoffman has just left the room).
(0,5 sec)

the theatrical version runs 14,5 sec longer




plot scene / re-cut / alternative image material
71:34-71:38 (73:13-73:46)

Now here it gets a little more complicated because multiple scenes have been new arranged at the same time and have got little extensions here and there.

The theatrical version stays with Brit and Mallick after Brit just has recognized that every key would have fit.
In this connection there is a total omitted scene in the unrated version where Brit runs in the direction of the adjoining room.
Mallick asks: "Where are you going?"
She only means: "Hurry, before the bombs go off!"
(+ 3,8 sec)

In the unrated version however first of all the view of Brit is a little longer.
(0,8 sec)

Then you can see how Strahm observes Hoffman and follows him when he left with the car (starts a little later in the theatrical version, refer to the next point).

Afterwards the straight mentioned scene out of the theatrical version is again inserted here, not until here Ericksson is informed about Strahm’s signal.
(* 31,8 sec *)

additional material for the theatrical version
69:49 (73:40)
Within this segment the view of the monitor with Strahm’s tracking point has been shortened by 0,4 sec.

Furthermore the following pan-shot from the bottom into the room with Brit and Mallick starts a little earlier in the unrated version.
(0,8 sec)

the unrated version runs 29 sec longer in total




73:53-74:10 (76:01)

Now you can also see in the theatrical version when Hoffman goes into the car and Strahm follows him – shortly before he arrives at the house of "Saw II".

* + 16,6 sec *






re-cut / additional material for the theatrical version
74:41-74:52 (76:32-77:09)

Again both versions obvious diverge.


theatrical version

This shot is only longer in the theatrical version – Strahm still goes in the direction of the house.
(+ 5,4 sec)

Then one can see Ericksson arriving what has been moved back in the unrated version (refer part from "76:55 (79:00-79:28)").
(* + 5,3 sec *)



unrated version

Here the solution of Mallick’s bad act is already delivered. After a shot of the ticking watch he admits that he burned down a house for an amount of heroin but not knowing that there were people inside.
This scene is shown in the theatrical version at "75:24-76:02 (77:19)".
(* 37,6 sec *)

the unrated version runs 26,9 sec longer at total




additional material for the theatrical version
74:54-75:00 (77:12)

First the shot when Strahm walks into the room runs a little longer.

+ 2 sec

Then you can see when Ericksson walks up the stairs – this is again shown later in the unrated version (refer to "76:55 (79:00-79:28)").

* + 3,4 sec *




75:04-75:21 (77:16)

The unrated version continues directly with Strahm while the theatrical version in between shows Ericksson who walks into the house searching for details.
(Shown in the unrated version at "76:55 (79:00-79:28)")

* + 16,8 sec *




additional material for the theatrical version
75:24-76:02 (77:19)

First, Strahm can be seen longer in the hallway.
+ 1 sec

Then now also in the theatrical version the scene where Mallick admits his act (the, with unintended murder involved, heroin deal).

* + 37,6 sec *




plot scene
76:19 (77:36-77:41)

Brit appears a litte earlier finding out: "That's how she knew me. The woman in the tub..."

4,8 sec

plot scene
76:45 (78:07-78:19)

There is more conversation between Brit and Mallick.

Mallick, yells at her at the end: "Nobody cared? Eight people and their families cared. The feds cared. Look at my fucking arm. I cared! I cared!"
Brit: "But you didn't face justice. None of us did."
Thereby the view on Malick starts earlier as in the theatrical version.


12,4 sec

plot scene
76:47 (78:21-78:23)

After, at least the center part of the scene with Mallick was included in both versions, he still finish his sentence (he asks i fit is about the money).


2,2 sec

plot scene / alternative image material
76:49-76:50 (78:25-78:28)

Mallick is shown in the unrated version once again additional and yet means "You were the one behind it?", again a re-cut onto the down looking Brit.
(2,6 sec)

Therefore the following shot of Mallick starts earlier in the theatrical version.
(+ 0,7 sec)

the unrated version runs1,9 sec longer




plot scene
76:52 (78:30-78:31)

Mallick bawls at her onscreen a little longer, in the theatrical version one can hear his "Did you know that?!" again overlaying the following shot of Brit.

1,2 sec

plot scene / alternative image material
76:53-76:55 (78:32-79:00)

After one has seen for exactly 1 sec how Brit lifts up her head both version shortly diverge.


In the theatrical version Brit can be seen a little longer.
(+ 1,2 sec)

In the unrated version there is a direct insert onto Mallick shortly after that a pan-shot onto Brit.
Mallick means: "You're a monster."
Brit counters: "So are you."
Mallick admits: "We both deserve to be here."
Then both get ready and walk to the trap.
(27,4 sec)

the unrated version runs 26,2 sec longer




plot scene (2) / re-cut
76:55 (79:00-79:28)

Directly thereafter all scenes of the arriving Ericksson are inserted again in the unrated version, interrupted by two additional shots of Strahm going forward in the house with the weapon (both together shortly 4 sec and counted as 2 extensions).

Because the three scenes with Ericksson could be seen before in the theatrical version, now only the two views of Strahm are illustrated.

3,8 sec plus * 24,3 sec * (= 28,1 sec)

additional material for the theatrical version
78:17-78:19 (80:50)

In the theatrical version an additional take of the forward stepping Strahm.

+ 2,4 sec

cut of violence
78:21 (80:52)

The shot starts in the theatrical version two single frames earlier (blood cannot be seen yet).

0,1 sec

cut of violence
78:21 (80:52-80:53)

Therefore the unrated version runs longer at the end.

0,6 sec

cut of violence
78:22 (80:54)

The unrated version shows the hand 9 frames earlier at the beginning.

0,4 sec

cut of violence
78:25 (80:57)

...and the next take after the view of the yelling Mallick a little longer at the end, more blood is splattering.

0,2 sec

alternative image material
78:26-78:27 (80:58-80:59)

Ultra short settings: The box is much more colored red in the unrated version. The pan-shot onto Mallick and Brit directly afterwards is shown from a farther away point of view in the unrated version e.g. zoomed in the theatrical version.
(both 1 sec)

no time difference

theatrical	unrated

cut of violence
78:44 (81:16-81:17)

The shot runs longer and much more blood splatters.

0,8 sec

cut of violence
78:54 (81:27-81:28)

The take starts earlier the camera is farther away and then pans onto the hand.

0,7 sec

cut of violence / alternative image material
78:54 (81:28-81:31)

After the short but in both versions available rest of the take:

The theatrical version only shows 5 misty fast images in the typical Saw cutting style.
(+ 0,2 sec)

In the unrated version there is first a pan-shot from the rear onto Mallick and then one passing by the trap from the side.
(3,2 sec)

the unrated version runs 3 sec longer






cut of violence
78:56 (81:33-81:35)

The scene runs longer and more blood splatters against the wall of the collecting vessel.
Furthermore there is an additional close-up from the side onto the hand in the saw.

1,7 sec

cut of violence
78:58 (81:36-81:40)

Pan-shot up to Mallick, there is a lot of blood at the edge of the machine.
Then you can see how the collecting vessel is still filling up (the flashy fading up shortly after is then also shown again in the theatrical version).

4 sec

cut of violence
79:03 (81:45-81:47)

After the view onto Mallick’s face the unrated version again features two new takes:
First, a very bloody shot where the saw cleaving through his hand and then yet another one from the side onto Mallick and Brit.

2,1 sec

cut of violence
79:13 (81:57)

The pan-shot onto the arm in the trap starts 8 single frames earlier.

0,3 sec

79:26-79:36 (82:10)

In the theatrical version Mallick accomplished filling the vessel in a Saw typical single frame montage and falls exhausted out of the machine onto the floor.

When the scene comes up later in the unrated version, it is shorter in one point. This has been subtracted from the cutting time here because it is added later individually. (refer to "80:47 (83:21-83:29)").

* + 10,4 sec - 0,5 sec = 9,9 sec *




plot scene / alternative image material
80:27-80:30 (83:01-83:04)

With the last words of Jigsaw in the theatrical version the glass box, where Strahm has got the tape out, is shown again while the unrated version stays with Strahm.
(both 2,8 sec)

no time difference

theatrical	unrated

cut of violence / re-cut / alternative image material
80:47 (83:22-83:34)

Here in the unrated version the end of Mallick’s trap is shown, a little bit complicated because there are some small changes.


The first take runs with alternative material: the unrated version shows a different deeper view onto the blood vessel which besides runs also shorter (theatrical version 1,7 sec, unrated version 1,2 sec).
the theatrical version runs 0,5 sec longer

theatrical	unrated

Besides, the shot of the machine has been displaced in the unrated version.
In the unrated version it was shown before Mallick falls to the ground in the unrated version afterwards. This has been probably done due to reasons to catch up with, because directly after this shot there is a close-up of Mallick and Brit in both versions.
image for classification

Furthermore that the already showed take of Mallick and Brit on the floor in the theatrical version runs much longer at the end in the unrated version.
(1,9 sec)

* a total of 11,4 sec *




plot scene / alternative image material

80:57-81:03 (83:44-83:51)

The theatrical version shows Ericksson with the raised weapon slowly walking into the room.
(+ 6,1 sec)

In the unrated version he walks down the stairs and let his gaze wonder through the room.
Then the unrated continues in the middle of the take from the theatrical version.
(7,5 sec)

the unrated version runs 1,4 sec longer




plot scene / alternative image material
84:28-84:29 (87:16-87:17)

In the theatrical version the photograph of Ericksson is shown a little longer (+ 0,8 sec), the unrated version shortly goes to the upon looking Ericksson (1,2 sec).

the unrated version runs 0,4 sec longer

theatrical	unrated

plot scene
84:29 (87:17-87:19)

After some more single frames from the take of the photograph identical in both versions, only the unrated version shows that there is another photograph of Ericksson under it.

2,1 sec

cut of violence
87:11 (90:01-90:03)

The rotation starts a little earlier and Strahms yelling loud in pain.

1,6 sec

cut of violence
87:12 (90:04)

Also Hoffman gets splattered with blood a little earlier.

0,6 sec

cut of violence
87:12 (90:05)

The following scene from the crushing of Strahm starts 3 frames earlier.

0,1 sec